Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
404	https://historysoa.com/items/show/404	The Author, Vol. 20 Issue 07 (April 1910)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+07+%28April+1910%29"><em>The Author</em>, Vol. 20 Issue 07 (April 1910)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1910-04-01-The-Author-20-7					181–204																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=20">20</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1910-04-01">1910-04-01</a>							7			19100401	C be Elut b or.<br /> (The Organ of the Incorporated Society of Authors.<br /> Monthly.)<br /> Wol. XX.-No. 7. t<br /> APRIL 1, 1910.<br /> [PRICE SIXPENCE.<br /> C O N T E N T S.<br /> - - PAGE PAGE<br /> Notices ... a s : - - - tº º º tº º 0. - * 0. * - - - e. e. ..., 181 Stamping Music ... - - - * - - tº e ºs &amp; 6 tº - - - s &amp; © ... 194<br /> Committee Notes * * * * e º &#039;º e s - © tº ... ... ... 183 The Reading Branch ... ... ... ... ... ... ... 194<br /> Books published by Members of the Society ... ... ... 185 Remittances ... ... ... ... ... ... ... ... 194<br /> Books published in America by Members... * * * * * * ... 187 General Notes ... - - - * * * * * * - tº º * * * &amp; º ºs ... 195<br /> Literary, Dramatic and Musical Notes ... e - e. tº a g ... 187 Committee Election ... * * * * * * - e. e. ſº - - * . . ... 196<br /> Paris Notes ... ... ... ... ... ... ... ... 189 General Meetings ... ... ... ... ... ... ... 197<br /> The Editorial Attitude... * = * * * * - - - * - - e e ... 190 United States Notes ... * * * * * * - - - • * 1 * * * ... 198<br /> International Congress of Publishers • &amp; e * * * &amp; g tº ... 192 The Utility of Reviews... * - a • e is * * * * * , tº - - ... 200<br /> How to Use the Society &amp; © e e &amp; e tº a e e - ee &amp; ... 193 The Fairy Tale in Fiction ... * * - - - - - - - * * * ... 20.1<br /> Warnings to the Producers of Books • * - ... is e e ... 193 The Art of Illustrating... - - - tº e - • * * - - - * * * ... 202<br /> Warnings to Dramatic Authors tº 4 º&#039; tº 4 tº * - - &lt;e e - ... 193 American Journalism ... • * - * * * - - - • * * * - - ... 203<br /> Dramatic Authors and Agents • * * - - - * - - # tº a ... 194 Stops; or, How to Punctuate 204<br /> Registration of Scenarios and Original Plays ... ... . ... 194 Correspondence ... - * - - 204<br /> Warnings to Musical Composers - «» - 194<br /> r—<br /> TO Authors and Journalists,<br /> Are you SATISFIED with the quality of<br /> your work? - -<br /> Does<br /> your<br /> market?<br /> literary output find a ready<br /> These are pertinent questions and well worth<br /> answering. -<br /> Many young writers would meet with success<br /> if they took the trouble to learn the technique<br /> of their art. Our Students are successful<br /> because we instil into them that subtle some-<br /> thing which makes for success. We cultivate<br /> their special bent and enable them to make the<br /> most of their natural gifts.<br /> A Course of Training under our supervision<br /> will, at the very outset, put you on the path of<br /> progress—the road that leads to the Editorial<br /> Sanctum. Let us tell you more about this; we<br /> shall be pleased to send you full particulars on<br /> receipt of a post-card.<br /> Address your application to the-<br /> LITERARY CORRESPONDENGE GOLLEGE,<br /> TYPEwriting.<br /> Authors&#039; MSS. copied from 9d. per 1,000<br /> words; in duplicate, 1/-, Plays and General<br /> Copying. List and specimen of work on appli-<br /> cation.<br /> ONE OF NUMEROUS TESTIMONIALS.<br /> “Miss M. R. HORNE has typed for me literary matter to the<br /> ext ent of some bundreds of thousands of words. I have nothing<br /> but praise for the accuracy, speed, and neatness with which she<br /> does her work.-FRANK SAVILE.”<br /> MISS M. R. HORNE,<br /> ESKDALE, WEST DRAYTON, MIDDIESEX.<br /> YWYAN TED 3.<br /> AUTHORS&#039; MSS., PLAYS, AND GENERAL COPYING.<br /> Don’t hesitate. Send a trial order now. I guarantee<br /> satisfaction. One Carbon Duplicate supplied grafis<br /> with first order. Terms on application.<br /> C. HERBERT CAESAR,<br /> Homefield, Woodstock Rd., ST. ALBANS, HERTs.<br /> AUTHORS’ TYPEWRITING.<br /> 9, Arundel Street, Strand, W.C.<br /> MRS. GILL, Typetoriting Office,<br /> (Established 1883.) 35, LUDGATE HILL, E.C.<br /> Authors’ MSS. carefully copied from 1s, per 1,000<br /> words. Duplicate copies third price. French and German<br /> MSS. accurately copied ; or typewritten English trans-<br /> lations supplied. References kindly permitted to Messrs.<br /> A. P. Watt &amp; Son, Literary Agents, Hastings House,<br /> Norfolk Street, Strand, W.C. Telephone 8464 Central.<br /> Novel and Story Work . 9d. per 1,000 words; 2 Copies, 1/-<br /> Genera.) Copying * * ... 1/1 ?? y &gt; 3 º 1/3<br /> Plays, ruled * tº - * ... 1)- y; pº * 9. 1/4<br /> Specimens and Price List on application.<br /> MISS A. B. ST EVENSON, Yew Tree Cottage,<br /> SUTTON, MACCLESFIELD.<br /> ECRETARY.-Gentleman, 37, unmarried, competent<br /> to give practical literary assistance, would like<br /> engagement, whole or part time, town or country;<br /> typist (own machine).-F. S., 48, BRIDGE RoAD WEST,<br /> BATTERSEA PARK, S.W.<br /> <br /> <br /> ## p. (#570) ################################################<br /> <br /> ii<br /> AD VERTISEMENTS.<br /> <br /> SAMPSON LOW, MARSTON &amp; CD., LTD.<br /> Admiral Mahan’s Famous<br /> Sea Power Books.<br /> *THE INFLUENCE OF SEA POWER<br /> UPON HISTORY, 1660-1783. With 25<br /> Charts of Great Naval Battles. 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Crown 8vo,<br /> cloth, 3s. 6d. net.<br /> MESSRS. SAMPSON LOw, MARSTON &amp; Co., LTD., will be pleased to forward<br /> their 60-page list of books by pro minent authors dealing with the following<br /> subjects:–GEOGRAPHICAL –Fictio N – ADVENTURE – CRITICISM – BIOGRAPHY-<br /> RESEARCH-ART-TRAVEL–SPORT-HISTORY-BELLES LETTRES-<br /> London : Overy House, 1 OO, Southwark Street, S.E.<br /> <br /> <br /> ## p. (#571) ################################################<br /> <br /> C be El u t b or,<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> WoL. XX.-No. 7.<br /> APRIL 1ST, 1910.<br /> ---<br /> [PRICE SIxPENCE.<br /> TELEPHONE NUMBER :<br /> 374 WICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> —e—º-e—<br /> NOTICES.<br /> —º-º-º-<br /> OR the opinions expressed in papers that are<br /> signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> THE Editor begs to inform members of the<br /> Authors’ Society and other readers of The Author<br /> that the cases which are quoted in The Author are<br /> cases that have come before the notice or to the<br /> knowledge of the Secretary of the Society, and that<br /> those members of the Society who desire to have<br /> the names of the publishers concerned can obtain<br /> them on application.<br /> -* *-<br /> ARTICLES AND CONTRIBUTIONS.<br /> THE Editor of The Author begs to remind<br /> members of the Society that, although the paper<br /> is sent to them free of cost, its production would<br /> be a very heavy charge on the resources of the<br /> Society if a great many members did not forward<br /> to the Secretary the modest 5s. 6d. subscription for<br /> the year.<br /> Communications for The Author should be<br /> addressed to the Offices of the Society, 39, Old<br /> Queen Street, Storey&#039;s Gate, S.W., and should<br /> reach the Editor not later than the 21st of each<br /> month.<br /> Communications and letters are invited by the<br /> Editor on all literary matters treated from the<br /> standpoint of art or business, but on no other<br /> subjects whatever. Every effort will be made to<br /> return articles which cannot be accepted.<br /> WOL, XX,<br /> ADVERTISEMENTS.<br /> As there seems to be an impression among<br /> readers of The Author that the committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the committee desire it to be stated<br /> that this is not, and could not possibly be, the case.<br /> Although care is exercised that no undesirable<br /> advertisements be inserted, they do not accept, and<br /> never have accepted, any liability.<br /> Members should apply to the secretary for advice<br /> if special information is desired.<br /> —º-e<br /> THE SOCIETY&#039;S FUNDS.<br /> —º-º-º-<br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done for<br /> them. The committee, acting on the suggestion<br /> of one of these members, have decided to place<br /> this permanent paragraph in The Author in order<br /> that members may be cognisant of those funds to<br /> which these contributions may be paid.<br /> The funds suitable for this purpose are : (1) The<br /> Capital Fund. This fund is kept in reserve in<br /> case it is necessary for the Society to incur heavy<br /> expenditure, either in fighting a question of prin-<br /> ciple, or in assisting to obtain copyright reform,<br /> or in dealing with any other matter closely<br /> connected with the work of the Society.<br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover the<br /> needs of all the members of the Society.<br /> —e—º-e—<br /> LIST OF MEMBERS.<br /> —t-º-º-<br /> HE List of Members of the Society of Authors<br /> published October, 1907, can now be obtained<br /> at the offices of the Society at the price of<br /> 6d., post free 7#d. It includes elections to July,<br /> 1907, and will be sold to members and associates<br /> of the Society only.<br /> A dozen blank pages have been added at the<br /> <br /> <br /> ## p. (#572) ################################################<br /> <br /> 182<br /> TFIES A UTFJOR.<br /> end of the list for the convenience of those who<br /> desire to add future elections as they are chronicled<br /> from month to month in these pages.<br /> —e—Q-0—<br /> THE PENSION FUND.<br /> —º-º-º-<br /> O” February 1, 1910, the trustees of the<br /> Pension Fund of the Society—after the secre-<br /> tary had placed before them the financial<br /> position of the fund—decided to invest £260 in<br /> the following securities: £130 in the purchase of<br /> Jamaica. 3% per cent. Stock 1919—49, and £130 in<br /> the purchase of Mauritius 4 per cent. Stock 1937.<br /> The amount purchased is £132 18s. 6d.<br /> Jamaica. 3% per cent. Stock and £120 12s. 1d.<br /> Mauritius 4 per cent. Stock.<br /> This brings the invested funds to over £4,000.<br /> The trustees, however, have been unable to recom-<br /> mend the payment of any further pensions, as the<br /> income at their disposal is at present exhausted.<br /> They desire to draw the attention of the members<br /> of the society to this fact, in the hope that by<br /> additional subscriptions and donations there will<br /> be sufficient funds in hand in the course of the<br /> year to declare another pension in case any im-<br /> portant claim is forthcoming.<br /> Consols 2%.................. ........... #1,000 0 0<br /> Local Loans .............................. 500 0 ()<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 291. 19 11<br /> War Loan ................................. 201 9 3<br /> London and North-Western 3% Deben-<br /> ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()<br /> Egyptian Government Irrigation<br /> Trust 4%. Certificates . . . . . . . . ... 200 0 0<br /> Cape of Good Hope 3% Inscribed<br /> Stock . . . . . . . . . . . . . . ............... 200 0 0<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.................. ) 0<br /> New Zealand 3% Stock............... 247 () 6<br /> Irish Land Act 23% Guaranteed Stock 258 0 0<br /> Corporation of London 24% Stock,<br /> 1927–57 .............................. 438 2 4<br /> Jamaica 34% Stock, 1919–49......... 6<br /> 1<br /> Mauritius 4%. 1937 Stock...............<br /> Subscriptions.<br /> 1909. £ s. d.<br /> Oct. 15, Greig, James () 5 ()<br /> Oct. 15, Jacomb, A. E. () 5 ()<br /> Oct. 16, Hepburn, Thomas 0 10 6<br /> Oct. 16, Trevelyan, G. M. . 0 10 0<br /> Oct. 16, “Haddon Hall”<br /> Oct. 22, Jessup, A. E. º &amp;<br /> Oct. 25, Whishaw, Mrs. Bernhard<br /> Nov. 5, Dixon, A. Francis.<br /> Nov. 6, Helledoren, J.<br /> Dec. 4, Tearle, Christian .<br /> Dec. 9, Tyrell, Miss Eleanor e<br /> Dec. 17, Somerville, Miss Edith OE.<br /> 1910.<br /> Jan. 12, Riley, Miss Josephine &amp;<br /> Jan. 13, Child, Harold H. . tº e<br /> Jan. 14, Desborough, The Right Hon.<br /> the Lord, K.C.V.O. º * tº<br /> Jan. 27, Lion, Leon M.<br /> Feb. 7, Fagan, J. B. . º<br /> Feb. 10, Newton, Miss A. M.<br /> March 7, Smith, Bertram .<br /> Domalions.<br /> 1909.<br /> 16, Hodson, Miss A. L.<br /> 16, Wasteneys, Lady .<br /> 18, Bell, Mrs. G. H. e<br /> 3, Turnbull, Mrs. Peveril .<br /> 4, George, W. L. º<br /> 25, Tench, Miss Mary<br /> 1, Shedlock, Miss<br /> 3, Esmond, H. W.<br /> 9, Hewlett, Maurice s<br /> 17, Reynolds, Mrs. Baillie .<br /> 17, Martin, Miss Violet<br /> 1910.<br /> Jan. 1, Robinson, J. R. . e o<br /> Jan. 1, Mackenzie, Miss J. (2nd dona-<br /> Oct.<br /> Oct.<br /> Oct.<br /> Nov.<br /> NOV.<br /> NOV.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> tion) e &amp; º<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> 1, Northcote, H. e Q<br /> 3, Watson, Mrs. Herbert A.<br /> 3, Fursdom, Mrs. F. M.<br /> 3, Smith, Miss Edith A.<br /> 4, Pryce, Richard º<br /> 4, Wroughton, Miss Cicely .<br /> 6, Kaye-Smith, Miss Sheila<br /> 6, Underdown, Miss E. M. .<br /> 6, Carolin, Mrs. . º<br /> 8, P. H. and M. K.<br /> 8, Crellin, H. R. e<br /> 10, Tanner, James T..<br /> 10, Miller, Arthur<br /> 10, Bolton, Miss Anna e<br /> 10, Parr, Miss Olive K. .<br /> 17, Harland, Mrs. e<br /> 21, Benecke, Miss Ida e<br /> 25, Fradd, Meredith . .<br /> 29, Stayton, F. . • e<br /> 2<br /> .<br /> :<br /> ()<br /> 1<br /> I<br /> 1<br /> 5<br /> 1<br /> 1<br /> i<br /> 0<br /> <br /> <br /> ## p. (#573) ################################################<br /> <br /> TFIE AUTISIOR.<br /> 183<br /> £ s. d.<br /> Feb. 1, Wharton, L. C. . 0 1 () ()<br /> Feb. 4, Bowen, Miss Marjorie 1 I ()<br /> Feb. 5, Cameron, Mrs. Charlotte J 1 ()<br /> Feb. 7, Pettigrew, W. F. . () 5 ()<br /> Feb. 7, Church, Sir A. H. . 1 1 0<br /> Feb. 8, Bland, Mrs. E. Nesbit 0 1 0 6<br /> Feb. 8, The XX. Pen Club 0 3 0<br /> Feb. 10, Greenbank, Percy 0 5 ()<br /> Feb. 11, Stopford, Francis. 2 2 ()<br /> Feb. 11, Dawson, A. J. . ſº 0 5 ()<br /> Feb. 12, Ainslie, Miss Kathleen . () 5 ()<br /> Feb. 16, W. D. . . . . 1 1 0<br /> Feb. 16, Gibbs, F. L. A. 0 10 0<br /> Feb. 17, Wintle, H. R. * 1 0 ()<br /> Feb. 21, Thurston, E. Temple 1 1 ()<br /> Feb. 23, Dawson, Mrs. Frederick () j ()<br /> Feb. 24, Williamson, C. N. &amp; 2 2 ()<br /> Feb. 24, Williamson, Mrs. C. N. 2 2 ()<br /> Feb. 25, Westell, W. P. º 0 1 () ()<br /> March 2, Toplis, Miss Grace () 5 ()<br /> March 3, Hawtrey, Miss Valentina I. I. ()<br /> March 5, Smith, Bertram . 5 () ()<br /> March 12, Yould, A. . 0 5 ()<br /> March 16, Loraine, Lady 0 10 ()<br /> Aſl fresh subscribers and donors previous to<br /> October, 1909, have been deleted from the present<br /> announcement.<br /> The names of those subscribers and donors which<br /> are not included in the lists printed above are<br /> unavoidably held over to the next issue.<br /> —s—e-s—<br /> comMITTEE NOTEs.<br /> —e-º-e—<br /> HE March meeting of the Committee of Man-<br /> agement was held at the offices of the<br /> society on the seventh day of that month.<br /> The first item on the agenda, after the reading of<br /> the minutes, was, as usual, the election of members<br /> and associates. Nineteen were elected, bringing<br /> the total for the year up to seventy-one. The<br /> names are set out in another column. The resigna-<br /> tions numbered twenty-one, bringing the total<br /> resignations for the year to fifty-seven. The Com-<br /> mittee regret that the resignations at this meeting<br /> were in excess of the elections, but this can be<br /> accounted for by the fact that the first application<br /> for unpaid subscriptions was issued during the<br /> month of February.<br /> The question of the library censorship was again<br /> raised, and the chairman reported what had taken<br /> place during the month. The Committee decided<br /> to make the terms of reference more exact, and<br /> appointed a sub-committee to meet the publishers<br /> on the terms of the reference thus made. The<br /> reference was “to confer with the publishers on<br /> the relations of authors, publishers, and libraries.”<br /> The Secretary was instructed to communicate with<br /> the publishers to settle the date of meeting.<br /> The report of the work of the copyright sub-<br /> committee dealing with the music publishing<br /> agreement was placed before the Committee of<br /> Management by the secretary. After considerable<br /> discussion it was decided that the chairman of the<br /> Committee of Management should confer with the<br /> chairman of the copyright sub-committee in<br /> respect of certain proposed alterations, and that he<br /> should then report to the next meeting of the<br /> Committee.<br /> The secretary laid before the meeting three<br /> publishers&#039; agreements: a music publishing agree-<br /> ment, and two agreements from publishers of<br /> books. It was decided by the Committee that the<br /> agreements should be published in The Author,<br /> with comments from the secretary, with the names<br /> of the publishers attached. It is hoped that it will<br /> be possible to carry this through in one of the<br /> near issues of The Author.<br /> A report of the work of the dramatic sub-<br /> committee was next laid before the meeting by the<br /> Secretary. He stated that that sub-committee had<br /> taken in hand the drafting of a contract between<br /> an author and a dramatic agent, and had issued a<br /> warning to be printed in The Author among the<br /> warnings to dramatic authors. He also reported<br /> the Committee&#039;s decision in a case which had come<br /> before them.<br /> The next question considered by the Committee<br /> related to the redemption of the war loan of which<br /> the Society possessed a holding. It was decided<br /> to invest the money received in Canadian Pacific<br /> Railway Bonds (Government Guaranteed) 34 per<br /> cent.<br /> The cases before the Committee numbered five.