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421	https://historysoa.com/items/show/421	The Author, Vol. 21 Issue 09 (June 1911)	<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.+21+Issue+09+%28June+1911%29"><em>The Author</em>, Vol. 21 Issue 09 (June 1911)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</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>	1911-06-01-The-Author-21-9					211–238																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=21">21</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1911-06-01">1911-06-01</a>							9			19110601	The Author.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> VOL. XXI.-No. 9.<br /> JUNE 1, 1911.<br /> [PRICE SIXPENCE.<br /> CONTENTS.<br /> PAGR<br /> 211<br /> ...<br /> 211<br /> 211<br /> 212<br /> 213<br /> 215<br /> 216<br /> Notices<br /> The Society&#039;s Funds<br /> List of Members ...<br /> The Pension Fund<br /> Committee Notes<br /> Books published by Members<br /> Books published in America by Members...<br /> Literary. Dramatic and Musical Notes<br /> Paris Notes ... ...<br /> Academic Committee ...<br /> Dramatic Rights in America<br /> Magazine Contents ...<br /> How to Use the Society<br /> Warnings to the Producers of Books<br /> Wamings to Dramatic Authors<br /> PAOK<br /> 223<br /> 223<br /> 223<br /> 223<br /> 223<br /> 223<br /> 224<br /> 226<br /> 227<br /> 229<br /> 231<br /> 234<br /> 235<br /> 236<br /> Registration of Scenarios and Original Plays<br /> Dramatic Authors and Agents<br /> Warnings to Musical Composers<br /> Stamping Music ...<br /> The Reading Branch<br /> Remittances<br /> General Notes<br /> Sir Alfred Comyn Lyall<br /> Books and their Published Price<br /> Prize Competitions<br /> Style in Literature ... ...<br /> Short Reviews<br /> Thirty-six Dramatic Situations<br /> Essays on Russian Novelists...<br /> Correspondence ...<br /> 217<br /> 218<br /> 220<br /> :<br /> 221<br /> 221<br /> 222<br /> 222<br /> 222<br /> 237<br /> PUBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report for the current year. 1s.<br /> 8. 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 58. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per vol.<br /> 8. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 38.<br /> 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.<br /> 8. The Cost of Production. (Out of print.)<br /> 1. 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. 38.<br /> Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br /> the office of the Society since the publication of the “ Methods.” With comments and<br /> advice. 28.<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. 18. 6d.<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). 18.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> LUNGE, J.U.D. 28. 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. 18.<br /> 11. Periodicals and their contributors. Giving the Terms on which the different Magazines<br /> and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> 13. International Copyright Convention as Revised at Berlin, 1909. 1s.<br /> [All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. 210 (#284) ############################################<br /> <br /> ADVERTISEMENTS.<br /> The Society of Authors (Incorporated).<br /> Telographic Address : “ AUTORIDAD, LONDON.&quot;<br /> Telephone No. : 314 Victoria.<br /> PRESIDENT.<br /> THOMAS HARDY, O.M<br /> COUNCIL<br /> SIR ROBERT ANDERSON, K.C.B.<br /> AUSTIN DOBSON.<br /> THE REV. C. H. MIDDLETON-WABE<br /> SIBWM.REYNELL ANSON, Bart.,D.C.L. | SIR ARTHUR CONAN DOYLE.<br /> SIR HENRY NORMAN, M.P.<br /> THE RIGHT HON. THE LORD AVE- DOUGLAS FRESH FIELD.<br /> SIR GILBERT PARKER, M.P.<br /> J, M, BARRIE.<br /> [BURY, P.C. SIR W. S, GILBERT.<br /> SIR ARTHUR PINERO.<br /> SIR ALFRED BATEMAN, K.C.M.G. EDMUND GOSSE, LL.D.<br /> THE RIGHT Hon. SIR HORACE<br /> ROBERT BATEMAN.<br /> SYDNEY GRUNDY.<br /> PLUNKETT, K.P.<br /> F. E. BEDDARD, F.R.S.<br /> H. RIDER HAGGARD.<br /> ARTHUR RACKHAM.<br /> MRS. BELLOC-LOWNDES.<br /> MRS. HARRISON (“Locas MALET&#039;). OWEN SEAMAN.<br /> THE RIGHT HON. AUGUSTINE BIR. ANTHONY HOPE HAWKINS,<br /> G. BERNARD SHAW.<br /> BELL, P.C.<br /> E. W. HORNUNG.<br /> G. R. SIMS.<br /> MRS. E. NESBIT BLAND<br /> MAURICE HEWLETT.<br /> S. SQUIRE SPRIGGE.<br /> THE REV. PROF. BONNEY, F.R.S.<br /> W. W. JACOBS.<br /> FRANCIS STORR.<br /> THE RIGHT HON. JAMES BRYCE, P.C. HENRY JAMES.<br /> SIR CHARLES VILLIERS STANFORD,<br /> THE RIGHT HON. THE LORD BURGH. JEROME K. JEROME.<br /> Mus. Doc.<br /> CLERE, P.C.<br /> HENRY ARTHUR JONES.<br /> MRS. HUMPHRY WABD.<br /> HALL CAINE.<br /> J. SCOTT KELTIE, LL.D.<br /> SIDNEY WEBB.<br /> J. W. COMYNS CARR.<br /> RUDYARD KIPLING.<br /> H. G. WELLS.<br /> EGERTON CASTLE, F.S.A.<br /> SIR EDWIN RAY LANKESTER, F.R.S. PERCY WHITE.<br /> EDWARD CLODD.<br /> THE REV, W.J. LOFTIE, F.S.A.<br /> FIELD-MARSHAL THE RIGHT Hox.<br /> W. MORRIS COLLES.<br /> LADY LUGARD (M188 FLORA L. THE VISCOUNT WOLSELEY, K.P.,<br /> THE HON. JOHN COLLIER.<br /> SHAW).<br /> P.C., &amp;c.<br /> BIR W. MARTIN CONWAY.<br /> MRS. MAXWELL (M. E. BRADDON).<br /> THE RIGHT HON. THE LORD CORZON AYLMER MAUDE.<br /> • OF KEDLESTON, P.C.<br /> JUSTIN MCCARTHY.<br /> COMMITTEE OF MANAGEMENT.<br /> Chairman-S. SQUIRE SPRIGGE, M.D.<br /> SIR ALFRED BATEMAN, K.C.M.G. | MAURICE HEWLETT.<br /> G. BERNARD SHAW.<br /> MR. BELLOC-LOWNDES.<br /> W. W. JACOBS.<br /> FRANCIR STORR,<br /> MAS. E. NESBIT BLAND,<br /> AYLMER MAUDE.<br /> SIDNEY WEBB,<br /> J. W. COMYNS CARR.<br /> ARTHUR RACKHAM.<br /> RUDOLPH BESIER.<br /> H. GRANVILLE BARKER.<br /> ANSTEY GUTHRIE.<br /> Miss CICELY HAMILTON.<br /> DRAMATIC SUB-COMMITTEE.<br /> Chairman-R. C. CARTON.<br /> | CAPT. BASIL Hood.<br /> | G, BERNARD SHAW.<br /> JEROME K. JEROME.<br /> Miss E. M. SYMONDS.<br /> W. SOMERSET MAUGHAM.<br /> CECIL RALEIGH.<br /> PENSION FUND COMMITTEE.<br /> Chairman-S. SQUIRE SPRIGGE, M.D.<br /> MUXLEY KUBERTS.<br /> MRS. ALEC TWEEDIE.<br /> M. H. SPIELMANN,<br /> | MRS. HUMPHRY WARD.<br /> ANSTEY GUTHRIE.<br /> ANTHONY HOPE HAWKINS,<br /> H. A. HINKSOX.<br /> E. J. MacGILLIVRAY.<br /> SIR GILBERT L&#039;ARKER, M.P.<br /> COPYRIGHT SUB-COMMITTEE.<br /> SIR CHARLES VILLIERS STANFORD, I HERBERT SOLLIVAN.<br /> Mus. Doc.<br /> SIR JAMES YOXALL, M.P.<br /> 1 M. H. SPIELMANN.<br /> The Hon. John COLLIER.<br /> SIR W. MARTIN CONWAY.<br /> ART.<br /> JOHN HASSALL, R.I.<br /> | J. G. MILLAIS.<br /> | ARTHUR RACKHAM.<br /> | M. H. SPIELMANN.<br /> FIELD, ROSCOE &amp; Co., 36, Lincoln&#039;s Inn Fields, W.C.<br /> Secretary-G, HERBERT THRING,<br /> G. HIKBERT THRING, 39, Old Queen Street, Stre: &#039;s Gate, s.W. ) Soloilors.<br /> Solicitor in England to<br /> Li Société des Gens de Lotures<br /> Legal Adviser in America—JAMES BYRNE, 24, Broad Street, New York, U.S.A.<br /> OFFICES.<br /> 29, OLD QUEEN STREET, STOREY&#039;S GATE, S.W.<br /> <br /> <br /> ## p. 210 (#285) ############################################<br /> <br /> ADVERTISEMENTS.<br /> Special Announcement to Authors !<br /> - PLAYS -<br /> MR. FORBES DAWSON<br /> Many would-be Competitors in<br /> Messrs. Hodder &amp; Stoughton&#039;s<br /> new £1,000 Novel Competition<br /> are prevented from entering simply<br /> because they cannot at once spare<br /> the money to have their MS. typed.<br /> A REMARKABLE OFFER!<br /> (Member of the Society of Authors),<br /> Master of Stage Craft, Technique, and<br /> Play Construction.<br /> Over 25 years&#039; continuous experience upon the<br /> stage itself as an actor in every class of play.<br /> Author of plays produced in England and<br /> America. Adapter of several novels to the stage.<br /> READS AND GIVES PRACTICAL ADVICE<br /> UPON PLAYS.<br /> TURNS SHORT STORIES INTO PLAYS.<br /> Makes no charge for reading and giving a<br /> practical opinion on a play from the point of<br /> view of stage craft and construction.<br /> If you will send your MS. and<br /> P.O. for 10-, together with a<br /> promise to pay the balance (at<br /> the rate of 1/- per 1,000 words,<br /> carbon duplicate 3d. per 1,000) in<br /> monthly instalments of £1, I will<br /> undertake to return you a per-<br /> fectly correct type-written copy.