<br /> In one it was decided to appeal from a master&#039;s<br /> decision to the judge in chambers. In a second<br /> case, between one of the society&#039;s members and a<br /> publisher, after all the papers had been carefully<br /> considered and the legal aspects discussed, the<br /> Committee decided they were unable to take the<br /> matter in hand. In the third case, relating to<br /> the infringement of an author&#039;s copyright work by<br /> a firm in Chicago, it was decided, as under the<br /> agreement between the author and his American<br /> publisher, the publisher was entitled to receive a<br /> power of attorney to conduct the case, to advise<br /> the member to allow his American publisher to<br /> take what steps he thought fit, and the secretary<br /> was instructed to write to the member in this<br /> SëIASé.<br /> In the next case a question was raised as to<br /> joining the publisher of a book in England with<br /> the author, who is taking action for infringement<br /> <br /> <br /> ## p. (#574) ################################################<br /> <br /> 184<br /> TISIES A UſTMSIOR,<br /> of his rights in Germany, and in view of the fact<br /> that the success of the author depended upon<br /> this, it was decided to take this step, guaranteeing<br /> the publisher against loss and costs, if necessary.<br /> The last matter related to the financial difficulties<br /> of a publisher. As many members were involved,<br /> and their interests were to some extent conflicting,<br /> it was decided to obtain fuller and more accurate<br /> information before any decision was come to.<br /> ——e-s—<br /> DRAMATIC SUB-COMMITTEE.<br /> THE Dramatic Sub-Committee met at the offices<br /> of the society on Tuesday, March 1. After the<br /> signing of the minutes the consideration of the<br /> Dramatic Agency Agreement came before the<br /> meeting. The secretary read a letter he had<br /> received from the solicitors of the society on the<br /> agreement, and a further suggestion was made as to<br /> the alteration of one of the clauses. The com-<br /> mittee considered, in view of recent decisions in the<br /> Courts, that it was of the utmost importance to<br /> press forward this model agreement, and instructed<br /> the secretary to incorporate forthwith the altera-<br /> tions suggested and lay the agreement before the<br /> next meeting.<br /> In connection with this subject, they authorised<br /> the insertion in the standing matter of The Author<br /> of some additional warnings to dramatists, which<br /> accordingly appear in the current issue, and will be<br /> repeated in future issues of the magazine.<br /> The committee then turned their attention to<br /> the question of the names to be submitted to the<br /> Committee of Management for election to the<br /> T]ramatic Sub-Committee for the current year.<br /> The list as settled will go before the Committee<br /> of Management in due course after the elections to<br /> the Committee of Management have been reported.<br /> The question of Colonial Agents then arose, and<br /> the secretary reported an interview he had had with<br /> the secretary of Messrs. Samuel French, and laid<br /> before the committee letters he had received from<br /> Australia. The committee decided to wait until<br /> they had obtained a statement from Messrs. French,<br /> when they will reconsider the position and proceed<br /> with the appointment of colonial representatives.<br /> The questiºn of Theatrical Performances in Clubs<br /> next came up for discussion, and the secretary<br /> reported that he had had an interview with the<br /> secretary of the Theatres Alliance, but stated that<br /> it was necessary again to adjourn the matter, as a<br /> letter expected from that body had not arrived.<br /> Sir Arthur Pinero then laid before the committee<br /> a letter he had received about the formation of a<br /> Dramatic Society, and read to the committee his<br /> answer to the communication, in which he stated<br /> that the objects of the proposed society were in a<br /> great part those of the Dramatic Sub-Committee<br /> of the Authors&#039; Society, while the rest differed in<br /> no essential from the objects of an ordinary dramatic<br /> agency.<br /> A letter was then read from the society&#039;s solicitors<br /> in India in regard to a dramatic case undertaken<br /> on behalf of two members of the society. The<br /> sub-committee decided to report to the Committee<br /> of Management that no proceedings should be taken<br /> at present on account of the great difficulty there<br /> appeared to be in putting the matter on a proper<br /> basis, but if the solicitors were unable to come to<br /> any satisfactory settlement the matter was to be<br /> reconsidered. Instructions were also given to the<br /> secretary to write to an agent in London who has<br /> been acting in the interests of a certain Indian<br /> theatrical manager informing that agent of the<br /> default made by the manager in the before-<br /> mentioned case. -<br /> SUB-COMMITTEE TO CONSIDER THE PRICE OF<br /> NOVELS.<br /> THE sub-committee to consider the price of<br /> novels met at the offices of the society on Friday,<br /> March 11th.<br /> Members of the society may recall that an<br /> interim report was issued by this sub-committee<br /> and published in the January number of The Author,<br /> in which the sub-committee regretted that they<br /> were unable to make a final statement, owing to the<br /> fact that certain evidence promised to them would<br /> not be forthcoming till March of the present year.<br /> After the minutes of the last meeting had been<br /> read, the evidence from Mr. Heinemann, for which<br /> the sub-committee had been waiting, was laid before<br /> them and considered, together with evidence from<br /> 240 booksellers, which had been collected by the<br /> kindness of Mr. H. W. Keay, the President of the<br /> Associated Booksellers of Great Britian and Ireland.<br /> Evidence, obtained from twenty more novelists,<br /> was also tabulated and discussed.<br /> The chairman had already considered this<br /> evidence and drawn up a draft report, which he<br /> proceeded to read to the sub-committee. The<br /> sub-committee gave this report careful considera-<br /> tion, and, with certain additions and emendations,<br /> passed it. It will be laid before the Committee of<br /> Management in its final shape.<br /> The sub-committee desired to express their<br /> indebtedness to the authors, publishers and book-<br /> sellers who have given them such valuable assist-<br /> ance in their deliberations.<br /> The proceedings were finally closed by a<br /> unanimous vote of thanks to the chairman.<br /> <br /> <br /> ## p. (#575) ################################################<br /> <br /> TFIES A CITFIOR.<br /> 185<br /> Cases.<br /> DURING the past month eleven cases have been<br /> placed in the hands of the secretary. Six referred<br /> to applications for money due from editors and<br /> publishers for articles unpaid for or accounts<br /> unsettled. In one case the money has been<br /> recovered and forwarded to the author. In the<br /> remaining five no settlement has, at present, been<br /> arrived at. If the editors in question neglect to<br /> attend to the secretary&#039;s demands the matters will<br /> be placed in the hands of the society’s solicitors.<br /> One case, referring to the transfer of contracts<br /> between a publisher and an author, has arisen,<br /> and will require considerable negotiation. The<br /> action is necessarily slow, but is being carried<br /> forward satisfactorily. Two claims were made for<br /> the return of MSS. One has been settled ; the<br /> other has only just come into the office. Of the<br /> last two cases one is a claim for accounts and<br /> money, and one for accounts only. As the claim<br /> for accounts and money is against an American<br /> firm, some time must elapse before an answer is<br /> received. The question of accounts is only just to<br /> hand. .<br /> The cases open from former months are slowly<br /> closing. Some have had to be handed to the<br /> solicitors of the society, and some have been<br /> settled. There are still three or four cases dealing<br /> with the settlement of accounts, and one case in<br /> America. It is hoped that these will be closed<br /> before the next issue of The Author.<br /> —º-º-º-<br /> March Elections. -<br /> Bampfylde - Fuller, Sir c/o London County<br /> Joseph t and Westminster<br /> Bank, St. James&#039;s<br /> - Street, S.W.<br /> Barzini, Luigi ſº . 31, Corso Magenta,<br /> - Milano, Italy.<br /> Bastin, S. Leonard . . Morningside, Lynd-<br /> . hurst, Hampshire.<br /> 167, Gleneldon Road,<br /> Streatham, S.W.<br /> Weston Favel Grange,<br /> near Northampton.<br /> Langle y Vicarage,<br /> Middle G ree n,<br /> Slough.<br /> 26, Per h a m Road,<br /> West Kensington, W.<br /> Bullock, Shan F. . ©<br /> Cove, Herbert John ſº<br /> Eckersley, Rev. James .<br /> Farquhar, John Maurice.<br /> Rinross, Charles . . Hornsea, East Yorks.<br /> Lloyd, John . i. . 15, Chepstow Place, W.<br /> “Magenta” . Ǻ . 123, New Bond Street,<br /> W.<br /> Savage Club, Adelphi<br /> Moore, Frederick . º<br /> Terrace, W.C.<br /> Painter, C. Beresford<br /> Oliver, Cecil Wentworth<br /> Langford (“Wentworth<br /> Oliver”)<br /> 82, Leghorn Road,<br /> Harlesden, London,<br /> N.W. . . . .<br /> 26, Wenner Road,<br /> Sydenham, S.E.<br /> 52, Stanford Road,<br /> Kensington, W.<br /> 20, Gordon Road,<br /> Chiswick, W.<br /> Tivington Knowle,<br /> Minehead.<br /> Main Street, Frods-<br /> ham, Cheshire.<br /> (“Leslie Beresford ”).<br /> Short, Ernest H. . •<br /> Spurrier, Steven . e<br /> Taylor, Mrs. Frank •<br /> Yould, Arthur . tº<br /> —e—Q–e—<br /> Books PUBLISHED BY MEMBERs of<br /> THE SOCIETY. -<br /> —6–0-0–<br /> ‘by the members.<br /> other papers.<br /> INSECT Wond ERLAND. By ConstancE M. Foot<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> &#039;some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the Cffice<br /> In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> It is hoped, however, that members will<br /> co-operate in the compiling of this list and, by sending<br /> ‘particulars of their works, help to make it substantially<br /> accurate. -<br /> ARCHITECTURE.<br /> THE MANOR Houses of ENGLAND. By P. H. DITCH-<br /> FIELD, F.S.A.. Illustrated by S. R. Jon ES. 104 × 63.<br /> 211 pp. Batsford. 78. 6d. n.<br /> ART.<br /> PEWTER PLATE. An Historical and Descriptive Hands<br /> - book. By H. J. L. MASSÉ. Second Edition, revised.<br /> 11 x 7#. 331 pp. Bell. 30s. n. •<br /> BIOGRAPHY.<br /> THE LIFE OF W. J. Fox, PUBLIC TEACHER AND SOCIAL<br /> REFORMER, 1786–1864. By the late RICHARD GAR-<br /> NETT, C.B. Concluded by E. GARNETT. 9 × 53.<br /> 339 pp. Lane. 168. n.<br /> THE LIFE AND TIMES OF HILDEBRAND,<br /> GREGORY VII. By THE RIGHT REv.<br /> HARRIS MATHEW, D.D. 8; × 7.<br /> Griffiths. 12s. 6d. n.<br /> THE DIARY OF JOHN BURCHARD OF STRASBURG, BISHOP<br /> OF ORTA AND CIVITA CASTELLANA, A.D., 1483–1506.<br /> Translated from the Latin text. Published in Paris,<br /> with Notes and Appendices. By THE RIGHT REv.<br /> ARNOLD HARRIS MATFIEW, D. D. Wol. I. A.D., 1483–<br /> 1492. 104 × 6%. 431 pp. F. Griffiths. 21s. n.<br /> GEORGE SAND. SOME ASPECTS OF FIER LIFE AND<br /> WRITINGs. BY RENE, Doum IC. Translated by ALYS<br /> HALLARD. 9 × 53. 309 pp. Chapman &amp; Hall. 10s. 6d. n.<br /> PIANO AND I. FURTHER REMINISCENCES. By GEORGE<br /> GROSSMITH. 7} x 43. 200 pp. Arrowsmith. 18. n.<br /> BOOKS FOR THE YOUNG.<br /> POPE<br /> ARNOLD<br /> 308 pp. F.<br /> 7&#039; x 5,<br /> 196 pp. Methuen. 3s. 6d, n. *.<br /> <br /> <br /> ## p. (#576) ################################################<br /> <br /> 186<br /> TISIES A [CITISIOR.<br /> CLASSICAL. t<br /> THE IPHIGENIA IN TAURIS OF EURIPIDES. Translated<br /> into English Rhyming Verse, with Explanatory Notes,<br /> by GILBERT MURRAY, LL.D., D.Litt., Regius Professor<br /> of Greek in the University of Oxford. 7} x 5. 105 pp.<br /> Allen. 2s. n.<br /> DRAMA.<br /> JUSTICE. A Tragedy in Four Acts.<br /> 7 × 53.<br /> By J. GALsworth Y.<br /> 111 pp. Duckworth. 2s. n.<br /> ECONOMICS.<br /> THE COMMON SENSE OF POLITICAL ECONOMY. INCLUD-<br /> ING A. STUDY OF THE HUMAN BASIS OF ECONOMIC<br /> LAw. By P. H. WICKSTEED. 93 x 6. 762 pp. Mac-<br /> millan. 14s. n.<br /> EDUCATIONAL.<br /> GRAMMAR OF THE GOTHIC LANGUAGE AND THE<br /> GOSPEL OF ST. MARK. Selections from the other<br /> Gospels and the Second Epistle to Timothy, with Notes<br /> and Glossary. By J. WRIGHT, Ph.D., D.C.L., Professor<br /> of Comparative Philology in the University of Oxford.<br /> 73 × 53. 366 pp. Oxford: Clarendon Press. London :<br /> Frowde. 5s. n.<br /> FICTION.<br /> SERVICE. By CoNSTANCE SMEDLEY (MRS, MAXWELL<br /> ARMFIELD). 7% x 5. 346 pp. Chatto &amp; Windus. 6s.<br /> EVE IN EARNEST. By JOHN BARNETT. 7# x 5. 307 pp.<br /> Smith. Elder. 6s.<br /> THE LANTERN of LUCK. By ROBERT AITKEN. 7# × 5.<br /> 341 pp. Murray. 6s.<br /> LoVE IN LILACLAND. By C. GUISE MITFORD. 7# x 5.<br /> 318 pp. John Long. 63.<br /> A PERFECT PASSION. By MRS. STANLEY WRENCH.<br /> 73 x 5. 330 pp. John Long, 68.<br /> THE ISLAND PROVIDENCE. By FREDERICK NIVEN.<br /> 73 x 5. 310 pp. Lane. 6s,<br /> LORD LOVELAND DISCOVERS AMERICA. By C. N. and<br /> A. M. WILLIAMSON. 7# × 5. 376 pp. Methuen. 6s.<br /> THE MYSTERY OF THE GREEN HEART. By MAX PEM-<br /> BERTON. 73 x 5. 446 pp. Methuen. 68.<br /> THE EXILES OF FALOo. By BARRY PAIN. 7# × 5.<br /> 316 pp. Methuen. 6s.<br /> THE GREATEST WISH IN THE WORLD. By E. TEMPLE<br /> THURSTON. 7# × 5. 392 pp. Chapman &amp; Hall. 68.<br /> FoES OF JUSTICE. By HEADON HILL. 73 × 53. 319 pp.<br /> Ward, Lock. 68.<br /> THE SILENT BARRIER. By LOUIS TRACY. 73 × 5.<br /> 320 pp. Ward, Lock. 6s.<br /> THE ROMANCE of MDLLE. ATSSÉ. By Mrs. CAMPBELL<br /> PRAED. 74 × 5. 414 pp. John Long. 68.<br /> DEVIOUS WAYs. By GILBERT CANNAN. 73 x 5. 312 pp.<br /> Heinemann. 68.<br /> A STEPSON OF THE SOIL. By MARY J. H. SKRINE.<br /> 73 × 5+. 315 pp. Arnold. 68.<br /> THE ROMANCE OF OLGA AVELING. By OLIVIA<br /> RAMSEY. 73 × 5. 357 pp. John Long. 6s.<br /> KAMI-NO-MICHI : THE WAY OF THE GODS IN JAPAN.<br /> By HoPE HUNTLY. 73 × 5. 338 pp. Rebman. 68.<br /> THE FATED FIVE. By GERALD BISS. 73 × 5. 320 pp.<br /> Greening. 63.<br /> JoHN CHILCOTE, M.P. By KATHARINE CECIL THURSTON.<br /> 73 × 5. 370 pp. Blackwood. 18, n.<br /> THE STOOPING LADY. By MAURICE HEWLETT. 253 pp.<br /> Macmillan. 7d.<br /> EAST LONDON VISIONS.<br /> 305 pp. Longmans, 68.<br /> THE BALL AND THE CROSS. By G. K.<br /> 74 × 53. 403 pp. Wells, Gardner. 68,<br /> FRANKLIN KANE. By ANNE DOUGLAS SEDGWICK<br /> ° (MRS. BASIL, DE SéLINCOURT). 7% x 5. 346 pp.<br /> Arnold. 68.<br /> By O&#039;DERMID W. LAWLER.<br /> CHESTERTON.<br /> A HISTORY OF BIRDS.<br /> I WILL MAINTAIN.<br /> Methuen. 6s.<br /> AN INTERRUPTED FRIENDSHIP. By E. L. VoxNICH.<br /> 7} x 5. 336 pp. Hutchinson. 6s.<br /> CALIGo JACK. By H. W. C. NEwTE. 7; x 5.<br /> Mills &amp; Boon. 68.<br /> A LADY OF FRANCE. By B. SYMONs.<br /> Stanley Paul. 6s.<br /> AN AVERTED MARRIAGE, AND OTHER StorTEs. By<br /> PERCY WHITE. 7# x 5, 318 pp. Mills &amp; Boon. 63.<br /> TUMULT. A Wessex Love Story. By WILKINSON<br /> SHERREN. 73 x 5. 320 pp. Stanley Paul. 6s.<br /> MAURIN THE ILLUSTRIOUS.&#039; A Translation from the<br /> French of Jean Aicard. By A. ALLINsoN. 7# x 5.<br /> 436 pp. Lane. 6s. *<br /> THE TREE OF BITTER FRUIT. By CULLEN GOULDS-<br /> BURY. 7# x 5. 336 pp. Eveleigh Nash. 6s.<br /> THE BOUNTY OF THE GODs. By LADY HELEN FORBEs.<br /> 73 × 5. 340 pp. Duckworth. 6s.<br /> IN A TURKISH GARDEN. By ANN BAxTER Gwyn.<br /> Greening &amp; Co. 6s.<br /> GARDENING.<br /> GARDENING MADE EASY. By E.T. Cook. “The Country<br /> Life” Library. 8 × 53. 202 pp. Newnes. 1s. n.<br /> BY MARJORIE BowFN. 532 pp.<br /> 373 pp.<br /> 7# × 5. 324 pp.<br /> LITERARY.<br /> LANDMARKS IN RUSSIAN LITERATURE. By MAURICE<br /> BARING. 73 x 5. 299 pp. Methuen. 6s.<br /> DREAMs MADE VERITY. By MRS. DE CourCY LAFFAN.<br /> 73 × 53. 183 pp. Elkin Mathews. 3s.6d.<br /> ART AND LIFE. By T. STURGE MOORE. 73 x 5. 314 pp.<br /> Methuen. 5s.<br /> MUSIC.<br /> MOTOR HUMS. Four Music Pianoforte Pieces. Illustrated<br /> by the author. By DR. ELLIOT-BLAKE (Composer<br /> of “He’s An Absent Minded Beggar&quot;—Original Version).<br /> Weekes &amp; Co. 2s. 6d.<br /> “WILLON.” Symphonic Poem No. 6, full score. By<br /> WILLIAM WALLACE. Schott. 10s. 6d. n.<br /> WILLON&#039;S PRAYER TO NOSTRE-DAME. From the above,<br /> with words by the composer, WILLIAM WALLACE.<br /> Schott. 2s. n.<br /> NATURAL HISTORY.<br /> OUR BRITISH TREES AND How TO KNOW THEM. By<br /> F. G. HEATH. Third Edition, revised. 6; × 4}.<br /> 491 pp. Hutchinson. 5s. n.<br /> By W. P. PYCRAFT. With an<br /> Introduction by SIR. RAY LANKESTER, K.C.B. 83 × 53.<br /> 458 pp. Methuen. 10s. 6d. n.<br /> KEARTON&#039;s NATURE PICTURES. Part I. With descrip-<br /> tive Text. By R. KEART.on, F.7.S. To be completed<br /> in 24 fortnightly parts. 124 x 9}. Cassell. 13, n.<br /> PAMPHILETS.<br /> THE TRUTH ABOUT WIVISECTION. No. W.-FIGHTING THE<br /> INVISIBLE, By Eva RICHMOND. 8 pp. Research<br /> Defence Society, 70, Harley Street, W.<br /> REPRINTS.<br /> EARLY ENGLISH PRover Bs. Chiefly of the Thirteenth<br /> and Fourteenth Centuries. Collected by the REV.<br /> WALTER W. SKEAT. Elrington and Bosworth<br /> Professor of Anglo-Saxon, and Fellow of Christ&#039;s College,<br /> Cambridge. 7 x 43. 147, pp., Oxford : Clarendom<br /> Press. London : Frowde. 8s. 6d. n.<br /> THE LORD FROM HEAVEN. Chapters on the Deity of<br /> Christ. By SIR. RoRERT ANDERSON K.G.B., LL.D.<br /> With a Prefatory Note by HANDLEY C. G. MOULE, D.D.<br /> 8; x 5%. 134 pp. Nisbet. 38. 6d.<br /> <br /> <br /> ## p. (#577) ################################################<br /> <br /> THE AUTHOR.<br /> 187<br /> THE WAY OF WICTORY. Meditations for Lent, Passiontide<br /> and Easter. By JEAN RoRERTs. With an Introduction<br /> by ABBOT of CALDEY. 63 × 4%. 39 pp. Allenson.<br /> 18. In.<br /> SCIENCE. &#039;<br /> THE MUTATION THEORY. Experiments and Observations<br /> on the Origin of Species in the Vegetable Kingdom.