<br /> Absolute secrecy guaranteed.<br /> One of my numerous testimonials for Members of the Society of<br /> “I am especially pleased with your work.&quot;<br /> Authors-<br /> Knows the best men in the dramatic profession<br /> all over the world, and helps in the placing of<br /> those plays he is connected with.<br /> Address : 23, MIDMOOR ROAD, WIMBLEDON, S.W. ||<br /> C. 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BELMONT &amp; CO., 29, PATERNOSTER SQUARE, E.C.<br /> <br /> <br /> ## p. 210 (#286) ############################################<br /> <br /> ADVERTISEMENTS.<br /> Just out, 1/- paper, 2/- cloth, net.<br /> SMITH &amp; Son, Renfield Street, GLASGOW.<br /> “The Book Monthly is now enlarged and makes an exceedingly<br /> pleasant and readable publication.&quot;<br /> -CLAUDIUS CLEAR, in the British Weekly.<br /> WILLIAM THOMSON<br /> ,THE ..<br /> BOOK MONTHLY.<br /> (LORD KELVIN).<br /> His Way of Teaching Natural Philosophy,<br /> By DAVID WILSON.<br /> You know the &quot;Pook Monthly&quot; by name-you<br /> very often see it quoted in the papers. It is a<br /> brightly written, brightly illustrated magazine<br /> about the books and the literary affairs of the<br /> day. But as yet you have not taken it in!<br /> Well, you are missing something, and you<br /> should at once arrange to get it regularly.<br /> It is an instructing. entertaining “guide,<br /> philosopher and friend&quot; for the reader near<br /> the centre of things or far away. Being now<br /> seven years old, and so grown up, it has just<br /> been enlarged. and made more popular and<br /> practical in contents and style. Read it, and<br /> you will know what to read; what&#039;s what and<br /> who&#039;s who in the book world.<br /> ANECDOTES OF BIG<br /> CATS AND OTHER BEASTS.<br /> By DAVID WILSON.<br /> METAUEN &amp; Co., 6/-,<br /> Times.—“Mr. Theodore Roosevelt can recount many<br /> stories of such scenes, while Mr. D. 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Whether containing one number or a complete<br /> volume it has the appearance of, and handles the same as, an<br /> ordinarily bound book. It is the only method by which The<br /> Author can be instantly bound with the same facility as a single<br /> leaf, and there are no wires or elastic strings to get out of order.<br /> The whole invention is of English Manufacture. 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Clever FIRST BOOKS, recommended by the C.L.A., have been accepted<br /> by George Allen &amp; Sons, Ouseley, Ltd., Greening &amp; Co., Digby Long &amp; Co., Gardner Darton &amp; Co., Newnes<br /> Ltd., Bennett &amp; Co. (The Century Press), Alston Rivers, Ltd., Andrew Melrose, Longmans, Green &amp; Co.,<br /> Stanley Paul &amp; Co., John Long, Ltd., etc., at the Publisher&#039;s entire expense.<br /> Below is reproduced one from many hundreds of generous appreciations :-<br /> 365, Glossop Road, Sheffield,<br /> DEAR MR. MAGNUS, .<br /> Wednesday, May 10th, 1911.<br /> Please accept my sincere thanks for placing my first novel so quickly and so well after my own<br /> failures; and your courtesy and valuable advice have increased the obligation. 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It is nothing short of marvellous.&quot;<br /> TYPEWRITING<br /> The Literary Correspondence College,<br /> 9, Arundel Street, Strand, W.C.<br /> Undertaken by highly educated Women (Classical Tripos,<br /> Girton College, Cambridge ; Intermediate Arts, London).<br /> Research, Revision, Shorthand.<br /> THE CAMBRIDGE TYPEWRITING AGENCY,<br /> Telephone 2308 City. 5, Duke Street, Adelphi, W.C.<br /> <br /> <br /> ## p. 210 (#288) ############################################<br /> <br /> ADVERTISEMENTS<br /> meri. soooooooowwe Dodomewoo0000000omuever be<br /> p<br /> o<br /> COTTERILL &amp; CROMB,<br /> Literary, Artistic, and Dramatic Agents.<br /> 000000000do<br /> om 0000000000vnn.nonn0000000000<br /> The Managers of this Agency have exceptional facilities for placing Novels with the best<br /> Publishers. They have also a unique knowledge of the Buying and Selling of Magazine, Periodical and<br /> Newspaper Fiction. During the past six years they have placed Serials, Short Stories, Articles and<br /> Black and White Illustrations in all the leading British, Colonial and American publications on very<br /> favourable terms. New Authors of real promise receive encouragement and helpful advice. Expert<br /> knowledge is brought to bear upon every MS. with a view to placing it to the best advantage. Many<br /> Authors whose names are now well known were introduced to the reading public through the Managers of<br /> this Agency who have a long and close personal and business connection with the principal Publishers<br /> and Editors.<br /> DRAMATIC ADVISER—MR. WILLIAM MOLLISON.<br /> Mr. William Mollison, the well-known London and provincial actor, who acts as dramatic adviser<br /> for Messrs. Cotterill &amp; Cromb, has played Richelieu in &quot;The Musketeers,&quot; at the Haymarket ; Cardinal<br /> Colonne in “ Dante&quot; with Henry Irving at Drury Lane; and Pistol in “King Henry V.&quot; at the Lyceum ;<br /> and he was for some time in partnership with Lewis Waller. He produced “ The Bonnie Briar Rose&quot; at<br /> the St. James&#039;s, and has since played the part of Lauchlan Campbell in the provinces over a thousand times. He<br /> also took on tour John Galsworthy&#039;s remarkable play, “Strife,&quot; which created so profound an impression when<br /> Mr. Frohman produced it at the Duke of York&#039;s Theatre. More recently he made a great hit with a one-<br /> act sketch “The Touch of the Child.&quot;<br /> Messrs. Cotterill &amp; Cromb&#039;s clients have thus the advantage of Mr. Mollison&#039;s great influence and<br /> experience.<br /> Write for terms to- .<br /> ovocouco<br /> Lennox House, Norfolk Street, Strand, W.C.<br /> J<br /> acoconcoccouvommangono0oomma0000000monuncoo0000000000<br /> From STANLEY PAUL &amp; CO.&#039;S LIST.<br /> NEW 6/- NOVELS.<br /> A Woman of the Revolution. By Frank Hamel.<br /> Demy 8vo. Illustrated. 168. net.<br /> A MYSTERIOUS LOVER . . . Alice M. 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May Wynne<br /> Over 300 columns of Press notices have already appeared, and<br /> TWO GIRLS AND A MANNIKIN · Wilkinson Sherren<br /> recognised by all as<br /> “A REMARKABLE BOOK.&quot;<br /> SUFFRAGETTE SALLY . . . G. Colmore<br /> The Gay King. By Dorothy Senior.<br /> WHEN WE ARE RICH , . Ward Muir<br /> Demy 8vo. Illustrated. 128. 6d. net.<br /> A MAN WITH A PAST . . A. St. John Adcock Evening Standard &quot;An eminently readable book, which gives a<br /> far truer portrait of Charles and a better idea of his Court and<br /> THE LION&#039;S SKIN . . . Rafael Sabatini | times than can be found in many a more pretentious attempt.&quot;<br /> CANTACUTE TOWERS . - Cecil Adair<br /> Police and Crime in India.<br /> WHERE TRUTH LIES (2nd Edition). Jane Wardle<br /> By Sir Edmund Cox, Bart.<br /> THE RIDING MASTER (4th Edition) · Dolf Wyllarde<br /> Illustrated. 128. 60, net.<br /> Evening Standard says:-&quot;In perusing the many extraordinary<br /> FOR A WOMAN&#039;S HONOUR · Christopher Wilson<br /> details in which this book abounds, the reader feels as it he had<br /> LYING LIPS (2s. net) - - William Le Queux<br /> opened the Arabian Nights of Criminality. Mr. Rudyard Kipling<br /> had partially prepared him for some of the manifestations of<br /> TROPICAL TALES (2s. net)<br /> Dolf Wyllarde Indian cunning, but many of Sir Edmund&#039;s stories surpass any.<br /> thing to be found in ‘Plain Tales from the Hills&#039; and its congeners,<br /> THE CHEERFUL KNAVE (2s. net) - Keble Howard and they have the advantage, of course, of being true.&quot;<br /> STANLEY PAUL &amp; CO., 31, ESSEX STREET, LONDON.<br /> <br /> <br /> ## p. 211 (#289) ############################################<br /> <br /> The Author.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> VOL. XXI.-No. 9.