<br /> By Hugo DE WRIES, Professor of Botany at Amsterdam.<br /> Translated by PROFESSOR: J. B. FARMER and A. D.<br /> DARBISHIRE, Vol. I. — The Origin of Species by<br /> Mutation. 93 x 6. 582 pp. Kegan Paul. 188. m.<br /> SOCIOLOGY.<br /> SoCIALISM AND SUPERIOR BRAINS. A Reply to Mr.<br /> Mallock. By BERNARD SHAW. , 7} X 5. , 59 pp.<br /> (The Fabian Socialist Series, No. 8.) Fifield. 6d. n.<br /> SPORT.<br /> INTERNATIONAL SPORT. A Short History of the Olympic<br /> Movement from 1896 to the Present Day, containing the<br /> account of a visit to Athens in 1906 and of the Olympic<br /> Games of 1908 in London, together with the Code of<br /> Rules for twenty different forms of sport and numerous<br /> illustrations. By T. A. COOK. 7% × 5. 251 + 181 pp.<br /> Constable. 3s. 6d.<br /> THE POCKET LAWS OF POKER. With Hints to Beginners.<br /> By R. F. FosTER. 33 × 23. 28 pp. De la Rue. 6d.<br /> ScouTING GAMEs. By LIEUT. - GENERAL R. S. S.<br /> BADEN-Powel L. 7# × 5. 144 pp. Pearson. IS. Im.<br /> THEOLOGY.<br /> PROBLEMS OF HOPE AND LOVE. Four Addresses to<br /> Women. By John HUNTLEY SKRINE (Vicar of St.<br /> Peter&#039;s in the East, Oxford). 6; x 4%. 82 pp. Mow-<br /> bray. 18. 6d. n.<br /> TOPOGRAPHY.<br /> MOTOR TOURS IN THE WEST COUNTRY.<br /> RODOLPH STOWELL. 73 × 5}.<br /> STOUGHTON, 6s. n.<br /> TRAVEL.<br /> THROUGH AFRO-AMERICA. An English Reading of the<br /> Race Problem. By WILLIAMARCHER. 9 × 53. 295 pp.<br /> Chapman &amp; Hall. 10s. 6d. n.<br /> By MRs.<br /> 228 pp. Hodder &amp;<br /> * —º----a<br /> w-u--w<br /> Books PUBLISHED IN AMERICA BY<br /> MEMBERS.<br /> —º-º-º-<br /> BIOGRAPHY.<br /> STORIES FROM THE OPERAs : With Short Biographies of<br /> the Composers, By GLADYS DAVIDSON. Philadelphia,<br /> Lippincott. $1.25 m.<br /> FICTION.<br /> CAB No. 44. By R. F. FOSTER. New York: Frederick<br /> A. Stokes Co. $1.25.<br /> THE STRONGER CLAIM. By ALICE R. PERRIN (MRs. C.<br /> PERRIN). New York: Duffield &amp; Co. $1.50.<br /> THE ForTUNE HUNTER. By L. J. WANCE.<br /> Dodd, Mead &amp; Co. $1.50.<br /> MUSIC.<br /> MOTOR HUMs. Four Pianaforte Pieces: Illustrated by the<br /> author. By DR. ELLIOT-BLAKE (Composer of “He’s an<br /> Absent Minded Beggar’’—Original Version). Clayton F.<br /> Summy Co.<br /> New York :<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> —º-º-º-<br /> PRIMER of English for foreign students, by<br /> Wilfred C. Thor.ey, has just been published<br /> by Messrs. Macmillan &amp; Co. It is intended<br /> to serve at once as an outline for teachers and a<br /> synopsis for learners cſ lessons in English given<br /> by the direct method, and is based on the author&#039;s<br /> experience abroad in teaching pupils of nearly<br /> every European nationality. The book is practical<br /> rather than literary, but the author has endeavoured<br /> to avoid an exclusively business or technical<br /> phraseology in favour of colloquial English.<br /> “The Truth about Vivisection,” published by<br /> the Research Defence Society, is an account of a visit<br /> made by Miss Eva Richmond to the Lister Institute<br /> of Preventive Medicine. Miss Richmond describes<br /> in her pamphlet some of the experiments made in<br /> the laboratories of the institute for the detection<br /> of the microbes of disease.<br /> “Tumult” is the title of a Wessex love story by<br /> Mr. Wilkinson Sherren, which Messrs. Stanley<br /> Paul &amp; Co. have recently published.<br /> The annual general meeting of the Royal<br /> Iliterary Fund was held on March 9, Sir<br /> Alfred Bateman in the chair. In moving the<br /> adoption of the report, Sir Alfred stated that<br /> during the past year the sum of £3,165 was spent<br /> in the relief of forty-five applicants, being £335<br /> more than was granted in 1908, while the number<br /> of applicants assisted was twelve in excess of the<br /> preceding year. The claims on the Fund were<br /> very heavy owing, no doubt, to the fact that more<br /> people were engaged in literature than at any<br /> previous period, while the remuneration for the<br /> rank and file was lower than ever. The chairman<br /> was pleased to announce that Mr. Anthony Hope<br /> Hawkins had promised to preside at the annual<br /> dinner of the Fund to be held at the Hotel Metropole<br /> on May 5.<br /> Mr. Edward Arnold has in the press, for early<br /> publication, “Les Français d’Aujourd’hui,” by<br /> Jetta S. Wolff, author of “Les Français em.<br /> Ménage,” and “Les Français en Voyage.” -<br /> For the same writer Messrs. J. M. Dent &amp; Co.<br /> will publish shortly “Pour la Patrie et d’Autres<br /> Contes.”<br /> Messrs. Greening &amp; Co. are the publishers of a<br /> novel by Anne Baxter Gwyn (Mrs. Maud Edmonds)<br /> entitled, “In a Turkish Garden.” It is an English<br /> romance with an Eastern setting, dealing with the<br /> struggle in Macedonia and the ever-present Easterm<br /> problem.<br /> We have received the analytical programme<br /> of Mr. Joseph Holbrooke&#039;s orchestral concert,<br /> given at the Queen&#039;s Hall on February 11.<br /> <br /> <br /> ## p. (#578) ################################################<br /> <br /> 188<br /> TISIES A ºf THOR.<br /> Among other items included were a prelude<br /> entitled “The Bells,” composed by Mr. Holbrooke<br /> and conducted by him, and a symphony, “Les<br /> Hommages,” by the same composer, conducted by<br /> Mr. Landon Ronald. Mr. Holbrooke&#039;s three<br /> new songs, entitled respectively, “A Requital,”<br /> “Killary,” and “An Outsong,” had, unfortu-<br /> nately, to be omitted, owing to the indisposition<br /> of Miss Edith Evans, who was to have delivered<br /> them. -<br /> Mr. John Long&#039;s new publications include novels<br /> by Mrs. Campbell Praed, Olivia Ramsay, Mr. C.<br /> Guise Mitford, and Mrs. Stanley Wrench. “The<br /> Romance of Mademoiselle Aissé,” is the title of<br /> Mrs. Campbell Praed&#039;s book; Olivia Ramsay&#039;s is<br /> called “The Romance of Olga Aveling ”; and<br /> “Love in Lilacland ” is the title of Mr. Mitford&#039;s<br /> novel. Mrs. Wrench&#039;s story is called “A Perfect<br /> Passion.” -<br /> We have received from the Clarendon Press<br /> “Early English Proverbs,” collected by the Rev.<br /> Walter Skeat. In a preface to the collection Prof.<br /> Skeat states that he has endeavoured to gather<br /> together such Middle-English proverbs as have<br /> attracted his attention. While it is not claimed<br /> that the collection is exhaustive, it is submitted<br /> that it gives a fair idea of the use of proverbs<br /> in the thirteenth and fourteenth centuries. No<br /> example has been admitted that is later than the<br /> year 1400. An index of the proverbs, each under<br /> its leading word, or (in some cases) two leading<br /> words, with cross-references, appears at the end of<br /> the book. - -<br /> Mr. John Long will issue Mr. Harry Tighe&#039;s<br /> new novel, “The Model in Green,” in April. It is<br /> a story of love and passion, touching the rim of<br /> the artistic life in Pars and Holland. It mainly<br /> centres round the model and the painter she loves.<br /> The story ends in a tragedy in the Engadine—<br /> after a series of scenes at Wollendam and Edam—<br /> the artist’s paradise on the Zuyder Zee—painted<br /> first hand by the author. • * -<br /> The Churchman’s Pulpit, being sermons and<br /> addresses for the Sundays, Festival and Holy Days<br /> of the Christian Year, is a new work (edited by the<br /> Rev. J. Henry Burn, B.D., F.R.S.E.) which will<br /> be published in weekly parts, for the use of clergy-<br /> men in their equipment for the pulpit. It com-<br /> prises a vast collection of specially selected and,<br /> in many cases, specially written original sermons<br /> suitable not only for every Sunday in the Christian<br /> year and for all the Holy Days in the Anglican<br /> Kalendar, but also for every mood and every<br /> occasion. Mr. Francis Griffiths is the publisher.<br /> Weekly parts are published at 1s. 6d. net ; double<br /> parts at 3s. 6d. net ; and special parts at<br /> 58. net.<br /> The current number of the Empire Review<br /> contains an article by Mr. C. O. Burge on “The<br /> Transcontinental Railway of Australia.” -<br /> K. I. Montgomery&#039;s new novel is at present being<br /> serialised in the Sunday Chronicle, under the<br /> title “A Rioter of the Roads.” The plot deals with<br /> the Rebekah riots in South Wales of 1843, which<br /> ultimately led to a Government Commission, and<br /> the universal disuse of the toll system throughout<br /> Great Britain. Messrs. A. C. McClurg, of Chicago,<br /> have recently arranged to publish an American<br /> edition of K. L. Montgomery&#039;s Venetian book,<br /> “The Cardinal’s Pawn.” : . .<br /> Lady Helen Forbes&#039; new novel, “The Bounty of<br /> the Gods,” a study in points of view, has just<br /> been published by Messrs. Duckworth &amp; Co. .<br /> Messrs Rebman announce the publication of<br /> “Kami-No-Michi: the Way of the Gods in<br /> Japan,” by Hope Huntley. The desire of the<br /> author is to guide her readers along the “Way of<br /> the Gods,” tracing the path in threefold aspect—<br /> ethical, philosophical, and romantic. The story<br /> trends towards a sensational crisis in order to<br /> emphasise life portraits known to the author while<br /> resident in the country. . . . - • ;<br /> Miss Constance Foot has published, through<br /> Messrs. Methuen &amp; Co., a volume entitled “Insect<br /> Wonderland,” with thirty-eight illustrations by<br /> W. Q. Allan. The purpose of the author in writing<br /> this book is to convey some simple facts concerning<br /> the insect world in a form both interesting and<br /> instructive to the youthful readers for whom it is<br /> intended. One or more specimens have been<br /> chosen from each of the seven great natural<br /> orders, according to the Linnean system of divi-<br /> sion. The insects tell their own tales, in ten<br /> chapters, entitled “Butterfly Green,” “Grasshopper<br /> Lane,” “Beehive Palace,” and so on. The pub-<br /> lished price of the book is 38. 6d. net.<br /> In “Art and Life,” by T. Sturge Moore, the<br /> vital import of aesthetics is illustrated from the<br /> precepts of Gustave Flaubert and William Blake.<br /> The harmony of art with personal and social morals<br /> is foreseen, not where Taine and Brunetière looked<br /> for it, in the selection of beneficent themes, nor<br /> yet where the mystic pursues it, through obedience<br /> to esoteric tuition, but in a development of con-<br /> science in regard to taste parallel to that of the<br /> religious life. Messrs. Methuen &amp; Co. are the<br /> publishers. . - * ,<br /> One of the chief events of the month, in<br /> dramatic circles, has been the opening of the<br /> Repertory Theatre in St. Martin&#039;s Lane. ... Mr.<br /> John Galsworthy, Mr. J. M. Barrie, Mr. G. Bernard<br /> Shaw, and Mr. H. Granville Barker have each<br /> been represented, as also has the late President of<br /> the Society, Mr. George Meredith. * .<br /> “Justice,” Mr. Galsworthy&#039;s play, is con-<br /> cerned with the prison system, and has for its<br /> <br /> <br /> ## p. (#579) ################################################<br /> <br /> TFIES A UTFIOR.<br /> 189<br /> theme the servitude of a clerk (imprisoned for<br /> forgery) and his subsequent degradation following<br /> upon his release. Mr. Denis Eadie, Mr. Sydney.<br /> Valentine, and Miss Edyth Olive are in the cast.<br /> Mr. J. M. Barrie is represented by two one-act<br /> plays—one, “The Twelve Pound Look,” referring<br /> to the return of a divorced wife to her husband as<br /> a typist ; the second, “Old Friends,” narrating<br /> how a reformed drunkard&#039;s daughter became<br /> afflicted with the vice of which her father had<br /> become cured. The cast included Miss Lena<br /> Ashwell, Mr. Sydney Walentine, and Miss Dorothy<br /> Minto. - -<br /> In Mr. George Meredith&#039;s comedy, “The Senti-<br /> mentalists,” were Miss Fay Davis, Miss Mary<br /> Jerrold, and Mr. Charles Maude.<br /> “Misalliance,” by Mr. Bernard Shaw, is described<br /> as a debate in one sitting. Mr. Frederick Lloyd,<br /> Miss Miriam Lewes, Miss Florence Haydon, Miss<br /> Lena Ashwell, and Mr. C. M. Lowne were among<br /> those who took part in the discussion. -<br /> Mr. H. Granville Barker’s “The Madras House’’<br /> is a comedy in four acts. It is interpreted by a<br /> cast which includes Miss Florence Haydon, Mr.<br /> Dennis Eadie, Miss Fay Davis, and Mr. Sydney<br /> Walentine. -<br /> - - —e—º-e—<br /> PARIS NOTES.<br /> - |<br /> “Tº A Duchesse de Duras et Chateaubriand,”<br /> by G. Pailhès, is a very detailed account<br /> of the intercourse between René and his<br /> chère scºur, as he always called this friend. We<br /> have the story of the Duchesse de Duras from her<br /> birth to her death. She was the daughter of the<br /> Comte de Kersaint, and was born in 1777. Her<br /> father was one of the victims of the Revolution, and<br /> she and her mother went to America and after-<br /> wards to Switzerland and London. It was in<br /> England that she met the Duc de Duras. After<br /> her marriage, and the birth of two little daughters,<br /> she went to Lausanne, where she made the<br /> acquaintance of Rosalie de Constant. A twenty-<br /> years&#039; friendship was the result of this. Her<br /> letters to Mlle. de Constant and Rosalie&#039;s replies<br /> to them are extremely interesting. We have an<br /> account of her first meeting with Chateaubriand,<br /> and from this time forth (1809) his name is<br /> constantly in her letters to Rosalie. All these<br /> letters give an excellent idea of her life at that<br /> time. .<br /> The second part of the volume is chiefly com-<br /> posed of letters from Chateaubriand and the letters<br /> of Madame de Duras to her various friends.<br /> When Chateaubriand becomes interested in<br /> Madame Récamier, Madame del)uras is unhappy and<br /> jealous, and finally Madame Récamier also becomes<br /> jealous and unhappy. Chateaubriand’s sentiments<br /> for the two women are analysed. He is appointed<br /> Ambassador to London. The letters from Madame<br /> de Duras to Rosalie de Constant at this epoch<br /> touch on all the topics of the day. -<br /> The fourth part of the book is devoted to the<br /> time when Chateaubriand was Minister.<br /> Later on we have an account of the novels and<br /> also of the Salon and friends of Madame de Duras.<br /> The final chapters are devoted to details relating<br /> to the last years of her life. There are letters, too,<br /> from Chateaubriand, and, finally, a charming one for<br /> the new year, which was to be her last one. He<br /> is tired of politics, and promises her that they will<br /> take up literature and art once more. “You shall<br /> wield your sceptre again,” he says, “and I will<br /> spend the last years of my life in your company.”<br /> A month later Madame de Duras died. On<br /> closing the book the first words of the volume<br /> come back to one&#039;s mind : “We know people<br /> almost better by the sentiments they inspire than<br /> by themselves.” They were the words of Madame<br /> de Duras, and they certainly applied to Chateau-<br /> briand.<br /> The following is a list of recent French books,<br /> Some of which we will treat more fully in a later<br /> article :- - .<br /> “Impressions d’Afrique,” by Raymond Roussel.<br /> “Laide,” by Madame Adam. “Charlotte Corday,”<br /> by Henri d&#039;Alméras. “L’Armée Anglaise dans un<br /> conflit européen,” by Général H. Larglois. “Le<br /> Droit de l’Uganda,” by Henri Rolin, with a pre-<br /> face by M. Joseph Chailley. “L’Inde britan-<br /> nique,” by Joseph Chailley.<br /> “I’Education ” is the title of a new international<br /> review to be published quarterly in French. The<br /> first number contains, among other articles, one by<br /> M. Dugas on “Character and Habit”; another, by<br /> Dr. Badley, of the famous Bedales school of Peters-<br /> field, on “The New Movement in Education”; others<br /> by M. Riotor on “AEsthetical Education in the<br /> Belgian Schools,” and by Madame Bertinot, on<br /> French Kindergartens. There are criticisms of<br /> new books on education, and a summary of review<br /> articles. Altogether the new venture seems to aim<br /> at being as complete as possible, by attempting to<br /> draw what is good from all sources and all<br /> countries. -<br /> The Société des Gens de Lettres gave a dinner<br /> last month in honour of Belgian literature, as<br /> represented by MM. Camille Lemonnier, Emile<br /> Werhaeren, Maurice Maeterlinck, Maurice Will-<br /> motte, E. Gilbert, Dumont-Wilden, Edmond<br /> Picard and Octave Mans, novelists, poets,<br /> dramatic authors, and critics. The dinner was<br /> presided over by the Belgian Minister in Paris.<br /> <br /> <br /> ## p. (#580) ################################################<br /> <br /> 190<br /> TISIES A CITISIOR,<br /> An interesting study has been found among<br /> Brunetière&#039;s papers on the “Youth of Voltaire.”<br /> It will be brought out shortly in the Revue des Deua.<br /> Mondes. -<br /> There is a question at present of Holland joining<br /> the Berne Convention, like all civilised nations.<br /> A movement, too, is announced in Turkey which<br /> has for object the adhesion of that country to<br /> the Berne Convention.<br /> In the Revue de Paris, Johan Bojer has just<br /> published his new novel, “Sous le Ciel Vide&quot;; M.<br /> Photiadès a series of articles on George Meredith.<br /> In recent numbers of La Revue Hebdomadaire<br /> are articles by Paul Bourget “Autour de la Barri-<br /> cade ’’; by Jules Lemaitre on “Fénelon&quot;; by the<br /> Marquis de Ségur on “Louise Colet”; by M. Frantz<br /> Funck-Brentano on “La Bastille sous la Régence,”<br /> and by André Beaunier on “Madame de Beaumont.”<br /> “Chantecler” continues to be one of the curiosi-<br /> ties of the theatrical season. Opinions are very<br /> much divided as to its being more than a “success<br /> of curiosity.” Time alone will prove whether it is<br /> a play to live or to vanish for ever when it dis-<br /> appears from the bills.<br /> ALYS HALLARD.