<br /> JUNE 1ST, 1911.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<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 /> NOTICES.<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 SOCIETY&#039;S FUNDS.<br /> The Editor begs to inform members of the<br /> Authors&#039; 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 /> TROM 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 /> this perma<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 &#039;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 /> 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 58. 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 /> VOL. XXI.<br /> LIST OF MEMBERS.<br /> M HE List of Members of the Society of Authors,<br /> 1 published October, 1907, can now be obtained<br /> at the offices of the Society at the price of<br /> 6d., post free 71d. 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. 212 (#290) ############################################<br /> <br /> 212<br /> THE AUTHOR.<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 /> ·<br /> ·<br /> ·<br /> THE PENSION FUND.<br /> ·<br /> ·<br /> · ·<br /> · ·<br /> · ·<br /> · ·<br /> ·<br /> ·<br /> · ·<br /> · ·<br /> N February 1, the trustees of the Pension<br /> Fund of the society-after the secretary<br /> had placed before them the financial<br /> position of the fund—decided to invest £250 in<br /> the purchase of Consols.<br /> The amount purchased at the present price is<br /> rice is<br /> £312 13s. 4d.<br /> This brings the invested funds to £4,377 198. 4d.<br /> The trustees, however, have been unable to recom-<br /> mend the payment of any further pensions, as the<br /> 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 /> gear to declare another pension in case any im-<br /> portant claim is forthcoming.<br /> Consols 21%.............................. £1,312 13 4<br /> Local Loans ............................... 500 0 0<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 291 19 11<br /> London and North-Western 3% Deben-<br /> ture Stock .......<br /> ..... 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates .... 200 0 0<br /> Cape of Good Hope 32% Inscribed<br /> Stock .............................<br /> ....... 200 0 0<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock........... 228 0 0<br /> New Zealand 3% Stock...............<br /> Irish Land Act 27% Guaranteed Stock 258 0 0<br /> Corporation of London 21% Stock,<br /> 1927-57 ........<br /> 438 2 4<br /> Jamaica 31% Stock, 1919-49 .......... 132 18 6<br /> Mauritius 4% 1937 Stock. ............... 120 121<br /> Dcminion of Canada C.P.R. 31% Land<br /> Grant Stock, 1938........... ....... 198 3 8<br /> · · ·<br /> 3<br /> 3<br /> £ 3. d.<br /> Feb. 21, Rhys, Ernest<br /> 0 10 6<br /> Feb. 21, Cameron, Mrs. (Charlotte) 110<br /> Feb. 21, Mulliken, Mrs. .<br /> March 9, Boughton, Rutland<br /> 0 5<br /> March 10, Somers, John ..<br /> 0 5 0<br /> April 6, Rawlings, Burford<br /> . 0 10 6<br /> April 11, Wicks, Mark . . . 0 5 0<br /> May 2, Walter, J. . .<br /> 2 2 0<br /> Donations.<br /> 1911.<br /> Jan. 2, Northcote, The Rev. H.. 0 5 0<br /> Jan. 2, Mackenzie, Miss J. . . 0 5 0<br /> Jan. 3, Church, Sir Arthur H. . . 1 1 0<br /> Jan. 3, Wasteneys, Lady.<br /> 0 5 0<br /> va<br /> Jan. 4, P. H. and M. K. .<br /> · 2 2 0<br /> Jan. 4, Randall, F. J. .<br /> . 1 1 6<br /> Jan. 5, W.<br /> 0 10 0<br /> Jan. 5, Crellin, H. N.<br /> 0 5 0<br /> Jan. 5, S. F. G..<br /> 0 10 0<br /> Jan. 6, Blake, J. P...<br /> 1 1 0<br /> Jan. 7, Douglas, James A..<br /> 1 0 0<br /> Jan. 9, Grisewood, R. Norman . . 0 5 0<br /> Jan. 10, Wharton, Leonard C. . . 0 10 0<br /> Jan. 12, Tanner, James T..<br /> Jan. 16, Kaye-Smith, Miss Sheila : 0 5 0<br /> Jan. 17, Kemp, Miss Emily G.. 1 1 0<br /> Jan. 21, Greenstreet, The Rev. W.J.. 0 5 9<br /> Jan. 26, Blundell, Miss Alice . .<br /> Jan. 28, Benecke, Miss Ida . . 0 5 0<br /> Jan. 30, Wilkinson, The Rev. C.J. 1 1 0<br /> Feb. 2, Lawes, T. C. . . . .<br /> 0 5 0<br /> Feb. 3, Dawson, Mrs. T. .<br /> 05<br /> Feb. 3, Tweedie, Mrs. Alec<br /> Feb. 10, Dale, T. F. .<br /> 0 5 0<br /> Feb. 13. Machen, Arthur<br /> 0 10 0<br /> Feb. 21, Strachey, Lady i<br /> 2 2 0<br /> Feb. 25, Humphreys, Mrs. (Ri<br /> 2 0 0<br /> March 3, Gibbs, F. L. A. .<br /> 0 10 0<br /> March 6, Haultain, Arnold.<br /> 1 1 0<br /> March 9, Hardy, Harold<br /> 0 100<br /> March 9. Hutton, E. . .<br /> 05<br /> March 10, Wilson, Albert .<br /> 0 5 0<br /> March 16, Ward, Dudley.<br /> 0 10 6<br /> March 30, Coke, Desmond.<br /> April 1, The XX Pen Club<br /> 0 1<br /> April 6, Channon, Mrs. E. M. . : 0 5 0<br /> April 7, Henry, Miss Alice . .<br /> 0 5 0<br /> April 10, Ralli, Scaramanga<br /> .<br /> .<br /> . . 2 2 0<br /> April 11, Robins, Miss Alice . . 1 1 0<br /> April 20, MacEwan, Miss.<br /> . 010 0<br /> April 20, C. N. and Mrs. Williamson . 5 5 0<br /> April 21, Shirley, Arthur . . . 1 1 0<br /> April 22, H, A. and Mrs. Hinkson . 1 0 0<br /> April 24, Toplis, Miss Grace . . ( 10 0<br /> May 19, An Old Member. . . 1 0 0<br /> ·<br /> · ·<br /> ·<br /> · · ·<br /> ·<br /> · ·<br /> · ·<br /> · ·<br /> Total ............... £4,377 19<br /> 4<br /> · ·<br /> wa<br /> ·<br /> · ·<br /> Anger<br /> Subscriptions.<br /> 1911.<br /> Jan. 3, Yolland, Miss E. .<br /> Jan. 3, Bowen, Miss Marjorie .<br /> Jan. 9, Bolton, Miss Anna. .<br /> Jan. 13, Edginton, Miss May .<br /> Feb. 11, Canpan, Gilbert . .<br /> Feb. 15, Reynolds, Mrs. Baillie .<br /> · ·<br /> £ &amp;<br /> 0 5<br /> 1 1<br /> 0 5<br /> ( 5<br /> 0 10<br /> 0 5<br /> er mer<br /> d.<br /> 0<br /> 0<br /> 0<br /> 0<br /> 6<br /> 0<br /> ·<br /> · ·<br /> <br /> <br /> ## p. 213 (#291) ############################################<br /> <br /> THE AUTHOR.<br /> 213<br /> COMMITTEE NOTES.<br /> of the society. The committee had already taken<br /> counsel&#039;s opinion and found themselves unable to<br /> depart from the conclusion they had already come<br /> M HE May meeting of the committee was held to on a previous occasion. It was quite clear that<br /> on Monday, May 1st. After the minutes there was very little chance of the author<br /> of the previous meeting had been signed a establishing a legal right to stop publication.<br /> vote of thanks was passed to Mr. Maurice Hewlett, The Copyright Bill was next considered by the<br /> reference being made to the good work accom- committee. The chairman stated that since the<br /> plished during his chairmanship. The present last meeting it had been necessary for himself and<br /> chairman, Dr. S. Squire Sprigge, was authorised the secretary to move rapidly and independently,<br /> to write to Mr. Hewlett and convey to him the as otherwise it would not have been possible to get<br /> feeling of the committee.<br /> the necessary amendments settled and into shape.<br /> Twenty-three members and associates were Fortunately the opinions of both the committee and<br /> elected, bringing the total elections for the current the sub-committee on copyright had been fully<br /> year up to 115. One resignation was accepted. ascertained, as well as those of important members<br /> The committee then considered the cases. The of the society. The chairman stated that after<br /> first related to an infringement by cinematograph the meeting of the Joint Committee, chronicled in<br /> performance in America. The opinion of the the May issue of The Author, the Copyright Sub-<br /> society&#039;s American lawyers, with full information Committee met and settled a report dealing with<br /> obtained from America respecting the infringe- the points brought forward at the Joint Committee<br /> ment, was laid before the committee, who decided meeting :—That Mr. E. J. MacGillivray, a<br /> to take the case up subject to the member con- member of the Copyright Sub-Committee, had<br /> cerned, when the full facts of the position were before kindly consented to draft a report in the form of<br /> him, fixing the figure which he desired to claim as amendments. This was done, and as the com-<br /> damages. The next case referred to the cancellation mittee