<br /> “La Duchesse de Duras et Chateaubriand’’ (Perrin).<br /> “Impressions d’Afrique &quot; (A. Lemerre).<br /> “Charlotte Corday” (Les Annales politiques et littéraires).<br /> “L’Armée Anglaise dans un conflit européen &quot; (Berger<br /> Levrault),<br /> “Le Droit de l’Uganda &quot; (Challemel).<br /> “L’Inde britannique &quot; (Armand Colin).<br /> —e—º-e—<br /> THE EDITORIAL ATTITUDE.<br /> —º-º-º-<br /> BY A CONTRIBUTOR.<br /> T is quite refreshing to read an article like the<br /> one entitled “Magazine Editors” in the<br /> March Author. For the editor of a magazine<br /> to admit that a contributor has any rights at all is<br /> a state of affairs that is as novel as it is pleasing.<br /> Of course there are exceptions; but they are very<br /> few, and in the great majority of instances the<br /> contributor who looks to an editor for either<br /> courtesy, common honesty, or even ordinary<br /> business-like treatment might as well spend his<br /> time looking for the philosopher&#039;s stone. Why on<br /> earth should editors not be courteous, honest, and<br /> business-like 2 The possession and exercise of<br /> these qualities is not necessarily a bar to the<br /> successful conduct of a magazine. At any rate, I<br /> cannot see that it is. With regard to the lack of<br /> courtesy prevailing among editors as a class, every<br /> author could give examples by the dozen from his<br /> own experience. The usual form it takes is to<br /> decline to enter into any correspondence whatever<br /> respecting a contribution. It is the rarest thing<br /> imaginable for the author of an article that does<br /> not happen to be specially commissioned to get a<br /> written assurance from the editor that it has ever<br /> arrived. He does not hear a word about it. For<br /> all he knows it may have been lost in the post.<br /> My own opinion is that editors adopt this attitude<br /> of silence in order to permit them to disclaim any<br /> responsibility for losing a manuscript. /<br /> No doubt contributors are often trying, but<br /> editors as a class are infinitely more so. One<br /> would think that, considering how dependent they<br /> are upon those who write for their periodicals, they<br /> would at least make an effort to treat them with<br /> ordinary civility. Nothing, however, in too many<br /> cases, seems further from their views. Manu-<br /> scripts—frequently of a highly topical nature—are<br /> kept for months, and then returned with the<br /> caustic comment “scarcely up to date,” or else not<br /> returned at all. Sometimes, too, they are returned<br /> with the pages so soiled and dog-eared, and bearing<br /> such evident signs of having been examined during<br /> an interval of spirituous refreshment on the part<br /> of the reader, that it is necessary to re-type them.<br /> Still more indefensible, however, is the practice<br /> that obtains in editorial offices of actually having a<br /> topical article set up in proof and then—when,<br /> Owing to the carelessness of the staff, it has not<br /> been used—returning it to the writer. If the un-<br /> fortunate contributor complains, he is told that the<br /> exigencies of the paper have rendered this course<br /> necessary. In several big offices, too, a manuscript<br /> is never examined at all until it has first been<br /> indelibly marked with a blue pencil, while the<br /> backs of photographs and sketches are also<br /> submitted to the same disfiguring process.<br /> “There is no lottery so uncertain as that of an<br /> editor&#039;s choice and decision,” observes the writer<br /> of the article to which reference has just been made.<br /> Every contributor will corroborate this. It is quite<br /> a common experience to submit an item and have<br /> it returned ; and then, on forwarding it again a<br /> few months afterwards, to have it accepted. What<br /> is the explanation ? The natural one is that on<br /> the first occasion the proffered contribution was<br /> not read, or perhaps it arrived simultaneously with<br /> a demand for income tax, whereas the next time it<br /> made its appearance the editor happened to be in a<br /> more amiable mood. I have heard of one<br /> unattached journalist who always posts his work<br /> so as to arrive immediately after luncheon, and<br /> declares that the practice is justified by results.<br /> It may be worth trying ; still, I do not believe in<br /> it myself overmuch. The principal reason, it<br /> seems to me, why the work of the ordinary free-<br /> <br /> <br /> ## p. (#581) ################################################<br /> <br /> THE AUTHOR.<br /> 191<br /> lance is accorded so little consideration at the hands<br /> of magazine editors as a class is because these<br /> latter do not regard their responsibilities with<br /> proper seriousness. Instead of being editors and<br /> nothing else, they attempt to be Jacks-of-all-<br /> trades, and mix up literary and dramatic criticism,<br /> authorship, speech-making at public dinners, and<br /> other side lines with the discharge of their purely<br /> editorial functions. Under these circumstances, as<br /> may be imagined, editing goes to the wall. This<br /> type of “ editor” frankly admits that he “cannot<br /> be bothered ” with the manuscripts of unknown<br /> men. It would not matter so much if only he<br /> would have the honesty to insert a notice to this<br /> effect in his magazine, and thus prevent unsophis-<br /> ticated aspirants from wasting their time. But<br /> such an idea never enters his head.<br /> A very genuine grievance under which the<br /> magazine writer labours is that of getting his<br /> money when it is due. There is no real reason<br /> why an author should not be paid as soon as his<br /> work has been accepted. A contribution should be<br /> paid for when it is bought. An editor has no more<br /> right to withhold payment for an article until he<br /> prints it than he has to order a new hat and tell<br /> the shopman he will pay for it the first time he<br /> wears it. Under the generally prevailing practice,<br /> however, an author may wait months, if not years,<br /> for his money. I may be wrong, but I fancy that<br /> editors adopt this course in the hope that their<br /> contributors may die before a cheque is sent them,<br /> and that the executors of the estate will have no<br /> knowledge of the fact that one is even due. A<br /> return of unclaimed payments thus withheld from<br /> authors would probably reach a substantial figure.<br /> In some offices a rule obtains that payment will not<br /> be made until an account has first been submitted.<br /> This is certainly a hardship, for unless a voucher<br /> copy be supplied him, the author is required to read<br /> through every issue in order to see if his work has<br /> appeared or not. When—and as generally happens<br /> —a free-lance has a dozen or more contributions<br /> seeking acceptance at the same time, it is quite<br /> impossible for him to keep a watchful eye on all<br /> the papers concerned. A few of the better class<br /> magazines send voucher copies ; but none of the<br /> daily or weekly journals do so. Of course, this<br /> scarcely matters where the periodicals are conducted<br /> honestly ; but when they are not conducted<br /> honestly this matters very much indeed.<br /> It is an undeniable truth—as any free-lance<br /> journalist is painfully aware—that flagrant dis-<br /> honesty marks the editorial conduct of quite a<br /> number of periodicals, and some of the principal<br /> offenders among these are ones with very large<br /> circulations. The commonest trick they adopt is<br /> to print an article without telling the author they<br /> are doing so, and trust to luck that he will not<br /> know it has ever been used. If, however, he does<br /> happen to see it, it is no great matter. This kind of<br /> editor is a person of vast resource and fertility of<br /> invention when it comes to making excuses for<br /> withholding cheques. The procedure adopted is<br /> always much the same. You write a polite letter,<br /> asking for payment. No response. You write a<br /> Second time, tempering politeness with firmness.<br /> Still, no response. Then you write a third time,<br /> intimating that non-receipt of a cheque will result<br /> in a solicitor&#039;s letter. This probably draws an<br /> answer. The customary form it takes is that the<br /> editor is in Scotland, the assistant editor in Ireland,<br /> and the manager somewhere else, but that on the<br /> return of this important trio to the scene of their<br /> arduous labours the matter will be “inquired into.”<br /> If you are young and innocent you will believe<br /> this and hope for the best. If, on the other hand,<br /> you are hardened you will issue a writ.<br /> To get cash out of some editors is like getting<br /> gold out of doughnuts. Until they are absolutely<br /> convinced that you mean to have your money they<br /> will put every obstacle in the way of your getting it.<br /> Occasionally this class of editor (he is usually the<br /> proprietor as well) makes curious offers to persistent<br /> contributors. Quite recently one suggested to me<br /> that a bound volume of his magazine was adequate<br /> remuneration for half a dozen articles I had written.<br /> When I declined it, he offered me a share in the<br /> (entirely imaginary) profits of an advertising<br /> agency that he ran. Not doing a deal here, he<br /> next proposed, and with similar results, that pay-<br /> ment should take the form of a box of cigars, or,<br /> failing that, a bottle of whisky. “What on earth<br /> is it that you do want, then P’’ he demanded.<br /> “Money,” I replied. The editor heaved a heavy<br /> sigh, and then, with an air of martyrdom, wrote<br /> out a cheque. “It’s people like you,” he said<br /> bitterly, as he blotted his signature, “that make it<br /> so difficult for editors to run their papers nowa-<br /> days.” I might have retorted that it was editors<br /> like this one who made it so difficult for journalists<br /> to conduct their business. However, I refrained.<br /> He might not have liked it. Besides, he was bigger<br /> than I.<br /> Once an editor has made up his mind to<br /> avoid payment (except as a last resource) there<br /> is very little at which he will stick in order<br /> to carry out his nefarious intentions. I remember<br /> on one occasion obtaining a county oourt<br /> judgment against an editor of this kind. But I<br /> soon discovered that there was a vast difference<br /> between obtaining judgment and obtaining money.<br /> However, I persevered, if only to prevent this<br /> harpy from victimising other authors. When he<br /> was in due time ordered to show cause why he<br /> should not be committed to prison for disobeying<br /> the order of the court, he wrote a long letter to the<br /> <br /> <br /> ## p. (#582) ################################################<br /> <br /> 192<br /> TISIES A CITISIOR.<br /> judge, protesting, firstly, that he knew nothing<br /> about the matter and had never even received a<br /> summons; and, secondly, that he was a regular<br /> Willage Blacksmith among editors (“He looked the<br /> whole world in the face and owed not any man ’’),<br /> whose one desire was to meet all just claims, etc.,<br /> etc. Fortunately, I was able to prove that not only.<br /> had the original summons been served on him<br /> personally, but that he had also entered a defence.<br /> After this even the slimmest of editors would have<br /> found it a little difficult to plead ignorance. At<br /> any rate, the judge took this view, and gave him<br /> his choice between paying up within a fortnight or<br /> going to prison for ten days. He paid.<br /> - X. Y. Z.<br /> —e—“O-e—<br /> INTERNATIONAL CONGRESS OF<br /> PUBLISHERS.<br /> - . - k<br /> VTE print from the Publishers&#039; Circular of<br /> W February 19 a list of some of the sub-<br /> jects which are to be dealt with at the<br /> International Congress of Publishers, which will<br /> be held this year at Amsterdam from the 18th to<br /> the 22nd of July. Many of these papers are of<br /> considerable interest to authors. Nos. 2 and 3.<br /> ought to be of special importance, and No. 9, as .<br /> coming from the president of the English Pub-<br /> lishers’ Association, will give members of the<br /> Authors’ Society much food for thought. .<br /> 1. The Classification of Former Resolutions of the<br /> Congress, by Mr. J. Hetzel, Paris. x *<br /> 2. The Berlin Conference of 1908 in relation to the<br /> Berne Convention, by Mr. E. Wandeveld,<br /> Brussels. -<br /> . The Berlin Conference and the Ratification of<br /> the Revised Berne Convention, by Mr. H.<br /> Morel, Berne. - ,<br /> 4. The Influence of Literary Critics on the Sale of<br /> Books, by Mr. Rodriguez Novas, Madrid. . . .<br /> 5. Report presenting a Summary of the More<br /> Important of the New Provisions of the Copy-<br /> right Law of the United States, which came<br /> into effect on the 1st of July last, in the Statute<br /> that was enacted on the 2nd of March, 1909,<br /> by Mr. Geo. Haven Putnam, New York.<br /> 6. What Means could be adopted in Europe and<br /> America to Keep Up the Full Price of New<br /> Books sold to Private People (Draft of an<br /> International Convention to Keep Up the<br /> Full Sale Prics), by Mr. W. P. van Stockum,<br /> The Hague. - -<br /> 7. Maintenance of the Catalogue Price and Lower-<br /> 3<br /> ing of the Too High Price, by Mr. Max<br /> Leclerc, Paris. -<br /> 8. The Commission House for the Dutch Book<br /> Trade in Amsterdam, by Mr. K. Groesbeek,<br /> Amsterdam. Conclusion by Mr. J. Hetzel,<br /> Paris.<br /> 9. The Literary Agencies as a Medium between<br /> Publishers and Writers in the Publication of<br /> Books, by Mr. W. Heinemann, London.<br /> The Inscription of the Titles on the Backs of<br /> the Bindings, by Mr. , Paris.<br /> 11. The Effect of Cheap Clothbound Reprints on<br /> more expensive Editions, by Mr. Arthur<br /> Spurgeon, London. - -<br /> The Development of the Copyrights in<br /> Germany for the Making and Selling of<br /> Instruments, with a view to Rendering<br /> Music Mechanically after the Revision at<br /> Berlin of the Berne Convention in 1908,<br /> by Mr. Gustav Bock, LL.D., Berlin.<br /> Furtherance and International Organisation of<br /> Establishing Book Trade Assistants Abroad,<br /> by Mr. Victor Ranschburg, Budapest.<br /> . Reform of the Rates of Postage, with a view<br /> to the Distribution of Periodical Publica-<br /> tions, by Mr. Victor Ranschburg, Budapest.<br /> 5. A Proposal to Prepare the Publication of an<br /> Encyclopedia of the International Book<br /> Trade, by Mr. Carl Junker, Vienna.<br /> 10.<br /> 12.<br /> 13.<br /> 1<br /> a —º- a<br /> v-u-w<br /> MAGAZINE CONTENTS.<br /> —º-C-O--<br /> BOOKMAN.<br /> Sheridan. By Lewis Melville.<br /> The Centenary of Sir Samuel Ferguson.<br /> Graves.<br /> , Meredith&#039;s Poems. By M. Sturge Henderson.<br /> By A. P.<br /> CONTEMPORARY.<br /> “Istar in the Underworld.” By Regina Miriam Bloch.<br /> Stained Glass Windows. By L. March Phillipps.<br /> The Future of the Classics. By C. T.<br /> ENGLISH REVIEW.<br /> The Censorship of Books. By Edmund Gosse.<br /> Time&#039;s Laughing Stocks. By Maurice Hewlett.<br /> Chantecler. By Count de Soissons.<br /> D&#039;Annunzio&#039;s New Novel. By V. M. Crawford.<br /> G. M. Godden&#039;s Life of Fielding. By Norreys Connell.<br /> FORTNIGHTLY.<br /> Arthur Schmitzler. By H. B. Samuel,<br /> Lamartine and Elvire. By Francis Gribble.<br /> William Blake as a Teacher. By Herbert Ives. -<br /> M. Edmond Rostand and “Chantecler.” By John F.<br /> Macdonald. -<br /> NATIONAL.<br /> Anthony Trollope. By Alice Sedgwick.<br /> <br /> <br /> ## p. (#583) ################################################<br /> <br /> THE A CITISIOR-<br /> 193<br /> . How To use THE SOCIETY.<br /> !. WISRY member has a right to ask for and to receive<br /> - E advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> 5. The Committee have arranged for the reception of<br /> members&#039; agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus. -<br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> This<br /> 7. Many agents neglect to stamp agreements.<br /> The<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> —e—Q-e—<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS,<br /> —º-º-º-<br /> TERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property:-<br /> I. Selling it outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society. -<br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> In this case the following rules should be attended to :<br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author.<br /> º Not to give up American, Colonial, or Continental<br /> rights.<br /> (5.) Not to give up serial or translation rights.<br /> (6.) Not to bind yourself for future work to any publisher.<br /> i. well bind yourself for the future to any one solicitor or<br /> Octor |<br /> III. The Royalty System. -<br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> IV. A Commission Agreement.<br /> The main points are :—<br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> (3.) Keep control of the sale price of the book.<br /> General.<br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> Such combinations are generally disastrous to the author.<br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> Stamp all agreements with the Inland Revenue stamp.<br /> Avoid agreements by letter if possible.<br /> The main points which the Society has always demanded<br /> from the outset are :-<br /> (1.) That both sides shall know what an agreement<br /> Idéa,DS. -<br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> (3.) Always avoid a transfer of copyright.<br /> —e—º-e—<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager.<br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts:— -<br /> (a.) Sale outright of the performing right. This .<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills.<br /> <br /> <br /> ## p. (#584) ################################################<br /> <br /> 194<br /> TISIE A DITFIOR,<br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.e., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (b.) apply<br /> also in this case.<br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration. -<br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning. -<br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> —e—Q–0–<br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> —º-º-e—<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> DRAMATIC AUTHORS AND AGENTS.<br /> —e-O-e—<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> may acquire a perpetual claim to a percentage on<br /> the author&#039;s fees from a play without rendering him<br /> any service. As far as the placing of plays is con-<br /> cerned, it may be taken as a general rule that there are<br /> only very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> —e—º-e—<br /> WARNINGS TO MUSICAL COMPOSERS.<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> *—º- a<br /> w-v-w<br /> STAMPING MUSIC.<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members&#039; stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble.<br /> * – A – a<br /> v---w<br /> THE READING BRANCH,<br /> —e-º-º-<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> —e—º-e<br /> REMITTANCEs.<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smith&#039;s Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. (#585) ################################################<br /> <br /> TFIES A UTFIOR.<br /> 195<br /> GENERAL NOTES.<br /> —º-º-0–<br /> THE SALE OF COPYRIGHT.<br /> A VERY serious matter to all writers of technical<br /> books is constantly coming before the secretary of<br /> the society. -<br /> Many publishers of educational and technical<br /> works, seeing a young and prominent scholar<br /> coming to the front in a special branch of learn-<br /> ing, arrange with him to write a book on the<br /> particular subject of which he is a student. Such<br /> a writer, absolutely ignorant of the prices and of<br /> the conditions which obtain in the literary market,<br /> sells the copyright of his work outright for a sum<br /> down or subject to a royalty. We have, on various<br /> occasions, pointed out in these columns the danger<br /> of selling the copyright outright to a publisher ; but<br /> in the case of a technical writer this danger is<br /> greatly increased, for in any science, where<br /> developments are constantly forthcoming, in<br /> history, where new MSS. come to light, in<br /> education where new methods are employed, it<br /> is sure to happen, and, judging from the many<br /> cases before the secretary, has frequently happened<br /> that later in his career the young writer, having<br /> acquired a reputation, desires to bring his work<br /> up to date by issuing a new edition, or per-<br /> haps to produce an exhaustive treatise, or if he<br /> happens already to have produced such a treatise,<br /> to produce it in an abridged form for the considera-<br /> tion of a particular section of the public. He<br /> finds, however, that he cannot do so without<br /> infringing his own copyright which he has<br /> assigned, and unless the publisher will make<br /> him a reasonable offer, he is estopped from<br /> writing the book and from conveying to the public<br /> the additional knowledge he has gained on his<br /> subject. Examples are forthcoming of publishers<br /> who, realising the strength of their position, have<br /> refused to make a reasonable offer, and, in conse-<br /> quence, have compelled the author to re-purchase<br /> his copyright at their own price. This is an<br /> exceedingly serious position, as it often prevents<br /> the author from claiming any financial reward<br /> from many years&#039; careful study, and it likewise<br /> prevents the public from obtaining the benefit of<br /> his research. -<br /> THE UNIT OF AN EDITION.<br /> WE regret exceedingly that the letter we print<br /> below came too late for the March number. It<br /> is an answer to a statement contained under<br /> the heading of “Publishers’ Methods &#039;&#039; in the<br /> February issue, and to this we refer our members.<br /> It is satisfactory to have an authoritative answer<br /> from the Publishers’ Association itself, though the<br /> reason given in their answer does not, to our mind,<br /> appear convincing. If, for instance, the unit of<br /> an edition was fixed at 1,000, then if 250 copies<br /> only were printed, it could be stated that a quarter<br /> of an edition had been produced ; if 500 copies,<br /> one half, and so on. -<br /> SIR,-With reference to the note in the February number<br /> of The Author, headed “Publishers&#039; Methods,” I am directed<br /> by the Council of this Association to say that it does not<br /> appear to them to be practicable to fix any definite number<br /> of copies which shall be regarded universally as the unit<br /> for an edition. The number of copies of which the first or<br /> any subsequent edition of a book should consist depends<br /> On a variety of circumstances. It is even, in many cases,<br /> unwise to fix the number for any given book long before-<br /> hand, and to fix it for all books would be impossible. In<br /> Some cases the first edition consists of as few as 500 or even<br /> 250 copies. In many cases it is 1,000 ; while 1,500, 2,000,<br /> or indeed any number up to 40,000 or 50,000, are fre-<br /> quently printed. The number to print of any given book<br /> is indeed one of the most difficult points which a publisher<br /> is called upon to decide.<br /> Where, however, an agreement is in contemplation<br /> between an author and a publisher in which the arrange-<br /> ment is that the publisher should buy the first edition of a<br /> book for an agreed sum, to be followed by a further pay-<br /> ment When that edition is exhausted, it is obvious that the<br /> number of the first edition must be fixed in the agreement.<br /> This proposition appears to my Council to be self-evident,<br /> and it seems to them to be almost incredible that either an<br /> author or a publisher should enter into an agreement on<br /> these lines in which the number of which the first edition<br /> is to consist is not fixed.<br /> I am, Sir,<br /> Your obedient servant,<br /> WM. Pou DTEN,<br /> Secretary.<br /> HENRY HOLT AND THE AMERICAN PUBLISHERS.<br /> IN the Publishers’ Weekly, of New York,<br /> Mr. Henry Holt, on his seventieth birthday, has<br /> been putting forward some interesting reminis-<br /> cences. He is not what you would call optimistic<br /> of the publishing trade, judging from the following<br /> statement: “As I look toward the setting sun, I<br /> am not impressed that the horizon is in any way<br /> crowded by worthy successors to the publishers of<br /> a generation ago.” It is well known that before<br /> the United States first Copyright Law was passed<br /> an understanding existed amongst the better class<br /> American houses that they should not interfere,<br /> by piracy, with the contracts between themselves<br /> and their respective English authors. This posi-<br /> tion Mr. Holt affirms. The moral obligation<br /> between American publishers seems to have been<br /> very strong. It was a pity that their moral<br /> obligations towards the position of English authors<br /> was not equally strong, for Mr. Holt goes on to<br /> show that it was only when the pirates struck<br /> in, and cheap edition after cheap edition was pub-<br /> lished, and it became impossible to make things<br /> <br /> <br /> ## p. (#586) ################################################<br /> <br /> i96<br /> TISIE AUTISIORs<br /> pay, that the moral obligation of the American<br /> publisher made him turn towards bettering the<br /> position of the English author and made it neces-<br /> sary for him to join in getting through the Law of<br /> 1891. We wonder if it would be possible to stir<br /> up the moral obligation of the American publisher<br /> to the same extent now, so that he should put the<br /> same energy and the same amount of capital into<br /> passing a law for the benefit of the unfortunate<br /> writer in the English language who resides outside<br /> the United States which he did when the contents<br /> of his pocket were being emptied by the too greedy<br /> pirate. We have our fears, for the pirate has ceased<br /> from troubling, and the cheap reprint is at rest.<br /> HENRY HolT AND THE AUTHORs&#039; AGENT.<br /> MR. HENRY HOLT makes some interesting<br /> remarks about the authors&#039; agent. He says :<br /> “One of the most interesting things in my career<br /> has been his rise and fall—I mean fall from his<br /> high state of dictation to nearly all the publishing<br /> houses, toward the modest one of useful auxiliary,<br /> which I think he will reach, and where I hope he<br /> will long deserve and find success.” He accuses the<br /> agent in the first days of “setting by the ears all<br /> publishers and authors through whom he was<br /> getting no commissions, and setting the publishers<br /> bidding against each other.” He states that the<br /> agent not only scattered and weakened the publishers&#039;<br /> interest in the anthors’ books, but sold their books<br /> before they were written, sometimes three deep,<br /> and so worked many of the authors out. He<br /> further goes on to say that the agent has forced<br /> up the royalties of established authors to points<br /> that they cannot hold, and quotes as an example<br /> one house who pays an author a royalty that makes<br /> the publisher lose money on every copy sold. He<br /> adds: “It is needless to say that this house is in a<br /> chronic state of failure.” These are bitter remarks,<br /> and if they are true the sooner the agent reaches<br /> that position which Mr. Holt hopes he will reach,<br /> the better. It seems to us on considering the posi-<br /> tion, however, that what has taken place is what<br /> takes place in all trades directly it appears that<br /> the prices are being wrongly quoted owing to<br /> lack of competition. Authors no doubt were<br /> receiving royalties much below those which the<br /> tradesmen could afford to give, and in conse-<br /> quence, with the keen competition engendered by<br /> the employment of a literary agent, the prices were<br /> forced up to a fair trading value. If any went<br /> beyond the fair trading value, then there was bound<br /> to be a reaction. Then, as in all trades, the<br /> weaker brethren who happen to have over-bought<br /> or undersold, are weeded out, and the natural level<br /> is again established.<br /> In another column of this issué we see that<br /> Mr. Heinemann is going to give his views at the<br /> International Publishers&#039; Congress at Amsterdam<br /> on the same subject. We shall be anxious to see<br /> how far his views agree with Mr. Holt&#039;s.<br /> We must say we have read Mr. Holt&#039;s remarks<br /> about his publishing house and American methods<br /> with the greatest interest, though we do not always<br /> agree with his statements. We are glad to con-<br /> gratulate him on having reached the ripe age of<br /> three score years and ten.<br /> -msm--<br /> THE ENGLISH CATALOGUE OF BOOKS.<br /> THE English Catalogue of Books for 1909 is<br /> now before the public. Little further can be said<br /> than what has been usually said with regard to<br /> this production. It is printed in clear type, on<br /> good paper, and bound up in a serviceable cloth<br /> cover. It issues from the same firm as usual,<br /> Messrs. S. Low, Marston &amp; Co., Ltd., and its price<br /> is 6s. net. -<br /> At the end of the volume, after the list of books<br /> there comes a list of societies and a list of pub-<br /> lishers in England and America. These items all<br /> add to the utility of the volume. In the analysis<br /> of books published at the beginning we see that in<br /> 1909 the output has been larger than ever it has<br /> been before, reaching the enormous number of<br /> 10,725 volumes, 900 volumes more than were pro-<br /> duced in 1908. Perhaps it is needless to state<br /> that the largest class is the class of fiction and<br /> juvenile works; the output of these books reached<br /> 2,881. Religious works come third with 1,022.<br /> It will be interesting to see whether in 1910 this<br /> huge increase is maintained.<br /> —e—º-e—<br /> COMMITTEE ELECTION.<br /> —º-º-º-<br /> THIS year, owing to a different arrangement of<br /> dates, it was impossible to give notice of the result<br /> of the election of the committee at the general<br /> meeting which was held on the 16th of last<br /> month.<br /> The following is the signed statement of the<br /> scrutineers, recording the votes for 1910 in the<br /> following order :—<br /> 286<br /> J. W. Comyns Carr<br /> Mrs. E. Nesbit Bland 283<br /> Francis Storr º . . 266<br /> G. Bernard Shaw . G . . 233<br /> Mackenzie Bell 178<br /> It may be worth while to repeat that one-third<br /> of the committee retires annually. Therefore, of a<br /> <br /> <br /> ## p. (#587) ################################################<br /> <br /> 197<br /> committee consisting of twelve members, four<br /> members have to retire. The committee have<br /> the right of nomination, or any two members of<br /> the society may nominate a third member.<br /> Three hundred and fifty-five votes were recorded<br /> in the election for the current year. The first<br /> four on the above list are those who will join the<br /> committee. - -<br /> GENERAL MEETINGS.<br /> I. THE COUNCIL.<br /> TYRIOR to the annual general meeting, held at<br /> the Society of Medicine on Wednesday,<br /> T March 16th, the general meeting of the<br /> shareholders, the Council of the Society, was held.<br /> The meeting was merely formal to pass the annual<br /> report of the committee of management, to elect<br /> the accountants for 1910, and to adopt the accounts<br /> for the past year. g<br /> As the report and accounts had been circulated<br /> they were taken as read, and the three items on<br /> the agenda, put from the chair, were duly carried,<br /> Messrs. Oscar Berry &amp; Co. again being elected<br /> accountants.<br /> II. THE SOCIETY.<br /> THE general meeting of the society was held<br /> on Wednesday, March 16th, at 4 p.m., Mr.<br /> Maurice Hewlett, chairman of the Committee of<br /> Management, presiding. - -<br /> The agenda on the paper were:–1. To receive<br /> and, if desired, to discuss the accounts and report<br /> of the Committee of Management 2. To elect a<br /> member of the Pension Fund Committee under the<br /> scheme for the management of the Pension Fund.<br /> 3. To appoint scrutineers to count the votes under<br /> the new constitution. -<br /> In order to dispose of No. 2 and No. 3 before<br /> proceeding to the main business of the meeting, the<br /> chairman invited the nomination of a new member<br /> of the Pension Fund Committee, and as no such<br /> nomination was made, declared Mr. M. H.<br /> Spielmann (who, retiring by rotation, offered him-<br /> self for re-election) to be duly elected. A similar<br /> request was made for names of members to act as<br /> scrutineers, and as none was put forward the chair-<br /> man intimated that the committee would make the<br /> necessary appointments. w<br /> i. to deal with the report, Mr. Hewlett<br /> congratulated the society upon a membership of<br /> over 2,000, increased during 1909 by more elections<br /> than in any preceding year. - -<br /> of its president, Mr. George Meredith.<br /> Even if the total of all the authors in the<br /> kingdom amounted to 3,000 or 4,000, such a<br /> number combined in the society constituted a very<br /> formidable body. They had elected to the council<br /> in the year Mark Twain and Mr. H. G. Wells,<br /> thereby doing honour to themselves. A serious<br /> loss had been sustained by the society in the death<br /> There was<br /> no need to add to what had already been said upon<br /> such a subject, but the Society had been fortunate<br /> in securing as his successor Mr. Thomas Hardy.<br /> Mr. George Meredith had succeeded Lord Tennyson,<br /> and would be followed by the most distinguished<br /> Writer in England, who, as poet, philosopher and<br /> moral force, stood easily first. -<br /> With regard to the Committee of Management,<br /> the chairman mentioned the retirement of Mrs.<br /> Felkin and the re-election of Dr. Squire Sprigge,<br /> Mr. Arthur Rackham and Mr. Sidney Webb. He<br /> also congradulated the society upon having added<br /> the name of Sir Alfred Bateman to the committee<br /> to supply the great loss sustained in the death of<br /> Sir Henry Bergne. After referring briefly to the<br /> work of the Committee of Management and of the<br /> sub-committees, Mr. Hewlett expressed himself<br /> as having been surprised since he had become its<br /> chairman by the number of cases dealt with and by<br /> the variety and extent of the work done. He<br /> mentioned an instance of an unusual case, one of<br /> “literary libel,” occurring in a foreign country and<br /> now under consideration, in which the question<br /> arose out of a book translated into German, with all<br /> the names and topical allusions converted into<br /> German names and allusions, producing a result<br /> amusing to all but the author. After referring to<br /> the satisfactory financial position of the scoiety, he<br /> drew attention to the fact that during the past<br /> year the aid of the society had been deliberately<br /> invoked for the first time by the Publishers&#039;<br /> Association ; this showed that the publishers<br /> thought the society worth consulting, and indicated<br /> a new and very gratifying state of affairs. He<br /> concluded by paying a tribute to the service<br /> rendered by the secretary of the society, Mr. G. H.<br /> Thring, than whom no one could have discharged<br /> his duties with greater industry or a more intelligent<br /> sympathy.