of the House of Commons was commencing<br /> of a right to publish. The author had given its sittings immediately it became necessary for<br /> notice to terminate the agreement, but had found the secretary to see one of the members in order<br /> it impossible to get the book republished owing to to get the amendments put down. This also was<br /> the action of the original publisher who claimed done in time, the secretary attending at the House<br /> that he still had rights under the contract. After of Commons on one or two occasions and discussing<br /> discussing the legal aspects and hearing the matters with Mr. H. D. M‘Laren, in whose name<br /> opinion of the society&#039;s solicitor, the committee the society&#039;s amendments are now placed. The<br /> decided they were unable to take the matter chairman further reported that at a meeting of the<br /> further. A claim of a member against the English Joint Committee, consisting of representatives of<br /> Review under the old management was considered, the Publishers&#039; Association, the Copyright Associa-<br /> and it was decided to put the facts of the case tion and the Society of Authors, appointed<br /> before the present proprietor, in order to see some time ago to watch the bill through Parlia-<br /> whether any sum could be obtained on behalf of ment, the society&#039;s amendments had been read<br /> the member.<br /> and were, on the whole, approved ; but that the<br /> The solicitor then reported the action taken up society&#039;s proposal in regard to Clause 4 of the<br /> by the society since the last meeting in regard to Bill had been overruled owing to an amendment<br /> the bankruptcy of Mr. H. Drare., The solicitor which, it was understood, the Government were<br /> mentioned to the committee a suggested proposal going to put down in regard to the clause.<br /> of settlement. It was decided to leave the matter The chairman reported fully all the steps that<br /> in his hands as sixteen or seventeen members had been taken, and laid on the table copies of the<br /> of the society were involved. The solicitor then various documents which had been settled. He<br /> reported a case which had been taken against an added that letters had been written to various<br /> agent who had neglected to pay over moneys he had members of the society, who were also members<br /> receired for contributions placed by him for the of the Committee considering the Bill, asking for<br /> author. It was decided to take what steps might&#039; their support to the society&#039;s amendments when<br /> be necessary to throw the agent into bankruptcy. they came before the committee. The chairman<br /> A claim against the proprietor of an Indian paper stated that the work had been exceedingly heavy,<br /> was next considered, and the committee determined but that he was pleased to hear that the result, so<br /> with the approval of the author to take action in far, had proved distinctly satisfactory.<br /> the Indian Courts if the claim was not satisfied. The question of the settlement of an agency<br /> The committee regretted they were unable to take agreement, owing to the discussion of the Copy-<br /> up the next case which was a question of republi- right Bill having taken up much of the committee&#039;s<br /> cation by a publisher of an old work by a member time, was adjourned.<br /> --<br /> - -<br /> <br /> <br /> ## p. 214 (#292) ############################################<br /> <br /> 214<br /> THE AUTHOR.<br /> The committee sanctioned the payment of a<br /> bill for rugs for the society&#039;s offices. They<br /> tendered a vote of thanks to Mr. C. Scaramanga<br /> Ralli for his donation of £3 38. to the capital<br /> fund of the society.<br /> The secretary reported the receipt of a letter<br /> from the secretary of the Board of Trade touching<br /> a proposal made by the Dramatic Sub-Committee<br /> that the Consuls at the various ports should send<br /> records of dramatic performances of English<br /> pieces. He reported that £170 78. 11d. of consols<br /> had been bought with the £140 which the Com-<br /> mittee had instructed him to invest.<br /> meeting for revision, not as to their substance,<br /> but as to their drafting. The remaining clauses,<br /> which were of a contentious nature, will be dis-<br /> cussed at the next meeting, one by one, until the<br /> draft is completed.<br /> A long letter from Mr. Cecil Raleigh to the<br /> chairman on the treaty, was read to the sub-<br /> committee.<br /> DRAMATIC SUB-COMMITTEE.<br /> The meeting of the Dramatic Sub-Committee<br /> for May was held at the offices of the society on<br /> Friday the 19th. After the minutes of the<br /> previous meeting had been read and signed the<br /> sub-committee turned to the agenda.<br /> The first matter was the question of sketch pro-<br /> duction, and the secretary read an opinion he bad<br /> received from the solicitors, obtained on the instruc-<br /> tions of the committee at their last meeting, with<br /> regard to sketch prosecutions. Some discussion<br /> followed as to the line of action the committee<br /> should take.<br /> The next question was the practicability of<br /> stopping infringement of performing rights in<br /> America by criminal prosecution. The secretary<br /> read a letter he had received from the counsel of<br /> the National Association of Play-Producing<br /> Managers of America, and he was instructed to<br /> write to the counsel for further information.<br /> Certain vacancies having occurred in the sub-<br /> committee, the secretary was instructed to write to<br /> Mr. Justin Huntley McCarthy and Mr. C. Haddon<br /> Chambers, and inquire whether they would be will-<br /> ing to undertake the duties of the post. Subject<br /> to their acceptance their names were approved.<br /> The secretary reported the work during the past<br /> month on the Copyright Bill, stating what clauses<br /> had been inserted in the Board of Trade draft and<br /> what amendments had been set down.<br /> Finally, the question of the General Treaty<br /> between dramatists and managers was discussed.<br /> It may be remembered that the Dramatic Sub-<br /> Committee received authority from the dramatists<br /> assembled at the meeting held on March 31 to<br /> draft such a treaty, and to negotiate with the<br /> managers on their behalf. The secretary had<br /> drafted a series of clauses for the consideration of<br /> the sub-committee, and of these twelve were passed<br /> without any discussion. The secretary was in-<br /> structed to have these typed and sent to all the mem-<br /> bers of the sub-committee to be laid before the next<br /> Cases.<br /> THIRTEEN cases have been placed in the secre-<br /> tary&#039;s hands since the last issue. Three of these<br /> relate to accounts. In one the accounts have been<br /> rendered and forwarded to the author, and the<br /> other two are still in course of negotiation.<br /> Though the publishers have answered the secre-<br /> Though the publishe<br /> tary&#039;s letters, they have not had time as yet to get<br /> out the accounts. There have been five cases for<br /> the return of MSS. One of these lying with the<br /> publisher in the United States is still unsettled,<br /> two are lying with agents and will be returned in<br /> due course : one has been returned, but the last<br /> demand has only just come into the office. Of<br /> three applications for money two have been settled,<br /> the cheques having been received and forwarded to<br /> the authors. The third is still unsettled and it<br /> may be necessary to place it in the hands of the<br /> Society&#039;s solicitors. There is one case dealing with<br /> the settlement of terms of a contract. This is in<br /> course of negotiation ; and one case for infringe-<br /> ment of copyright which has only just come into<br /> the office. There are still several cases open from<br /> former months but there is not one in which<br /> negotiations are not going forward satisfactorily.<br /> It is hoped that they will be closed before the July<br /> number is printed.<br /> May Elections.<br /> Allen, Lily L. .... . “ Bryngoleu,&quot; Ilfra-<br /> combe.<br /> Arnold, Thomas Walker 24, Launceston Place,<br /> Kensington, W.<br /> Cator, Mrs. R. B. P. : c/o His Hon. Judge<br /> Cator, British<br /> Consulate, Con-<br /> stantinople.<br /> Chatterton, E. Keble . 195, Ladbroke Grove,<br /> W.<br /> Cochran, The Rev. A. H. . Merryhall, Ashstead,<br /> Surrey.<br /> Colville, Mrs. Arthur . 3, Eaton Place, S.W.<br /> Cox, Robert . . . 59a, South Audley<br /> Street, W.<br /> Eaton, Mrs. Florence . Maryville, Blackrock,<br /> Dublin.<br /> <br /> <br /> ## p. 215 (#293) ############################################<br /> <br /> THE AUTHOR.<br /> 215<br /> Fernald, C. B. . . 4. Marlborough Road.<br /> N.W.<br /> Ghosh Sarath Kumar , 18, Elgin Avenue, W.<br /> Hartree, Clarence . . Havering, Tunbridge<br /> Wells.<br /> Higgins, Clifford . . 3, Derby Street,<br /> Poulton - le - Gylde,<br /> Lancs.<br /> Stephen Knott<br /> Rachel Martyn<br /> Martin, Miss C. I.<br /> Mathews, Gregory M. Langley Mount, Wat-<br /> ford.<br /> Pedler, Margaret (Mrs. W. Barons Wood Bow,<br /> J. Q. Pedler)<br /> N. Devon.<br /> Philips, F. C. . . . 12, King&#039;s Bench<br /> Walk, E.C.<br /> Romanné-James, Mrs. C.<br /> (George Rayne) Lyceum Club, London,<br /> W.<br /> Sheane, Hubert . . The Residency, Tife,<br /> N.E. Rhodesia.<br /> Virgo, Eustace F. A. . c/o Messrs. Cook &amp;<br /> Son, Place de la<br /> Constitution,<br /> Athens.<br /> Wallace, G. Carlton . 27, Golder&#039;s Gardens,<br /> Golder&#039;s Green,<br /> N.W.<br /> (Two members object to the publication either<br /> of their name, pseudonym, or address).<br /> THE LIFE, TRIAL, AND DEATH OF FRANCISCO FERRIER.<br /> By WILLIAM ARCHER. 9 x 58. 332 pp. Chapman &amp;<br /> Hall, 108. 6d. n.<br /> FRIENDLY FACES OF THREE NATIONALITIES. By M.<br /> BETHAM-EDWARDS. 9 x 54. 294 pp. Chapman &amp;<br /> Hall. 108, 6d, n.<br /> DRAMA.<br /> QUEEN HERZELEID, OR SORROW-OF-HEART. An Episode<br /> in the Boyhood of the Hero, Parzival. A Poetic Play in<br /> Three Acts. By ISABEL HEARNE. 78 pp. David<br /> Nutt.<br /> THREE PLAYS BY BRIEUX, With a Preface by BERNARD<br /> SHAW. The English Versions by MRS. BERNARD SHAW,<br /> ST. JOHN HANKIN, and JOHN POLLOCK. 78 X 5.<br /> 321 pp. Fifield. 58. n.<br /> THE TRAGEDY OF NAN. By JOHN MASEFIELD. 7 X 41.<br /> 71 pp. Grant Richards. is. 6d. n.<br /> THE BRASS BOTTLE. A Farcical Fantastic Play in Four<br /> Acts. By F. ANSTEY.. 7 X 5. 212 pp. Heinemann.<br /> 18. 6.<br /> ENGINEERING.<br /> IMPERIAL TELEGRAPHIC COMMUNICATION. By CHARLES<br /> BRIGHT, F.R.S.E. 74 x 5. 212 pp. P.S. King. 38.60.n.<br /> FICTION.<br /> THE LAST GALLEY. Impressions and Tales. By A.<br /> CONAN DOYLE. 74 x 5. 298 pp. Smith, Elder. 68.<br /> A TRUE WOMAN. By BARONESS ORCZY. 74 x 5. 351 pp.<br /> Hutchinson. 68.<br /> WHEN WE ARE Rich. By WARD MUIR. 74 x 5. 318 pp.<br /> Stanley Paul. 68. n.<br /> THE KING OVER THE WATER, OR THE MARRIAGE OF<br /> MR. MELANCHOLY. By JUSTIN HUNTLY MCCARTHY.<br /> 8 X 5. 328 pp. Hurst &amp; Blackett. 68.<br /> JUSTUS WISE. By ALFRED WILSON BARRETT. 74 x 5.<br /> 320 pp. Ward, Lock. 68.<br /> A CHARITY GIRL. By EFFIE ADELAIDE ROWLANDS.<br /> 81 x 54. 190 pp. (Cheap edition.) Stanley Paul. 6d.<br /> AT THE CROSS ROADS. By F. F, MONTRESOR. 320 pp.<br /> Hutchinson. 7d. n.<br /> TIM BOBBIN RESURRECTED. By TEDDY ASHTON. 47 pp.<br /> Blackpool : Teddy Ashton. 3d. n.<br /> THE SHIP OF CORAL. By H. DE VERE STACPOOLE.<br /> 7% X 5. 368 pp. Hutchinson. 6s.<br /> THE CELESTIAL OMNIBUS AND OTHER STORIES. By<br /> E.M. FORSTER. 74 x 51. 164 pp. Sidgwick &amp; Jackson.<br /> 38. 60. n.<br /> THE HORSE SHOE. By MRS. FRED REYNOLDS. 78 x 5.<br /> 334 pp. Chapman &amp; Hall. 68.<br /> LILAMANI: A STUDY IN POSSIBILITIES. By MAUD<br /> DIVER. 74 x 5. 424 pp. Hutchinson. 68.<br /> TABLE D&#039;HOTE. By W. PETT RIDGE, 74 x 5. 248 pp.<br /> Hodder &amp; Stoughton. 68. n.<br /> SAM&#039;S KID, By F. E. MILLS YOUNG. 71 X 5. 372 pp.<br /> Lane. 68.<br /> Ivor. A Tale of Lundy Island and the West Country. By<br /> GEORGE HANSBY RUSSELL, 77 x 5. 333 pp. Murray. 68.<br /> THAT WICKED Miss KEANE. By F. C. PHILIPS. 78 x 5.<br /> 247 pp. F. V. White. 28. n.<br /> THE JOB SECRETARY. By MRS. WILFRID WARD.<br /> 78 x 51. 275 pp. Longmans. 48.6d. n.<br /> REBECCA OF SUNNYBROOK FARM. By KATE DOUGLAS<br /> WIGGIN. 71 x 5. 347 pp. (Cheap edition.) Gay &amp;<br /> Hancock. ls. n.<br /> MULTITUDE AND SOLITUDE. By JOHN MASEFIELD,<br /> 64 x 47. 286 pp. Nelson. 7d.<br /> MEN-AT-ARMS. Stories and Sketches. 236 pp. THE<br /> SHADOW OF THE QUARTER DECK. 308 pp. By MAJOR<br /> W. P. DRURY. New and cheaper editions. 71 X 5.<br /> Chapman &amp; Hall. 28. n.<br /> RAFFLES, THE AMATEUR CRACKSMAN, By E. W. HORNUNG.<br /> 73 X 44. 368 pp. Nash. 28. n.<br /> BOOKS PUBLISHED BY MEMBERS.<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> BIBLIOGRAPHY.<br /> JAGGARD (WILLIAM SHAKESPEARE BIBLIOGRAPHY : A<br /> dictionary of every known issue of the writings of our<br /> national poet and of recorded opinion thereon in the<br /> English language. With historical introduction. Thirty<br /> facsimilies, portraits and other illustrations. 9 X 7].<br /> Pp. xxiv.-732 and Plates. Shakespeare Press, 4, Sheep<br /> Street, Stratford-on-Avon. Limited issue. 638. n. Or<br /> hand-woven watermarked paper, with hand-made<br /> Japanese vellum Plates, 843. n.<br /> BIOGRAPHY.<br /> RUSKIN : A STUDY IN PERSONALITY. By A. C. BENSON.<br /> 84 x 51. 264 pp. Smith, Elder. 78. 6d. n.<br /> <br /> <br /> ## p. 216 (#294) ############################################<br /> <br /> 216<br /> THE AUTHOR.<br /> 18. n.<br /> HISTORY<br /> WILLIAM THOMSON LORD KELVIN : His WAY OF TEACH.<br /> YEAR-BOOKS OF THE REIGN OF KING EDWARD THE ING NATURAL PHILOSOPHY. By D. Wilson. 8} X 51.<br /> THIRD. Year 20. (Second Part.) Edited by LUKE 56 pp. Glasgow : J. Smith. 28. n.<br /> OWEN PIKE. 104 x 67. 627 pp. Wyman &amp; Sons, for<br /> SPORT.<br /> His Majesty&#039;s Stationery Office.<br /> ANGLING FOR GAME FISH. By JOHN BICKERDYKE.<br /> JUVENILE.<br /> Third edition, revised and enlarged. 75 X 41. 148 pp.<br /> ACROSS THE FOREST AND FAR AWAY. By GERALDINE Upcott Gill. 18. 6d. n.<br /> E. HODGSON, D.Litt. 74 X 5. 109 pp. Clifton : Baker.<br /> THEOLOGY.<br /> London : Simpkin, Marshall. 18. 6d. n.<br /> CHURCH SONGS. Collected by the Rev. S. BARING-<br /> LITERARY.<br /> GOULD. Music by the Rev. H. F. SHEPPARD and<br /> ENGLISH DIALECTS FROM THE EIGATEENTH CENTURY R. VAUGHAN-WILLIAMS, Mus.Doc. 71 X 5. 52 pp.<br /> TO THE PRESENT DAY. By the Rev. WALTER W. S.P.C.K. 6d.<br /> SKEAT, Litt.D. 67 x 43. 139 pp. (Cambridge Manuals<br /> TRAVEL<br /> of Science and Literature.) Cambridge University Press.<br /> A HOLIDAY IN SOUTH AFRICA. By the Right Hon<br /> Sir H. MORTIMER DURAND, G.C.M.G. 7} x 5. 275 pp..<br /> FROM A COLLEGE WINDOW. By A. C. BENSON. Seven-<br /> Blackwood. 68. n.<br /> teenth impression, fourth edition. 7 X 5. 326 pp. THE LAND OF TECK AND ITS NEIGHBOURHOOD. By S.<br /> Smith, Elder. 38. 60, n.<br /> BARING-GOULD. 9 X 6.&#039; 327 pp. Lane. 108. 6d. n.<br /> THOMAS HARDY. Penseur et Artiste. Par F. A. AR<br /> A ROMAN PILGRIMAGE. By R. E. ROBERTS. 9 x 5.<br /> HEDGCOCK. Docteur ès lettres, Paris. 508 pp. Hachette.<br /> 274 pp. Methuen. 108. 6d. n.<br /> 78. 6d.<br /> LETTERS FROM INDIA. By LADY WILSON (A. C. Macleod).<br /> DAVID GARRICK. Et ses amis françis. Par F. A.<br /> 9 x 51. 417 pp. Blackwood. 78.6d. n.<br /> HEDGCOCK. Docteur ès lettres, Paris. 283 pp. Hachette.<br /> ARGENTINE PLAINS AND ANDINE GLACIERS. Life on an<br /> 58.<br /> Estancia and an Expedition into the Andes. By W.<br /> MISCELLANEOUS.<br /> LARDEN. 9 x 54 320 pp. Fisher, Unwin, 148, n.<br /> NOTES ON SUGAR IN INDIA. By FREDERICK NOEL<br /> PATON. Third edition. 63 pp. Calcutta : Superinten-<br /> dent Government Printing, India. 28. 6d.<br /> NATURAL HISTORY.<br /> BRITISH FERN. A Pocket - Help” for the Collector. BOOKS PUBLISHED IN AMERICA BY<br /> By F. G. HEATH. 6.2 x 31. 130 pp. Sir Isaac<br /> MEMBERS.<br /> Pitman. 28. n.