<br /> At the close of the chairman&#039;s address, and in<br /> reply to an invitation to those present to put ques-<br /> tions arising out of the report, Mr. Harold Hardy,<br /> speaking as a member of the Copyright Sub-com-<br /> mittee, made the suggestion to the Committee of<br /> Management, that just as they referred dramatic<br /> cases to the Dramatic Sub-committee, so they should<br /> refer copyright cases to the Copyright Sub-com-<br /> mittee. In reply, the chairman expressed personal<br /> approval of the idea, and said that he would bring<br /> the proposal before the Committee of Management.<br /> <br /> <br /> ## p. (#588) ################################################<br /> <br /> 198<br /> TISIE AUTISIOR.<br /> Mr. J. Harwood Panting referred to the election of<br /> the president, and urged that it would be prefer-<br /> able that he should be elected by the society and<br /> not be merely a nominee of the committee. In<br /> reply, the chairman pointed out that the election of<br /> the president was by the council, in accordance<br /> with the constitution of the society, which had to<br /> be observed. Mr. Bernard Shaw, commenting<br /> upon Mr. Harold Hardy&#039;s suggestion that the<br /> Copyright Sub-committee should have entrusted to<br /> it cases now dealt with by the Committee of Man-<br /> agement in which questions relating to copyright<br /> were raised, observed that committees made their<br /> own work ; that the Dramatic Sub-committee,<br /> which now dealt with cases relating to dramatic<br /> matters, at one time practically did not exist, but<br /> that if the sub-committee was found to be doing its<br /> work well, meeting regularly and with a good<br /> attendance of its members, them all work suitable<br /> for it would soon be handed over to it. The Com-<br /> mittee of Management had plenty to do, and the<br /> Copyright Sub-committee would not find that it<br /> was not sufficiently human to be willing to turn<br /> over a portion of its labonrs. Mr. Shaw, con-<br /> tinuing, referred to the growing membership, and<br /> to the necessity notwithstanding for active recruit-<br /> ing, and for making use of the society after joining<br /> it. The society had a great many members who<br /> appeared to proceed on the assumption that the<br /> society did not exist, members who, after joining,<br /> complained of agreements into which they had<br /> entered, and when asked if they had consulted the<br /> society were found not to have even thought of doing<br /> so. These seemed to look upon joining the society<br /> as a mere form which had to be gone through,<br /> like the rite of confirmation. Many of them had<br /> never even heard of the existence of the secretary.<br /> He urged that even those who were good business<br /> men, and who were able to understand their agree-<br /> ments, would do the society a service by consulting<br /> it with regard to them. He had recently had<br /> before him on the Committee of Management a<br /> publisher&#039;s agreement of so preposterous a character<br /> that it was almost inconceivable, and he had had<br /> another submitted to him with regard to the<br /> Writing of plays, by a leading London manager,<br /> so monstrous that he believed he could get it<br /> quashed by writing and informing the manager<br /> that unless he withdrew it the society would advise<br /> dramatic authors to have nothing to do with him.<br /> It was of the greatest importance that members<br /> should get every author they possibly could to join<br /> their organisation. He urged every member who<br /> might be asked privately for advice by a friend<br /> upon some literary matter, although he might be<br /> perfectly able to give it, to refuse it, and to send<br /> those asking for it to the society.<br /> A vote of thanks to the chairman was proposed<br /> by Mr. Charles Garvice and seconded by G. N.<br /> Count Plunkett. The members present included:<br /> Chairman, Mr. Maurice Hewlett; E. A. Armstrong,<br /> Miss Emily Baker, Sir Alfred Bateman, T. P.<br /> Beddoes, Mackenzie Bell, Mrs. Belloc-Lowndes,<br /> Edward J. Bedford, Mrs. E. Nesbit Bland, John<br /> Buchan, C.O. Burge, W. M. Coleman, Thomas Cobb,<br /> Miss Ellen Collett, James Curtis, F. H. Cripps Day,<br /> W. Scott Durrant, Miss Gabrielle Festing, Douglas<br /> Freshfield, John Fyvie, Charles Garvice, Miss Mary<br /> Gaunt, Harold Hardy, Anthony Hope Hawkins,<br /> Miss E. M. Hine, C. T. Jacobi, Miss Arabella<br /> Kenealy, E. P. Larken, C. Lincoln, Sir Alfred<br /> Lyall, Miss Annie Matheson, A. R. Hope Moncrieff,<br /> Harwood Panting, H. M. Paull, W. Booth Pearsall,<br /> Mrs. Alice Perrin, W. F. Pettigrew, Count G. N.<br /> Plunkett, J. Prelooker, John Richmond, Lieut.-<br /> Col. W. Sedgwick, G. Bernard Shaw, Mrs. G.<br /> Bernard Shaw, Miss H. M. E. Stanton, Francis<br /> Storr, Miss Grace Toplis, Mrs. Alec Tweedie,<br /> Frederick Vicars, Mrs. Voynich, William Wallace,<br /> L. C. Wharton, Edward Willmore, Miss D.<br /> Zingler.<br /> -*—<br /> wr-º-<br /> UNITED STATES NOTES.<br /> —e-C*-e—<br /> O”. more one hears the complaint that<br /> many of the really good books of the year<br /> —“books” in this connection are of course<br /> novels—did not figure among the recorded “best<br /> sellers” of 1909. Even so it is rather significant<br /> that a work of the calibre of Mrs. McCartney<br /> Lane’s “Katrine” should actually head the list.<br /> It is also rather curious that women authors<br /> among the most popular should be in the propor-<br /> tion of only one to three male writers. Mrs. Ward<br /> and Robert Hichens represent not unworthily the<br /> non-American element.<br /> An event of the spring publishing season will be<br /> the appearance of a new book by Max Adeler.<br /> The subject of it is the experiences of one who in<br /> his own despite has gained the reputation of a<br /> mighty “natural” healer. George W. Jacobs<br /> &amp; Co., of Philadelphia, are the publishers. By<br /> the bye, it is said that Mr. Clark, unlike a cele-<br /> brated English humourist, dislikes being addressed<br /> by his pen-name, which ignores his labours in<br /> other fields to which he has long devoted his best<br /> energies.<br /> Commander Peary&#039;s recent Arctic experiences,<br /> which are appearing in Hampton&#039;s Magazine, are,<br /> it is said, to wait for publication in book form till<br /> the fall, when they will be issued by the Stokes<br /> Company in two volumes. -<br /> The seventh volume of Prof. J. B. McMaster&#039;s<br /> History of the United States, bringing the narra-<br /> <br /> <br /> ## p. (#589) ################################################<br /> <br /> THE AUTISIOR.<br /> 199<br /> tive down to 1852, is just appearing. Meanwhile,<br /> two more instalments of Elroy McKendree Avery&#039;s<br /> large history have come to hand. The first<br /> volume deals with the early days of the Revolu-<br /> tion, and the second with the Revolution itself and<br /> its consolidation in the Confederation. The illus-<br /> trations, which have been the great feature of the<br /> work, seem to have been a little overdone in these<br /> latest volumes.<br /> Prof. Guy Stevens Collender’s “Selections from<br /> the Economic History of the United States&#039;<br /> should be a boon to students of political economy.<br /> This large source book, issued by Ginn &amp; Co.,<br /> begins with the year 1765 and extends to 1860.<br /> Abraham Lincoln is by no means done with as<br /> yet. Chicago makes two further contributions to<br /> his literature this spring in the “Century Tribute,”<br /> edited by Nathan William McChesney, and the<br /> “Monograph,” by Isaac N. Phillips. Both come<br /> from McClurg &amp; Co.<br /> Mrs. Atherton&#039;s new novel, “Tower of Ivory,”<br /> is the story of a young English diplomat&#039;s unfortu-<br /> nate marriage with a frivolous American and his<br /> tragic passion for a German singer with a past.<br /> The book, which will fully sustain her reputation,<br /> is to be issued in London by John Murray. This<br /> writer contributed te a recent number of the New<br /> York Bookman a piquant article upon the American<br /> novel in England. My recollection is that it<br /> rather bore out the truth of the old Scriptural<br /> saying about the honour of a prophet in his own<br /> country.<br /> The hitherto unpublished “Diary of President<br /> Polk” is being printed this spring from the<br /> original manuscript belonging to the Chicago<br /> Historical Society. Prof. Milo Quaife, of the<br /> Lewis Institute of Technology, is the editor. Of<br /> this document Prof. Albert Hart has declared<br /> that “in all American history we have few such<br /> revelations of the inside workings of war and<br /> diplomacy.” Prof. Garrison, of Texas University,<br /> has pointed out how it refutes the charges against<br /> its author&#039;s character.<br /> Prof. John M. Manly has arranged with the<br /> authorities of the Bodleian for the publication of<br /> a collotype facsimile of the Caedmon Manuscript.<br /> The issue is to be limited to one hundred copies at<br /> five guineas.<br /> A meeting in commemoration of the career of<br /> the late Richard Watson Gilder was held in<br /> Mendelssohn Hall, New York, on February 20.<br /> Governor Hughes presided, and among the<br /> speakers were President Nicholas M. Butler,<br /> Robert Underwood Johnson, Dr. Hamilton Wright<br /> Mabie, and Mr. J. Forbes Robertson.<br /> One of the most notable of the February books<br /> was William Winter’s “Life and Art of Richard<br /> Mansfield.” An Englishman by birth and an<br /> American by adoption, Mansfield was in reality<br /> a citizen of the world. He owed much to his<br /> biographer in life, and the debt has not been<br /> diminished by this record of his personality and<br /> activities. The book is a valuable contribution to<br /> dramatic criticism as well as to contemporary<br /> biography.<br /> Amongst the subjects chosen by the judges for<br /> the annual economic prizes offered by Messrs. Hart,<br /> Schaffner, and Marx, of Chicago, I note that one is<br /> “The Value of Protectionism to American Work-<br /> ing Men,” whilst another is “German Experience<br /> in Taxing the Unearned Increment from Land.”<br /> Such subjects as these and “The Effects of Modern<br /> Immigration in the United States” should produce<br /> Some interesting contributions.<br /> Students of American psychology are well catered<br /> for nowadays. No sooner have they finished with<br /> Maurice Low’s “Study of the American People”<br /> than they are confronted with Dr. Henry Van<br /> Dyke&#039;s “Spirit of America.” It may be safely<br /> asserted that readers of both these will not be<br /> confined to one hemisphere.<br /> Someone has discovered the existence of an earlier<br /> American Academy dating from the year 1820. Its<br /> habitat was New York, its president John Quincy<br /> Adams, and its corresponding secretary and organ-<br /> ising genius a certain William S. Cardell. A prize<br /> and gold medal were offered for the best written<br /> history of the United States, and other subjects<br /> were proposed for competition in subsequent years.<br /> Apparently this laudable body only survived a few<br /> years; but it was a gallant, if premature, attempt.<br /> Edwin Tenney Brewster’s “Life and Letters of<br /> Josiah Dwight Whitney ’’ is an admirably executed<br /> record of the achievements of the first American<br /> geologist of mark. Professor Whitney, who died<br /> in 1896, was a brother of the eminent philologist,<br /> whom he helped with the “Century Dictionary.”<br /> Another book recently issued by Houghton,<br /> Mifflin &amp; Co., Mrs. Anna Robeson Burr&#039;s critical<br /> and comparative study of “The Autobiography&quot;<br /> should attract not a few readers. The author has<br /> examined and grouped no less than 265 “capital”<br /> specimens in various languages. The task is<br /> ambitious and Scarcely admits of being conclusive.<br /> A recent correspondent of the Dial thinks she has<br /> discovered the secret of the “best-seller.” She<br /> repudiates the suggestion of the anonymous writer<br /> of “The Confessions of a Best-seller” in the<br /> Atlantic Monthly that the key to popularity is<br /> “plot-interest.” People who buy new books are<br /> after something more than a good story, she<br /> declares, and that something is “the genteel<br /> atmosphere.” This, no doubt, so far as women<br /> readers are concerned, is a highly plausible plea.<br /> But the other writer was presumably thinking of<br /> the tired male.<br /> <br /> <br /> ## p. (#590) ################################################<br /> <br /> 200<br /> THE A Drt FIOR.<br /> The versatile William Everett, preacher, mis-<br /> sionary orator, classical scholar, and English<br /> writer, died on February 16, at Quincy, where<br /> he had been principal of the Adams Academy<br /> nearly thirty years. He is said to have left in<br /> manuscript a life of his father, Edward Everett.<br /> Mrs. Jessie Van Zile Belden, the novelist, died in<br /> New York a fortnight earlier.<br /> —º- Ah<br /> ~-w<br /> THE UTILITY OF REVIEws.<br /> HAVE read with considerable interest the letters<br /> in these columns on the subject of the utility of<br /> reviews, and, as the author of some hundred<br /> novels, all of which have had the favour of the<br /> public&#039;s eye, and many of which have had the favour<br /> of the reviewer&#039;s pen, I should like, if I might, to<br /> say a word or two of my own impressions.<br /> In past days reviews were entrusted to men of<br /> letters, of university education, of culture and<br /> ability. Though a reviewer might be merciless,<br /> he had such critical faculty and such information<br /> that though his victim might writhe, he still could<br /> gather help and improvement from his tortures.<br /> The reviewer&#039;s trade, like much else, has changed<br /> in these haste-to-be-rich days. Newspapers,<br /> agonising to pay shareholders&#039; dividends or to<br /> become millionaires on their own account, cut all<br /> expenses. Book reviews can be written by any<br /> member of the executive staff who has a swift pen<br /> and a nimble fancy. The clerk, proud of his<br /> extreme youth and as ignorant of the world as<br /> he is of anything beyond his board-school educa-<br /> tion ; the office boy on promotion, they are con-<br /> sidered quite capable reviewers. The innocence<br /> of their comments, the wild inappositeness of their<br /> criticisms, tickle the humour of the reviewed, even<br /> while the victims protest against the distortion of<br /> their own meanings, the misrepresentation of their<br /> plots, their characters, their situations. The reading<br /> public gravely accepts the dictum of young per-<br /> sonages whose opinion in real life they would be<br /> reluctant to take on the weather, and the book<br /> and its author are catalogued according to the<br /> reviewer&#039;s praise or condemnation. -<br /> There is another class of reviewer. He is still<br /> educated, enlightened, justified in criticising. But<br /> time fails him. I dislike the personal illustration,<br /> but must resort to it to make my point. Not long<br /> since a historical biography I had just published<br /> received a somewhat slighting mention in one of<br /> the leading London daily papers. Not long after-<br /> wards a relative of mine met the reviewer. He<br /> admitted, with some embarrassment, that he had<br /> not yet read my book when he wrote the review,<br /> doubt that a book may be damned by blame.<br /> and excused himself by saying that the business of<br /> reviewing was so wretchedly paid nowadays and<br /> the number of books to review was so over-<br /> whelming that, except in very exceptional cases,<br /> a harassed reviewer could do no more than dip<br /> hastily between the pages. I suppose it was by<br /> way of amende honorable that that same paper, in<br /> its general literary review at the close of the year,<br /> said so many kind and friendly things to me.<br /> There is still a third reviewer. He is apt to be<br /> attached to the better class of periodical—the<br /> quarterly, or monthly, or weekly that is looked up<br /> to as a final literary authority, and prides itself on<br /> its up-to-date Smartness.<br /> This reviewer owes his<br /> post to his powers of Smart writing, his turn of a<br /> sentence, his quip, his jeer, his satire. To make a<br /> brilliant stroke of the pen is his aim, his aspiration.<br /> At any cost he must sparkle, must call attention<br /> to his own wit. To praise is poor work, trite,<br /> commonplace. The feeblest intellect can praise.<br /> There is no reputation in it. So he dips his pen<br /> in vinegar, and struts in epigram, and proves him-<br /> self a pretty wit and a shining writer.<br /> Now, I take it that the main object of reviews<br /> is twofold: to help the reading public in the selec-<br /> tion of a book, and to teach the author. None of<br /> these three classes of modern reviewer achieve the<br /> latter object. When a reviewer has palpably not<br /> read one&#039;s book, praise is quite as distasteful as<br /> unjust blame. When it is evident his cast of mind<br /> is not that of the educated for whom one writes,<br /> his criticism becomes valueless. When the effort<br /> to sparkle as a witty critic is too deplorably<br /> evident, satire leaves one cold. The author has no<br /> real enlightenment as to his faults or his successes.<br /> The other object, that of a guide to selection, is no<br /> doubt achieved, but with profound injustice.<br /> There can be no doubt that the sale of any book<br /> is enormously regulated by reviews. If we con-<br /> cede that the sale of a successful book is not<br /> entirely due to good reviews, there can be no<br /> But,<br /> in truth, there has been more than one author in<br /> my personal knowledge floated into public favour<br /> by laudatory critics, and an editor once informed<br /> me that he ordered his serials from authors with-<br /> out having read a line of their writings, merely on<br /> the strength of reviews of their first books.