<br /> PHILOSOPHY.<br /> IDEALISM, POSSIBLE AND IMPOSSIBLE. By ALICE<br /> AGRICULTURE.<br /> BLUNDELL. 71 X 5. 100 pp. Ouseley. 28. 6d. n.<br /> RURAL DENMARK AND ITS LESSONS. With 28 Illustra-<br /> POETRY.<br /> tions. By H. RIDER HAGGARD. 335 pp. New York:<br /> ENGLESIDE TOWERS. A Poem. By J. W. HOLLINGS-<br /> Longmans. $2.25 n.<br /> WORTH. Gloucester : Minchin &amp; Gibbs.<br /> BIOGRAPHY.<br /> MIRAGE. Poems. By DOUGLAS AINSLIE. 161 pp. Elkin<br /> THE LIGHTER SIDE OF MY OFFICIAL LIFE. By Sir<br /> Mathews. 35. 6d, net.<br /> ROBERT ANDERSON, K.C.B. 295 pp. New York:<br /> THE GARDENS OF GRAY&#039;S INN, AND OTHER VERSES. By<br /> Doran. $3.50.<br /> C. TEARLE. 75 X 5. 82 pp. Longmans. 58. n.<br /> DRAMATIC.<br /> GREEK LOVE SONGS AND EPIGRAMS. From the<br /> Anthology. Translated by J. A. POTT. 6 X 4. 153 pp. THE LITTLE PRINCESS : A Play for Children and grown-up<br /> Kegan Paul. 18. 60, n.<br /> Children in Three Acts. By FRANCIS HODGSON BURNETT.<br /> CONFESSIONAL AND OTHER POEMs. By WILFRID 68 pp. New York : French. 25 cents.<br /> THURLEY. With a Preface by MAURICE HEWLETT.<br /> 64 pp. Elkin Mathews. ls. n.<br /> EDUCATION.<br /> THE HOUSE OF LIFE. Interpretations of the Symbolical A DICTIONARY OF ORIENTAL QUOTATIONS (ARABIC AND<br /> Pictures of the late G. F. Watts. By HARROLD PERSIAN). By CLAUD FIELD. 351 pp. New York:<br /> JOHNSON. With twenty-two Reproductions. 73 X 44. Macmillan. $2 n.<br /> 62 pp. Dent. 28. 6d. n.<br /> THE UNFOLDING OF PERSONALITY AS THE CHIEF AIM IN<br /> EDUCATION ; Some Chapters in Educational Psychology.<br /> POLITICAL.<br /> By H. THISELTON MARK. 224 pp. Chicago : l&#039;niversity<br /> THE IMPERIAL CONFERENCE. A History and Study. By of Chicago. $1 n.<br /> RICHARD JEBB. Two volumes. 97 X 6. 401 + 104 pp.<br /> FICTION.<br /> Longmans. 258. n.<br /> JOHN MERRIDEW: A Romance. By F. ARTHUR. 334 pp.<br /> ** REPRINTS.<br /> New York : Longmans. $1.35 n.<br /> UNDER THE JUNIPER TREE : COMFORT FOR THE CLOUDY ACCOUNT RENDERED. By E. F. BENSON. 367 pp. New<br /> Day. Selected, Edited and Arranged by J. M. COLLIS.<br /> York. Doubleday Page. $1.20.<br /> · 63 X 41. 128 pp. Stock. 38.<br /> THE BROWN MASK. By PERCY J. BREBNER.<br /> DEMETER&#039;S DAUGHTER. By EDEN PHILLPOTTS. 384 pp.<br /> SCIENCE.<br /> New York : Lane. $1.35 n.<br /> AN INTRODUCTION TO EXPERIMENTAL PSYCHOLOGY. By CYNTHIA-OF-THE-MINUTES : A Romance. By L. J. VANCE.<br /> C. S. MYERS, M.D., Sc. D. 63 X 44. 156 pp. (Cam- 319 pp. New York. $1.25 n.<br /> • bridge Manuals of Science and Literature.) Cambridge THE GOLDEN SILENCE. By C. N. and A. M. WILLIAMSON.<br /> University Press. 1s. n.<br /> 524 pp. New York, $1.10.<br /> <br /> <br /> ## p. 217 (#295) ############################################<br /> <br /> THE AUTHOR.<br /> 217<br /> THEOLOGY.<br /> CHRIST IN THE CHURCH. By FATHER ROBERT HUGH<br /> BENSON. 225 pp. St. Louis : Herder. $1 n.<br /> TRAVEL.<br /> THE DANUBE WITH PEN AND PENCIL. With 99 Illustra<br /> tions (part in colour). By CAPTAIN B. GRANVILLE<br /> BAKER. 191 pp. New York : Macmillan Co. $1 n.<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES<br /> PANTHER&#039;S CUB. By AGNES and EGERTON CASTLE.<br /> 411 pp. New York : Doubleday, Page. $1.20.<br /> THE WOODLANDERS. By THOMAS HARDY. 364 pp.<br /> New York : Harper. $1.25 n.<br /> BRAZENHEAD THE GREAT. By MAURICE HEWLETT.<br /> 316 pp. New York : Scribner. $1.50.<br /> THE KING OVER THE WATER; OR, THE MARRIAGE OF<br /> MR. MELANCHOLY. By JUSTIN HUNTLY MCCARTHY,<br /> 377 pp. New York: Harper. $1.50.<br /> JANE OGLANDER. By M. A. BELLOC LOWNDES. 314 pp.<br /> New York : Scribner. $1.25 n.<br /> THE WELL BELOVED : A Sketch of Temperament. By<br /> THOMAS HARDY. 338 pp. Harper. $1.25 n.<br /> THE MOVING FINGER. “By E. PHILLIPS OPPENHEIM.<br /> 301 pp. Boston: Little, Brown. $1.25 n.<br /> MORE THAN KIN. By PATRICIA WENTWORTH. 363 pp.<br /> New York : Putnams. $1.35 n.<br /> MRS. THOMPSON. By W. B. MAXWELL. 367 pp. New<br /> York : Appleton. $1.30 n.<br /> A WILDERNESS OF MONKEYS. By F. NIVEN. 283 pp.<br /> New York : Lane. $1.50.<br /> THE QUIETNESS OF Dick. By R. E. VERNEDE. 290 pp.<br /> New York : Holt. $1.25 n.<br /> LITERARY.&#039;<br /> SUCCESS IN LITERATURE. By W. MORRIS Colles and<br /> HENRY CRESSWELL. 360 pp. New York: Duffield.<br /> $1.25 n.<br /> MISCELLANEOUS.<br /> MAN: KING OP MIND, BODY AND CIRCUNSTANCE. By<br /> JAMES ALLEX. 70 pp. New York: T. Y. Crowell &amp; Co.<br /> THE HUMAN MACHINE. By ARNOLD BENNETT. 123 pp.<br /> New York: Doran. 75 cents. n.<br /> THE WORLD OF DREAMS. By H. HAVELOCK ELLIS.<br /> 288 pp. Boston: Houghton, Mifflin. $2 n.<br /> CLIFF CASTLES AND CAVE DWELLINGS OF EUROPE. By<br /> the Rev. S. BARING-GOULD. 319 pp. Philadelphia:<br /> Lippincott. $3.50.<br /> THE COMMONSENSE COLLECTOR: A Handbook of Hints<br /> on the Collection and the Housing of Antique Furniture.<br /> With 52 Illustrations. By F. FRANKFORT MOORE.<br /> 220 pp. New York : Doran. $3.<br /> ORIENTAL CAIRO. By Douglas SLADEN. 417 pp.<br /> Philadelphia : Lippincott. $5 n.<br /> POETRY<br /> THE COLLECTED POEMS OF MAURICE BARING. By the<br /> Hon. MAURICE BARING. 236 pp. New York : Lane.<br /> $1.30 n.<br /> THE GREAT COMPANIONS. By H. BRYAN BINNs. 96 pp.<br /> New York: Huebsch. $1 n.<br /> SCIENCE.<br /> EXTINCT MONSTERS AND CREATURES OF OTHER DAYS:<br /> A Popular Account of some of the Larger Forms of<br /> Ancient Animal Life. By the Rev. H. N. HUTCHINSON.<br /> New York : Appleton. $3 n.<br /> SCIENCE FROM AN EASY CHAIR. By Sir EDWIN RAY<br /> LANKESTER. With 84 illustrations. 423 pp. New<br /> York : Macmillan. $1.75 n.<br /> SOCIOLOGY.<br /> THE HISTORY OF TRADE UNIONISM. By SIDNEY and<br /> BEATRICE WEBB. 558 pp. New York : Longmans. $2.<br /> SPORT.<br /> MODERN DEVELOPMENT OF THE DRY FLY; THE NEW<br /> DRY FLY PATTERNS ; THE MANIPULATION OF DRESS-<br /> ING THEM; AND PRACTICAL EXPERIENCES OF THEIR<br /> USE. By FREDERIC HALFORD. 220 pp. New York :<br /> Dutton. $5 n. Edition de luxe, large paper. With<br /> nine plates of sample fies, i levant. $50 n.<br /> TR. C. R. L. FLETCHER and Mr. Rudyard<br /> | Kipling have written a new school History<br /> of England from the earliest times to 1911.<br /> The prose narrative is the work of Mr. Fletcher,<br /> and Mr. Kipling contributes twenty-three new<br /> poems, specially written to illustrate periods and<br /> episodes in the tale. There are as many pictures<br /> as poems-in colour and in black and white-<br /> drawn by Mr. Henry Ford, and seven maps. The<br /> volume will be publishea<br /> volume will be published at a very low price by<br /> the Oxford University Press in a few weeks&#039;<br /> time.<br /> Messi&#039;s. Wyman &amp; Sons have published the<br /> second part of the “ Year:book of the Reign of<br /> King Edward the Third,” under the editorship of<br /> Mr. Luke Owen Pike. The present volume com-<br /> pletes the Rolls series of year-books extending<br /> (in fifteen volumes) from the eleventh to the<br /> twentieth year of the reign, inclusive. In the<br /> introduction the editor has traced the beginning<br /> and development of the year-books (law reports<br /> in French) and has shown their relation to legal<br /> and social history in connection with other sources<br /> of information.<br /> Miss Grace Toplis&#039;s little plays for amateurs in<br /> schools and villages, after flourishing for twenty-<br /> five years, are still in large demand. They are being<br /> reissued by the publishers, Messrs. George Gill &amp;<br /> Sons, with the addition of a pageant specially<br /> written for the coronation, and entitled “The Five<br /> Georges.”<br /> In his new novel “ John Verney,” Mr. Vachell<br /> gives a vivid picture of the political life of to-day,<br /> introducing the characters of “ The Hill,&quot; and<br /> the same theme, the eternal struggle between good<br /> and evil. Mr. John Murray is the publisher.<br /> Mr. J. W. Hollingsworth has published, through<br /> Messrs. Minchin &amp; Gibbs, a poem entitled “Engle-<br /> side Towers.&quot;<br /> &quot;A Holiday in South Africa&quot; is the title of a<br /> book by Sir H. Mortimer Durand which Messrs.<br /> William Blackwoods &amp; Sons have published. The<br /> <br /> <br /> ## p. 218 (#296) ############################################<br /> <br /> 218<br /> THE AUTHOR.<br /> book consists of a series of sketches written during Mr. W. L, Courtney who has hitherto been<br /> a visit to South Africa in order to see the country known to the public as editor, dramatist, poet and<br /> and to watch on the spot the progress of the critic, is shortly to appear as novelist, Messrs.<br /> movement which has now resulted in the birth of Chapman and Hall announcing the publication of<br /> a new nation.<br /> his first novel, which will be called, “In Search of<br /> The Shakespeare Press, Stratford-on-Avon, have Egeria.”<br /> just published a Shakespeare bibliography com-<br /> DRAMATIC.<br /> piled by Mr. William Jaggard. It contains on its<br /> 730 pages 6,000 distinct entries and references, Mr. Matheson Lang is including in his repertoire<br /> including many hitherto unrecorded editions, with for his tour in South Africa Mr. Rafael Sabatini&#039;s<br /> thousands of illustrated notes and extracts. It play “Bardelys the Magnificent,&quot; founded on his.<br /> gives minute details and available locations of novel of that name. Messrs. Stanley Paul &amp; Co.<br /> every known issue of Shakespeare&#039;s writings, also are the publishers of the novel, of which a 1s.<br /> of every article of Shakespearean comment, and edition has been issued.<br /> all engraved Shakespeare portraits, with market The Bernard Shaw Season at the Criterion<br /> values of the rarer entries. There are also Theatre commenced on May 18, when Mr. Shaw&#039;s<br /> many references to incidental Shakespearean “Arms and the Man” was re-staged. In the cast<br /> actors, actresses, biographers, celebrations, editors, were Mr. Arnold Daly, Miss Margaret Halstain,<br /> festivals, manuscripts, monuments, translators, Mr. Dawson Millward, and Miss Geraldine Oliffe.<br /> societies, theatres, &amp;c. The volume is illustrated Other of Mr. Shaw&#039;s plays will be produced during<br /> with thirty facsimiles, portraits, and other appro- the season.<br /> priate plates.<br /> Messrs. Doubleday, Page &amp; Co., Garden City,<br /> New York, have acquired the option upon the<br /> American rights of a story upon which Mrs.<br /> PARIS NOTES.<br /> Janet Macdonald Clark, author of “ The Bourgeois<br /> Queen of Paris,” is now engaged.<br /> Morgan Douglas (the pseudonym of a Scottish<br /> TE have just returned from the terrible<br /> lady resident in France) has written a booklet<br /> tragedy of the Paris - Madrid aviation<br /> entitled “ A Corner of the Garden of France.&quot; It<br /> fête. For miles and miles all available<br /> deals descriptively and historically with the district<br /> places were thronged with people. Trees, telegraph<br /> lying around Loches, in the province of Touraine,<br /> posts, the roofs of houses and even the tops of the<br /> an historic town in an historical region. The<br /> trains were all utilized by the gay, good-humoured<br /> publishers are Reymond, Loches &amp; Périeat, Tours.<br /> The price is 1f. 50c. (1s.)<br /> spectators. The first aviators mounted with admir-<br /> able dexterity and ease, and as each one passed over<br /> Mr. Werner Laurie is just publishing “ The<br /> Mystic Bride: a Study of the Life of Catherine of<br /> our heads was greeted with ringing cheers. The<br /> people for miles round on every vantage ground<br /> Siena,&quot; by Mrs. Aubrey Richardson. The book,<br /> awaited in vain the fifth one. With marvellous speed<br /> which will be fully illustrated, will be issued at<br /> 128. 6d. net.<br /> the news of the terrible accident travelled miles in<br /> We understand that a new magazine called<br /> every direction, and with one accord the thousands<br /> and thousands of people who only a few minutes before<br /> The Blackpool Magazine is appearing early this<br /> had been cheering so lustily, now turned away from<br /> month under the editorship of Mr. Allen Clarke.<br /> the theatre of the accident and wended their way<br /> The new magazine will be published from Black-<br /> homewards. The printed supplements of two or<br /> pool, will appear monthly, and will be sold at 4d.<br /> Messrs. J. M. Dent &amp; Sons are to publish<br /> three newspapers were already in the streets before<br /> numbers of the spectators in the far distance had<br /> during the month a volume of poems, with the<br /> title “The Crucibles of Time.&quot;<br /> comprehended.<br /> Messrs. Mills and Boon are publishing “The<br /> Story of the British Navy,” by E. Keble Chatterton. One of the French literary prizes has been<br /> In this book, the author of &quot;Sailing Ships,&quot; aims awarded to Constantin Photiadès for his book<br /> at telling in non-technical language the story of on “George Meredith.” It is an admirable study<br /> the British Navy from the earliest times up to the of the English author and of his work.<br /> present day. In addition to the historical detail M. Photiadès visited George Meredith at Box<br /> contained in the book, there are stories of sea fights Hill, and the latter confided to him his horror of<br /> and adventures. Messrs. Mills and Boon are the modern “ interviewer.&quot; He explained that the<br /> the publishers of the book which contains fifty fashion of interviewing everyone had come to<br /> illustrations in colour.<br /> England from America, and that English reporters<br /> T<br /> <br /> <br /> ## p. 219 (#297) ############################################<br /> <br /> THE AUTHOR.<br /> 219<br /> PHIM<br /> now copied the brutally rough way of acting of the been founded in Paris, it is curious to meet with<br /> Cow-boys and rough-riders of the press, and fondly this history of “a cosmopolitan actor &quot; who was<br /> believed that their sans-gêne was force.<br /> such an excellent Shakespearean, and to find that<br /> As to journalists, Meredith declared that a young he was of French, Irish, and English extraction.<br /> author only had two courses open to him. He The writer of this volume gives us many interest-<br /> must either shun journalists or be diplomatic with ing details with regard to the acting and talent of<br /> them, and he confessed that critics gave him goose Garrick. He tells us of his first journey to France,<br /> flesh. Only the bare outline of Meredith&#039;s life is of the friends he made in the French capital, of his<br /> given, his biographer endeavouring, as far as life there and of his correspondence later on with<br /> possible, to explain by atavism the characteristic many celebrities of his time. There are also many<br /> traits of the great novelist.<br /> curious details with regard to various translations<br /> The story of his literary career, the long up-hill and adaptations of Shakespeare.<br /> struggle, the time when his masterpieces were un- In the midst of these most prosaic days, the<br /> read and when Mudie&#039;s Library refused “The French seem to have taken refuge in poetry,<br /> Ordeal of Richard Feverel,” all this seems Matinées devoted to poetry are greatly in vogue.<br /> incredible now.<br /> The review La Poétique, under the direction of<br /> M. Photiadès goes on to analyse some of his M. Saint Chamarand and M. E. Gignoux, gives<br /> works, criticising, explaining, and comparing in a one of these matinées every week. Quite recently<br /> way that shows how thoroughly he has studied his we have heard Jean Rameau, Jules Bois, the<br /> subject. He devotes a whole chapter to George Duchesse de Rohan, and many other poets recite<br /> Meredith&#039;s imagination, another one to his art, their verses there. The Duchessé de Rohan gave<br /> another to his doctrine, and by way of conclusion two very delightful matinées of this kind last<br /> he tells us that the author of “The Egoist &quot; will month. Hélène Vacaresco recited some of her<br /> ever be read by posterity, and that by posterity he latest poems and Mme. Jules Martin two or three<br /> means the “imperishable élite of every generation of Mme. Alphonse Daudet&#039;s later ones.