<br /> But a book abused by the critics is heavily<br /> handicapped throughout its career, and in almost<br /> every instance injurious reviews affect disastrously<br /> the publishing chances of its successor. An<br /> author&#039;s future, his daily bread, may depend on<br /> the whim of a newspaper clerk, his fit of indiges-<br /> tion, his fatigue, his vanity. The profession of<br /> letters is surely one of such assured dignity that<br /> these things should not be possible, and that it<br /> should have a right to demand, if merely as a<br /> <br /> <br /> ## p. (#591) ################################################<br /> <br /> TRIE A DITISIOR.<br /> 201<br /> commercial protection, sane, intelligent, serious<br /> reviews, written by men fitted to deal with their<br /> subject, and honest in their method of dealing.<br /> Lest my next book should be a prey to the<br /> teeth of the reviewer after this protest, I will take<br /> the reviewer&#039;s privilege of remaining nameless.<br /> But I will very gladly answer any communication<br /> addressed to me by any member of this society<br /> on the subject.<br /> AUTHORESS.<br /> THE FAIRW TALE IN FICTION.<br /> gº - —e-º-º-<br /> V7 RITERS of fiction not infrequently speak<br /> with some contempt of the work of their<br /> humbler brothers and sisters—the writers<br /> of Fairy Tales. Fairy Tales, they say, are so easy<br /> to do—all that is needed is for the writer to live<br /> in a world of his own making, under conditions of<br /> of his own laying down. When a difficulty, when<br /> a tangle occurs, the aid of the supernatural or the<br /> grotesque can be called in to solve or to disentangle.<br /> The men and women in Fairy Tales are puppets in<br /> the hands of non-humans. They do not act, or<br /> speak, or think like the men and women in every-<br /> day life. Whereas in ordinary fiction the work of<br /> the artist is to hold the mirror up to nature—in<br /> Fairy Tales no mirror is necessary—not even a<br /> distorting “magic&quot; mirror, convex or concave—<br /> wherein nature is caricatured beyond recognition.<br /> A writer of Fiction holds a mirror—a poor, cracked,<br /> blurred affair it may be, but still a mirror—while<br /> the Fairy Tale writer splashes away at a canvas,<br /> and exhibits something which, whatever else it may<br /> be, has no claim to reflect what passes in the world<br /> around us. Now all this is very unfair—and the<br /> more unfair because of a certain element of truth<br /> underlying it. Of course Fairy Tale writers have<br /> an advantage over writers of Fiction in being able<br /> to choose “worlds unrealised ” for their scenes<br /> instead of the workaday world which we all know.<br /> But there the advantage ceases. The elements of<br /> which Fairy Tales are composed are precisely the<br /> same as the elements which go to the composition<br /> of a novel. The characteristics of the actors are<br /> as strongly marked in the one as in the other.<br /> The influences which modify or guide the actions<br /> are the same in each, although in Fiction these<br /> influences are treated as vague forces of fate,<br /> whereas in Fairy Tales they are personified as<br /> fairies or magicians. The Fairy Tale, being shorter<br /> than a novel, the effect of these influences on<br /> character development cannot have full play.<br /> Mrs. Gaskell must have felt all this when she<br /> wrote her group of short stories, “Old Friends<br /> with New Faces.” In the happy ending story in<br /> Fiction, in which virtue is triumphant and vice<br /> is punished, for example, is that ending truer to<br /> what takes place in the world we know than the<br /> typical ending of a Fairy Tale, “and so the wicked<br /> Stepmother was condemned to be burnt, and the<br /> prince and princess married, and lived happily ever<br /> afterwards”? But, it may be said, the means by<br /> which the end is reached in happy ending Fiction<br /> is quite different from the means by which the end is<br /> reached in the Fairy Tale. Is this the case<br /> really Coincidence in the Fairy Tale plays an<br /> important part. It brings together the prince and<br /> the princess—that is the hero and heroine—who<br /> have been wandering half over the world in opposite<br /> directions, at the critical moment. But the<br /> coincidence is given its true place in the Fairy<br /> Tale. It is not the result of chance—it is the<br /> result of the deliberate actions of higher powers.<br /> In Fiction, coincidence, while brought in for the<br /> same end, is a clumsy contrivance discredited by<br /> all writers, and made use of by all. Dickens, more,<br /> perhaps, than any great writer of Fiction, made<br /> use of the Fairy Tale element in his stories. Most<br /> conspicuously is this the case in the conversions<br /> chronicled by him, conversions brought about by<br /> utterly inadequate means, of bad characters into<br /> good. Then his good characters are, generally<br /> speaking, like the little girl in the rhyme, so “very,<br /> very good&quot;—and his bad characters so unvaryingly<br /> “ horrid” as are the good and bad characters in<br /> Fairy Tales. Jack goes out to meet his giants alike<br /> in Fiction and Fairy Tales, and polishes them off in<br /> the most satisfactory manner. If he does not escape<br /> unscathed he wins his princess, and marries her,<br /> and lives happily ever after. Whereas in real life<br /> Jack would almost certainly be the killed and not<br /> the killer, or at best would be taken prisoner, and<br /> be kept shut up under the kitchen floor in some<br /> giant&#039;s stronghold. As for the other Jack—him of<br /> the Beanstalk—Fiction delights in telling us how<br /> he looked out of his window one morning and<br /> found that the pretty coloured bean which he had<br /> sown the night before had sprung up, and was now<br /> a towering tree, with its topmost branches hidden<br /> in the clouds. Of course we are told that this<br /> sudden blaze of success out of the dying embers of<br /> failure does occur in real life, and we are pointed<br /> to Byron as an example. But it is not convincing.<br /> Success does not come in this way, Byron notwith-<br /> standing. Cinderella is a special favourite in<br /> Fiction—in days gone by she was even a greater<br /> favourite than she is at present. In Fiction and<br /> Fairy Tales she goes to the ball and marries her<br /> prince, and rejoices in the discomfiture of her<br /> sisters, which is the greatest thing of all. In real<br /> life, alas ! Cinderella stays at home and marries<br /> the curate. And Cinderella&#039;s godmother ? In<br /> days gone by she used to be the long lost uncle<br /> <br /> <br /> ## p. (#592) ################################################<br /> <br /> 202<br /> TISIES A crºRIOR.<br /> from the goldfields of Australia—more recently<br /> she is the eccentric millionaire, American or other-<br /> wise, and no relation to Cinderella whatever.<br /> Still, there she is, and her vulgarity and twang do<br /> not disguise from us for a moment that the Deus<br /> er machina is really the Dea of our childhood.<br /> It is in fact beyond dispute that the whole of the<br /> machinery of Fiction is identical with the<br /> machinery of Fairy Tales. In a few details only,<br /> and those for the most part of a purely surface<br /> character, do those two classes of literature vary.<br /> Therefore as Fairy Tales are older than Fiction, the<br /> writers of the latter, if they have a scrap of gratitude<br /> in them, will regard with less patronising contempt<br /> the composition of the former. The dwarf on the<br /> shoulders of the giant does not think much of the<br /> giant, but he is a dwarf for all that, and the giant<br /> is still the giant.<br /> E. P. II.<br /> THE ART OF ILLUSTRATING.<br /> - —º-º-º-<br /> BY WM. BRETT PLUMMER.<br /> (Compiled for the use of authors, artists, journalists,<br /> advertisers, and others.)<br /> (All rights reserved by the Author.)<br /> CHAPTER WII.<br /> Various Processes, and Concluding Remarks.<br /> IN the foregoing chapters I have described those<br /> processes that are most useful and more<br /> generally adopted for illustrative purposes<br /> by reason of their commercial adaptability.<br /> There are several others however, which, while<br /> beautiful in their finish and effect, can only be used<br /> under certain conditions.<br /> Photogravure.<br /> The first and most important of these is the<br /> “Photogravure&quot; process, an example of which is<br /> presented with this issue.<br /> This process is an excellent one for portraiture<br /> and any general work that can be used as an insel,<br /> but it cannot be printed off with the ordinary type-<br /> matter on a printing machine, and therefore is in<br /> many cases inapplicable.<br /> Photogravure is, as in half-tone, a photo-<br /> graphic process, but is made without a screen of any<br /> hind on a polished copper plate, and is moreover of<br /> a sunken or intaglio nature, the paper being damped<br /> for printing purposes and then forced into the<br /> cavities after the same manner as an ordinary<br /> copper-plate.<br /> It would be superfluous to enter into the details<br /> of this special branch of art reproduction more<br /> than to say that, these plates being printed from<br /> entirely by hand, the cost of same is naturally<br /> expensive, and in many cases prohibitive.<br /> As to the photogravure plate itself, the price<br /> varies somewhat according to the reputation of the<br /> firm supplying same, but it may be assumed to<br /> range at from 18. to 1s. 6d. per square inch, with a<br /> minimum cost of from thirty shillings to two<br /> guineas for each plate.<br /> Being slow as well as costly, it is generally<br /> unsuitable for large editions.<br /> It can be produced in colour form when required,<br /> but as each printed impression is practically coloured<br /> by hand on the plate itself it will be readily under-<br /> stood that this method requires a long purse if first<br /> class results are desired to be obtained.<br /> Collotype.<br /> In this process also the camera plays an im-<br /> portant part, the pictures being reproduced by<br /> mechanical means.<br /> It is used a great deal for insets in book illustra-<br /> tion, etc., and has been utilised extensively for<br /> picture postcard and similar work.<br /> A sheet of thick plate-glass after being sensitised<br /> is exposed under a negative. The film, when kept<br /> moist, will take ink readily and can be printed on<br /> a hand press or cylinder machine. This process is,<br /> however, very sensitive to atmospheric changes, and<br /> although much quicker than photogravure is not<br /> nearly so certain or generally effective as the latter.<br /> Nor is it so artistic.<br /> It is, moreover, very variable in its results, and<br /> is therefore not to be recommended in an ordinary<br /> way as it often ends in disappointment.<br /> A collotype can be printed in any number of<br /> colours by super-imposition. .<br /> In giving out work by this process the best form<br /> of procedure is to obtain estimates and samples<br /> from various firms and compare their prices and<br /> quality of work for the reproduction and prints<br /> combined.<br /> It is difficult to lay down an absolute rule or<br /> guidance as to price, so many surrounding circum-<br /> stances having to be taken into consideration.<br /> It is only fair to say that some very beautiful<br /> results in colour have been attained by collotype<br /> reproduction, but it is uncommercial in a general<br /> Sense by reason of its uncertainty.<br /> Combination Colour Work.<br /> There are a number of effective ways of repro-<br /> ducing colour work by means of combining the<br /> various processes. Picture postcards especially are<br /> often treated in this way, and the results are<br /> frequently quite artistic.<br /> These combinations appear under all sorts of<br /> names and disguises, many firms of reproducers<br /> <br /> <br /> ## p. (#593) ################################################<br /> <br /> TISIES A DITFIOR,<br /> 203<br /> christening their particular method under some<br /> compound title, which is not only confusing but<br /> deceptive, and claiming it as their own special and<br /> secret process.<br /> This, as may be imagined, however, is only trade<br /> bluff.<br /> One of the favourite forms of combination,<br /> which has appeared under all sorts of fancy head-<br /> ings, is to produce the colour portion by means of<br /> lithography and then to print the key on top of<br /> same by means of half-tone or collotype. Both<br /> ways are striking and good when well carried out.<br /> I would like to warn authors against what are<br /> called new processes. Whenever a man mentions<br /> a perfectly new process to me I immediately<br /> become sceptical. I have seen so many and heard<br /> of so many. They are like ghosts: they appear<br /> and they vanish, and remind me of Macbeth&#039;s<br /> truism :— .<br /> “Out, out brief candle !<br /> Life&#039;s but a walking shadow, a poor player<br /> That struts and frets his hour upon the stage,<br /> And then is heard no more.”<br /> I have no desire to hear of any new processes for<br /> some time.<br /> Continental Terms.<br /> In sending blocks abroad, for the purpose of<br /> facilitating correspondence, it may be mentioned<br /> that an ordinary line block is called a cliché, an<br /> electro is termed a galvano, half-tone work is<br /> known as photo-gravure, and three-colour process as<br /> helio-gravure.<br /> These terms are recognised in Germany and<br /> Austria as well as in France, and are generally<br /> accepted throughout the European Continent.<br /> Disused Metal Blocks.<br /> Disused blocks quickly accumulate and are often<br /> in the way, but they, unfortunately, fetch very<br /> little unless you can find a purchaser who can<br /> utilise them in their original form. Sometimes, of<br /> course, one does not wish them to be reprinted by<br /> a second party, and then the only thing is to<br /> dispose of them as old metal.<br /> Under these circumstances they should be<br /> scratched over by a sharp tool so as to prevent<br /> them being printed from by unscrupulous pur-<br /> chasers.<br /> In this condition they fetch a very small price ;<br /> generally averaging only between 7s. 6d. and<br /> 12s. 6d. per cwt., wood included.<br /> This selling price applies to old electros and<br /> zincos, all of which go into the melting pot.<br /> Copyright and Piracy.<br /> It is not customary in this country to reproduce<br /> portraits or photographs without the Sanction of<br /> the original photographer, unless you can show a<br /> receipt for payment for the photograph in the first<br /> instance.<br /> Professional photographers generally make a<br /> charge varying from 5s. to £1 1s. for the right of<br /> reproduction, and in the case of well-known firms<br /> also an insistence that their names shall be<br /> acknowledged in the publication.<br /> If a purchaser commissions an original drawing<br /> or sketch from an artist, he will then own the<br /> entire copyright, and it is his sole right to reproduce<br /> same in any form, unless there is some specially<br /> drawn up agreement to the contrary.<br /> Where a photographer has taken a portrait of a<br /> person, celebrity or otherwise, without making any<br /> charſe, the right of reproduction belongs to the<br /> photographer.<br /> Throughout America and Canada I regret to say<br /> there is a general disinclination either to acknow-<br /> ledge or pay copyright fees for English photographs,<br /> and piracies occur in the most shamefaced way on<br /> every hand.<br /> I have seen numbers of English photographs<br /> reproduced in well-known American and Canadian<br /> publications. Their English origin is totally<br /> ignored.<br /> . It is a matter that might, with advantage, be<br /> inquired into by English producers who should<br /> be naturally interested in such an important<br /> Question.<br /> —e—º-e—<br /> AMERICAN JOURNALISM.”<br /> —º-º-º-<br /> 0 reader is likely to rise from the perusal of<br /> this work with feelings of enthusiasm for<br /> the newspapers of the United States of<br /> North America. If all that Mr. Rogers says of<br /> them is true, then they may, with a few honourable<br /> exceptions, such as the New York Evening Post, be<br /> divided into two classes: newspapers which one<br /> would not willingly touch with a pair of tongs,<br /> and newspapers which one would not willingly<br /> touch with anything but a pair of tongs. They<br /> suppress, doctor, or even invent news to serve the<br /> interests of politicians or gratify the wishes of<br /> advertisers. Their sensationalism panders to the<br /> lowest instincts of their subscribers. They<br /> unscrupulously invade the privacy of private life,<br /> and they habitually blackmail and intimidate<br /> public men. If we could imagine an English<br /> newspaper endeavouring to secure the acquittal of<br /> such a character as the late Whittaker Wright by<br /> threatening to discover skeletons in the cupboards<br /> * “The American Newspaper,”<br /> Edward<br /> Rogers. University of Chicago Press.<br /> by James<br /> <br /> <br /> ## p. (#594) ################################################<br /> <br /> 204<br /> TFIE A DITFIOR.<br /> of the jury and to get the judge kicked off the<br /> bench if he were convicted, we should have a fair<br /> parallel to the state of things which Mr. Rogers<br /> describes as prevailing in San Francisco in con-<br /> nection with “boodle&quot; and “graft.” The indict-<br /> ment, of course, is his, not ours. We merely<br /> register his impressions without presuming to<br /> go behind them. . As he assures us that he<br /> examined fifteen thousand newspapers in order<br /> to form them, he is at all events well docu-<br /> menfö. The fault, however, cannot be attributed<br /> solely to the innate wickedness of editors, or<br /> even of proprietors. The deficiencies of the law<br /> of the land are largely responsible. If judges were<br /> irremovable, if the law of libel were effective, and<br /> if contempt of court were properly punished, many<br /> of the worst features of American journalism would<br /> disappear. Even so, however, it would remain a<br /> disappointing journalism—a standing proof of the<br /> decline in American ideals which followed upon<br /> the passing of the intellectual sceptre from New<br /> England to New York and the new cities of the<br /> West. New England always aimed high, though<br /> its outlook was somewhat narrow. New York and<br /> Chicago combine a broad outlook with low aims,<br /> and their Press reflects the desire of rich men to<br /> exploit the multitude. The same tendency may,<br /> it is true, be detected in some sections of Our Own<br /> Press; but it is less pronounced with us, because<br /> we have more deeply rooted traditions than the<br /> Americans, and a greater reverence for law and<br /> order. This sentiment may sound pharisaical,<br /> but it is true.<br /> —o-º-e<br /> STOPS, OR HOW TO PUNCTUATE.”<br /> —t-sº-0–<br /> R. ALLARDYCE has compiled in his<br /> M | treatise on the grammatical points a work<br /> which should be in the hands of every<br /> author. It is sometimes asserted that authors<br /> leave such details as the “stops * to the care of<br /> the printer. We hope that the allegation is not<br /> true; as, on the one hand, it is inconceivable that<br /> any man who respects his own work should leave<br /> its meaning to the mercy of the compositors :<br /> and, on the other hand, it is only too evident that<br /> a writer who does not know how to use the points<br /> correctly can himself have only a vague notion of<br /> what he has wished to convey. At the same time,<br /> that, on certain occasions, very delicate distinctions<br /> are involved, and considerable literary ability<br /> * “Stops, or how to Punctuate; a Practical Handbook<br /> for Writers and Students.” Paul Allardyce, London : T.<br /> Fisher Unwin. 8vo.<br /> displayed by a deft use of the points, cannot be<br /> denied ; and any one in doubt may consult with much<br /> advantage “Stops, or How to Punctuate.” The<br /> little work is both full and accurate. No detail<br /> of any kind has been omitted ; and the author<br /> has much enhanced the value of his book by<br /> lucidly explaining the grounds upon which his<br /> excellent rules are based.<br /> ~--—w- • *-*.<br /> CORRESPONDENCE,<br /> –0-0-0–<br /> DEAR SIR,-With regard to “No Copyright in<br /> Titles,” I learn that a novel lately announced in The<br /> Author has the title of an old one of mine fairly well<br /> known in its day, viz., “Joy.”<br /> On three previous occasions I have known titles<br /> of mine copied, with the alteration or omission of<br /> a word. But this is my first experience of wholly<br /> sincere flattery—I am ready to believe unpremedi-<br /> tated. However, as “Joy” appears in my published<br /> lists of novels in works of reference, pray allow<br /> me to state my claim to priority of ownership<br /> in the name.<br /> I remain, dear Sir,<br /> Yours truly,<br /> MAY CROMMELIN.<br /> TRIBUTE NO. 2.<br /> SIR,-Although not a member of the Society,<br /> I should like, if I may, to endorse Mr. Jacbern&#039;s<br /> tribute to publishers.<br /> Since 1884 my MSS. have been running about,<br /> many to America, and never have I lost one or had<br /> it returned in a bad condition.<br /> Only once have I had any difficulty about pay-<br /> ment. An American journal which went into<br /> liquidation paid me eventually in full without<br /> being asked. But I have always observed such<br /> rules as your correspondent calls “hints.”<br /> I have had three books published. No. 1 was<br /> taken by the first publisher, so was No. 2, and<br /> No. 3 only took two journies. They are not stories,<br /> nor in any way remarkable. I never knew an<br /> editor nor a publisher, and only once did a friend<br /> approach an editor on my behalf. Nor do I type<br /> my MSS. ; I write them as clearly as I can, and<br /> post them to take their chance on their own merits.<br /> I consider I have always been treated fairly and<br /> courteously.<br /> Yours faithfully,<br /> S. B.<br /> <br /> <br /> ## p. (#595) ################################################<br /> <br /> AD VERTISEMENTS. - iii<br /> -<br /> <br /> <br /> AUTHORS 1<br /> HAVE YOU A MS.<br /> TO DISPOSE OF 2<br /> THE LITERARY YEAR BOOK<br /> (Cr. 8vo, 6S. net, 966 pages)<br /> will give you all particulars of Literary Agents,<br /> Typists, Publishers (British and Foreign); will<br /> explain all forms of publishers&#039; agreements, law<br /> of copyright, etc.; also all periodicals and<br /> magazines (British, American and Colonial)<br /> accepting outside contributions, with rate of<br /> payment and other necessary information.<br /> The CLASSIFIED INDEX will tell you AT<br /> ONCE the most suitable periodicals for your<br /> particular MS., thereby saving you much<br /> mis-spent time and money.<br /> “We wish . . . people who send round their wildly unsuit-<br /> able MSS. would procure the book and cease their activities.”<br /> —Athenæum.<br /> OTHER CONTENTS are :— Directory and Index<br /> of Authors; Obituary Notices ; Booksellers;<br /> Libraries; Royalty Tables; Societies; Classi-<br /> fied Irist of Cheap Reprints, etc.<br /> “An indispensable book of reference for authors and<br /> journalists.”—Daily Graphic.<br /> G. ROUTLEDGE &amp; SONS, Ltd., Garter Lane, E.G.<br /> DD YOU WRITE PLAY$9|<br /> The International Copyright Bureau, Ltd.,<br /> can be of service to you.<br /> We act as Agents for placing Plays,<br /> Operettas, Operas, Sketches, &amp;c., in England<br /> and abroad on the best possible terms.<br /> We have placed Plays with almost all i<br /> leading Managers.<br /> We copyright dramatic property and collect<br /> authors’ fees.<br /> We arrange Invitation Performances.<br /> We review, advise upon, and remodel Plays<br /> and Musical Compositions.<br /> We undertake translations and adaptations<br /> from and into all European languages.<br /> All English Plays submitted to the Bureau<br /> are read by Mr. A. L. Ellis, so well known as a<br /> dramatic critic and now joint director of the<br /> International Copyright Bureau. 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It is a<br /> quiet comfortable house ; the number of boarders is limited<br /> to 14, and references are required. Terms from 25s, a week.<br /> Redcliffe Gardens is five minutes&#039; walk from Earl&#039;s Court<br /> District and Tube Stations.<br /> Prospectus on application to MISS MACKINTOSH.<br /> SIPKES and SIRES,<br /> The West Kensington Typewriting Offices,<br /> (Established 1893),<br /> 223a, HAMMERSMITH ROAD, LONDON, W. *<br /> Authors&#039; MSS. 1s. 1,000 words; over 40,000, 10d. No unfair<br /> “cutting” of prices.<br /> Educated Operators, GOOD PAPER, Standard Machines.<br /> REFERENCES.<br /> AUTHORs &amp; playwrights.<br /> Special facilities for placing work of every description.<br /> Particulars from Manager, Literary Department, -<br /> WHENER AGENCY, LD.,<br /> 64, Strand, LONDON,<br /> AND TRIBUNE BUILDING, NEW YORK.<br /> ESTABLISHED]<br /> The Wessex Press,<br /> Tattºnton. IXVIII. CENT.<br /> BARNICOTT &amp; PEARCE .<br /> INVITE ENQUIRIES RESPECTING PRINTING.<br /> ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br /> <br /> <br /> ## p. (#596) ################################################<br /> <br /> iv AD VERTISEMENTS.<br /> TYPEWRITING<br /> with BRAINS.<br /> MISS RALLINGi is an<br /> EXPERT TYPIST<br /> - and She uses her -<br /> BRAINS as Well as<br /> her HANDS on all the<br /> WORK She undertakes.<br /> PLEASE “Miss Ralling has typed for me on<br /> READ Several occasions, and I have much<br /> MY pleasure in Saying that she typed most<br /> ~ beautifully and with much care. She<br /> LATEST did some very difficult work for me.”—<br /> TESTIMONIAL. Mrs. F. G., Haslemere, Surrey.<br /> ALL WORK ENTRUSTED TO ME IS WELL DONE.<br /> AUTHORS are respectfully requested<br /> to NOTE MW GHARGES ARE WERW LOW.<br /> CORREGINESS. CHEAPNEss! 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It is easy<br /> to carry—we have a special aluminium Travellers&#039; Model—<br /> and it has centred in it the best qualities of the higher priced<br /> Price 9 to 13 Guineas. -<br /> CA.J.H. DIJ COUNT OR EAJY TERMJ. WRITE FOR TROOKLET 84.<br /> THE BLICKensderfer Co., Ltd.,<br /> Machines at half the price.<br /> 9 &amp; 10, CHEAPSIDE, LONDON, E.C.<br /> Printed by BRADBURY, AGNEw, &amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)<br /> at 10, Bouverie Street, London, E.C.<br /> <br /> <br /> <br /> ## p. (#597) ################################################<br /> <br /> C be El u t b or.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> C O N T E N T S.<br /> PAGE PAGE<br /> Notices ... tº º g e is $ * * * we gº tº * * * tº e e tº &amp; © ... 205 Dramatic Authors and Agents &amp; a s gº as ſº * * * v s &amp; ... 219<br /> Committee Notes &amp; e &amp; tº gº º * * * tº º &amp; * * * * * * ... 207 Warnings to Musical Composers ... tº tº º g &amp; # e e º ... 219<br /> Books published by Members of the Society ... ... ... 210 Stamping Music ... ... &quot; ... ... ... ... ... ... 219<br /> Books published in America by Members... ... ... ... 211 The Reading Branch ... ... ... ... ... ... ... 219<br /> Literary, Dramatic and Musical Notes ... * * * tº º º ... 212 General Notes ... tº gº º tº e e tº $ tº tº gº tº * * $ tº gº tº ... 220<br /> Paris Notes &amp; © gº tº º e e º e &amp; © tº * a s we g e tº gº º ... 214 S. L. Clemens ... * * * &amp; 4 tº * * * * * * * * * * * * ... 221<br /> The Editorial Attitude... * - tº * * * tº º ve tº $ $ gº tº ... 216 The Society, the Composer, and Messrs. Stainer &amp; Bell ... 222<br /> Victor Hugo and Charles Dickens ... … &amp; s * * * * * * ... 217 Ideas, and How to Protect Them ... º € $ tº e a * * * ... 224<br /> Magazine Contents * * 4 tº e tº # = s. a &amp; tº * * * ..., 217 Of the Making of Books * * * * * * * * * * * * &amp; e &amp; ... 226<br /> How to Use the Society tº º º tº &amp; © * * * &amp; e &amp; &amp; &amp; © ... 218 International Copyright * * * tº e º * tº º g is a * * * ... 229<br /> Warnings to Producers of Books ... tº $ tº tº e º * * * ... 218 The Feminine Note &amp; sº tº * * * ge &amp; &amp; e tº º * * * * * * ... 230<br /> Warnings to Dramatic Authors tº e tº * * * sº tº gº &amp; &amp; © ... 21S Correspondence ... * e e a gº º * * * &amp; a tº * &amp; &amp; &amp; tº ... 230<br /> Registration of Scenarios and Original Plays ... tº sº º ... 219<br /> E’UBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report for the current year. 1s.<br /> 2. The Author. Published ten months in the year (August and September omitted), devoted especially<br /> to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br /> to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per vol.<br /> 3. Literature and the Pension List. By W. MoRRIS COLLES, Barrister-at-Law. 3s.<br /> 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.<br /> 5. The Cost of Production. (Out of print.)<br /> 6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the<br /> various kinds of fraud which have been made possible by the different clauses therein. 3s.<br /> Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br /> º office of the Society since the publication of the “Methods.” With comments and<br /> advice. 2s.<br /> 7, Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill of 1890. With<br /> Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br /> American Copyright Bill. By J. M. LELY. 1s. 6d.<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). 1s.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> LUNGE, J.U.D. 2s. 6d.<br /> 10. Forms of Agreement issued by the Publishers&#039; Association ; with Comments. By<br /> G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 1s.<br /> 11. Periodicals and their Contributors. Giving the Terms on which the different Magazine<br /> and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> 13. International Copyright Convention as Revised at Berlin, 1909. 18.<br /> [All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. (#598) ################################################<br /> <br /> AD VERTISEMENTS.<br /> The suriefn of Autburg (ſmrurporaten).<br /> Telegraphic Address : “A UTORIDAD, LONDON.”<br /> Telephone No. : 374 Victoria.<br /> SIR ROBERT ANDERSON, K.C.B.<br /> SIR. W.M. REYNELL ANSON, Bart., D.C.L.<br /> THE RIGHT HON. THE LORD AVE-<br /> J. M. BARRIE. [BURY, P.C.<br /> SIR ALFRED BATEMAN, K.C.M.G.<br /> ROBERT BATEMAN.<br /> F. E. BEDDARD, F.R.S.<br /> MRS. BELLOC-LOWNDES.<br /> THE RIGHT HON. AUGUSTINE BIR-<br /> RELL, P.C.<br /> MHS. E. NESBIT BLAND.<br /> THE REv. PROF. BonREY, F.R.S.<br /> THE RIGHT HON. JAMES BRYCE, P.C.<br /> THE RIGHT HON. THE LORD BURGH-<br /> CLERE, P.C.<br /> HALL CAINE.<br /> J. W. COMYINS CARR.<br /> Fºg ERTON CASTLE, F.S.A.<br /> S. L. CLEMENS (“MARK TwAIN &#039;&#039;).<br /> EDWARD CLODD. -<br /> W. MORRIS COLLES.<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> THE RIGHT HON. THE LORD CURZON<br /> OF KEDLESTON, P.C.<br /> PRESIDENT.<br /> TIETOIN/I_A_S IEEI. A TER, DTY -<br /> COUNCIL.<br /> AUSTIN DOBSON.<br /> SIR ARTHUR CONAN DOYLE.<br /> A. W. DUBOURG.<br /> DOUGLAS FRESHFIELD.<br /> SIR. W. S. GILBERT.<br /> EDMUND GOSSE, LL.D.<br /> SYDNEY GRUNDY.<br /> H. RIDER HAGGARD.<br /> MRS. HARRISON (“LUCAS MALET&quot;).<br /> ANTHONY HOPE HAWKINS,<br /> E. W. HORNUING,<br /> MAURICE HEWLETT.<br /> W. W. JACOBS.<br /> JEROME K. JEROME.<br /> HENRY ARTHUR JONES.<br /> J. SCOTT KELTIE, LL.D.<br /> RUDYARD RIPLING.<br /> SIR EDWIN RAY LANKESTER, F.R.S.<br /> THE REv. W. J. LoKTIE, F.S.A.<br /> THE RIGHT HON. SIR ALFRED<br /> LYALL, P.C.<br /> LADY LUGARD<br /> SHAw).<br /> (MISS FLORA L.<br /> MRS. MAXWELL (M. E. 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Solicitors.<br /> HERBERT SULLIVAN.<br /> SIR. JAMES YOXALL, M.P.<br /> ARTHUR RACKHAM.<br /> M. H. SPIELMANN.<br /> Secretary—G. HERBERT THRING,<br /> Solicitor im Emgland to<br /> La Société des Gems de Lettres.<br /> Legal Adviser in the United States—JAMES BYBNE, 24, Broad Street, New York, U.S.A.<br /> 39, OLD QUEEN STREET, StoREY&#039;s GATE, S.W.<br /> <br /> <br /> ## p. (#599) ################################################<br /> <br /> ADVERTISEMENTS. iii<br /> kº Vºž<br /> S&amp;º &amp;ºr;<br /> § ºss<br /> º 3º Wºź ſº<br /> § ºš Čš tº<br /> §§ § § ¥s sº<br /> ſº *: &amp;A ºf ***<br /> . º<br /> &amp; &amp;<br /> [.<br /> * Nº. §§<br /> ..º.º. jº<br /> § *:<br /> Gºmº<br /> ºſºft &amp;<br /> 4;ſº<br /> %Nº.ſ#§<br /> s .<br /> º-&amp;º&quot;.<br /> ºtº 3 *<br /> §<br /> sº<br /> * ...:š.ś<br /> ;<br /> :-<br /> *<br /> º<br /> hº<br /> A MONTHLY MAGAZINE<br /> For the Publication of<br /> #!/ºš The following are among the Contributors to the April<br /> šº/sº Number:—<br /> CHAPMAN &amp; HALL, LTD.,<br /> 11, HENRIETTA ST., STRAND, W.C.<br /> ORIGINAL POETRY, .<br /> LITERARY ARTICLES,<br /> AND REVIEWS. . . .<br /> ETHEL CLIFFORD,<br /> LADY MARGARET SACKVILLE,<br /> DORA SIGERSON SHORTER,<br /> CONSTANCE SUTCLIFFE,<br /> A. ST. JOHN ADCOCK,<br /> A. C. BENSON,<br /> BERNARD CAPES,<br /> NORMAN GALE,<br /> A. L. SALMON.<br /> MR. H. G. WELLS writes on<br /> “BUNYAN FOR BUSY MEN.”<br /> ONE SHILLING NET.<br /> TO Authors and Journalists.<br /> Are you, SATISFIED with the quality of<br /> your work? -<br /> Does your literary output find a ready<br /> market? -<br /> These are pertinent questions and well worth<br /> answering.<br /> Many young writers would meet with success<br /> if they took the trouble to learn the technique<br /> of their art. Our Students are successful<br /> because we instil into them that subtle some-<br /> thing which makes for success. We cultivate<br /> their special bent and enable them to make the<br /> most of their natural gifts.<br /> A Course of Training under our supervision<br /> will, at the very outset, put you on the path of<br /> progress—the road that leads to the Editorial<br /> Sanctum. Let us tell you more about this ; we<br /> shall be pleased to send you full particulars on<br /> receipt of a post-card:<br /> Address your application to the–<br /> LITERARY CORRESPONDENGE GOLLEGE,<br /> 9, Arundel Street, Strand, W.G.<br /> TYPEWRITING.<br /> Authors&#039; MSS. copied from 9d. per 1,000<br /> words; in duplicate, 1/-. Plays and General<br /> Copying. List and specimen of work on appli-<br /> cation.<br /> ONE OF NUMEROUS TESTIMONIALS.<br /> “Miss M. R. HoRNE has typed for me literary matter to the<br /> extent of some hundreds of thousands of words, I have nothing<br /> but praise for the accuracy, speed, and neatness with which she<br /> does her work.—FRANK SAVILE.” .<br /> Miss M. R. HORNE,<br /> ESKIDALE, WEST DRAYTON, MIDDIESEX.<br /> YWYAN THEID 2<br /> AUTHORS&#039; MSS., PLAYS, AND GENERAL COPYING.<br /> Don&#039;t hesitate. Send a trial order now. I guarantee<br /> satisfaction. One Carbon 1) uplicate supplied gratis<br /> with first order. Terms on application.<br /> C. HERBERT CAESAR,<br /> - Homefield, Woodstock Rd., ST, ALBANS, HERTs.<br /> AUTHORS’ TYPEWRITING.<br /> Novel and Story Work ... 9d. per 1,000 words; 2 Copies, 1/-<br /> General Copying tº e ... 1/1 5 p. } ) 3 y 1/3<br /> Plays, ruled * - &amp; s * * 1|- 3 y $ 3 * , 1|4<br /> Specimens and Price List on application.<br /> MISS A. B. STEVENSON, Yew Tree Cottage,<br /> SUTTON, MACCLESFIELD.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. (#600) ################################################<br /> <br /> iv - AD VERTISEMENTS.<br /> 150th Thousand.<br /> On Sale at all Bookstalls and Bookshops everywhere.<br /> PUNCH<br /> An interesting talk about himself and his<br /> Illustrations and Cartoons:<br /> renowned Contributors; his Literary Articles,<br /> With many reproductions of the more famous of each of them.<br /> A 56 pp. Booklet, finely printed on Art Paper.<br /> One of the innumerable reviews of this booklet says: “If ever anything<br /> be worth more than you are asked to pay, then this little book is one.<br /> It is worth more by reason of its literary matter, its illustrations, and<br /> the good paper on which it is so well printed.”<br /> Price One Penny.<br /> TYPE WRITING<br /> from 10d. per 1,000 words, by experienced<br /> Typist. 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