<br /> from one century to another.”<br /> Mme. Judith Gauthier has just published an<br /> “ Silhouettes Historiques,” by the Marquis de exquisite volume of “ Poésies,” and M. Jean<br /> Ségur, is a volume containing a series of short Monval has published a volume of Sonnets et<br /> historical sketches, many of which have been Poems, by his uncle the late François Coppée.<br /> treated more fully by authors who are introduced The volume is entitled “ Sonnets inédits et Poèmes<br /> to us by the compiler of this volume. Among the inédits,” and is a collection of poems composed<br /> titles of the various chapters are: “Le Louis XIII. between 1862 and 1908.<br /> de l&#039;Histoire,&quot; &quot;Le Médecin du Grand Condé,&quot; The Revue hebdomadaire is continuing its excel-<br /> - Les Etapes d&#039;une faniille sous l&#039;ancienne lent series of articles on the different ministries..<br /> monarchie,&quot; “ Les Filles de Louis XV.,&quot; “ La It has given the “ Ministères de la Marine,&quot; &quot; de<br /> vraie Madame du Barry,&quot; &quot; Les Déboires d&#039;un la Guerre,&quot; “ de l&#039;Intérieur,&quot; “ Postes et<br /> héros,” etc.<br /> Telegraphes,&quot; and the “Ministère du Travail.&quot;<br /> “Souvenirs sur Guy de Maupassant,&quot; by Maurice Donnay has now completed his ten<br /> François, his valet de chambre (1883–1893). lectures on Molière, which have all been reproduced<br /> In these days, when the literary works of an in this review, and Emile Ollivier writes on “ La<br /> author do not suffice for the public, it is advisable Légende de la Preparation Militaire.”<br /> for literary men to provide themselves with At the Comedie-Française “ Le Goût du Vice”<br /> domestics capable of writing their biographies. by Henri Lavedan is being given with great success.<br /> Guy de Maupassant seems to have been singularly It is a play in four acts, and is greatly belied<br /> fortunate in having a devoted attendant, who in by its title. It is an extremely literary and<br /> his spare time took notes, some of which are dis- brilliant piece with all the sparkling witty dialogue<br /> tinctly interesting. On the other hand, very to which this author has accustomed us.<br /> many of the details contained in this volume seem The Odéon has been extremely active this winter,<br /> decidedly superfluous. One is inclined to overlook and among its new pieces we have had “ Mère&quot;<br /> all faults though, when we are told that the by Dick May, “ Maud &quot; by M. Lecomte de Nouy,<br /> compiler of this little work wished to show that “Rivoli ” by M. René Fauchois, “La Lumière&quot;<br /> his master, besides being a man of great talent, by M. Georges Duhamel, and “ Vers l&#039;Amour &quot; by<br /> was kind-hearted, straightforward, and loyal in the M. Léon Gandillot.<br /> highest degree.<br /> At the Renaissance “ La Gamine,&quot; a four-act<br /> “David Garrick et ses amis Français,” by F. A. play by M. M. Pierre Veber and Henry de Goisse<br /> Hedgcock, is an extremely interesting book and is has been drawing a crowded house.<br /> published at a most opportune moment. Just as The new society formed with a view to putting<br /> The Shakespearean or, rather, “ Ariel League ” has on more wholesome plays, “Les Amis de l&#039;Art<br /> <br /> <br /> ## p. 220 (#298) ############################################<br /> <br /> · 220<br /> THE AUTHOR.<br /> Dramatique,” gave a gala performance at the Maurice Hewlett George Gilbert Murray<br /> Renaissance Theatre. The profits were for the Henry James<br /> Henry Newbolt<br /> Society for the Preservation of the French William Paton Ker Edward Henry Pember<br /> Churches, founded by Maurice Barrès, and two Andrew Lang<br /> Sir Arthur Wing Pinero<br /> plays were given, “ Au Clocher ” by M. de Nion, Sir Alfred Comyn George Walter Prothero<br /> and the other “Le Médecin de Campagne&quot; by Lyall<br /> Walter Raleigh<br /> Henry Bordeaux.<br /> John William Mackail Arthur Woolgar Verrall<br /> Madame Le Roy Liberge is taking a very Thomas Sturge Moore George Wyndham<br /> active part in this movement, and a series of Viscount Morley<br /> William Butler Yeats.<br /> excellent critical lectures is being given on the new<br /> plays by M. Jacques Duval.<br /> PROVINCE AND DUTIES.<br /> M. Camille de Sainte-Croix gave a gala perform- 1. To take all possible measures to maintain the<br /> ance of the “Merchant de Venice&quot; by his Com purity of the English language, and to hold up a<br /> pagnie française du Théâtre Shakespeare, for the standard of good taste in style<br /> benefit of the Ligue Ariel and the monument<br /> 2. To encourage fellowship and co-operation<br /> Beethoven. It is estimated that over 3,000 among those who are disinterestedly striving for the<br /> persons were present. The Recteur of the Sor-<br /> perfection of English literature.<br /> bonne gave orders for posters to be put up in the 3. By discourses of reception, and obituary<br /> Lycées or public colleges. The Duchess Rohan addresses to mark the current of literary history in<br /> and the Dowager Duchess d’Uzes each had<br /> this country.<br /> boxes, and the English Ambassador and Bishop<br /> 4. To recommend the names of persons fitted to<br /> Ormsby, the Chaplain of the Embassy, bave joined receive the medals of the society.<br /> this Shakespeare Committee. Marc Helys, author 5. To make awards of merit to particular literary<br /> of “ Le Jardin Fermé,” has consented to be Italian<br /> works.<br /> correspondent for the Ariel League. Mlle. Cruz,<br /> RULES.<br /> daughter of the late Minister of Guatemala, and<br /> poetess herself, correspondent for South America. 1. Elections to the Academic Committee shall be<br /> An outdoor Shakespearean play is to be organised made as follows :—Whenever it is resolved by the<br /> for the month of Jūne, and it is probable that the Academic Committee to elect new members, every<br /> French Shakespeare Company will then start on candidate must be proposed and seconded in writing,<br /> a tournée, and may possibly begin its foreign tour and every such nomination must be read at a meeting.<br /> in England.<br /> Any member of the Academic Committee can pro-<br /> ALYS HALLARD. pose or second a candidate. The election thereafter<br /> shall be by ballot through the post, and only one<br /> “ George Meredith &quot; (Armand Colin).<br /> candidate shall be elected at one time. A candi-<br /> &quot; Silhouettes Historiques&quot; (Calmann Lévy).<br /> date to be elected must have an absolute majority<br /> “ David Garrick et ses amis Français &quot; (Hachette).<br /> of votes.<br /> “ Poésies&quot; (Fasquelle).<br /> 2. Not fewer than four ordinary meetings of the<br /> Academic Committee shall be held each year.<br /> Special meetings shall also be held at such times<br /> ACADEMIC COMMITTEE.<br /> as may be recommended by the General Purposes<br /> Committee, or at the recommendation of any three<br /> members of the Academic Committee.<br /> W E have much pleasure in publishing herewith<br /> 3. A General Purposes Committee of not more<br /> the list of members of the Academic Com-<br /> than five members shall be appointed annually to<br /> mittee so far elected, their province and<br /> watch for occasions on which the Academic Com-<br /> duties, and the rules that will guide their actions.<br /> mittee may fitly take action, and to report to the<br /> We regret, however, to announce that since<br /> Academic Committee on any matters which they<br /> this list was issued two vacancies have been caused<br /> think it desirable to bring before them. Any two<br /> on account of the deaths of Sir Alfred Comyn<br /> members of the General Purposes Committee may<br /> Lyall and Mr. Edward Henry Pember, K.C.<br /> call upon the secretary to summon a meeting of<br /> Alfred Austin<br /> William John Courthope that committee. The quorum to be always three.<br /> Arthur Christopher Austin Dobson<br /> 4. A sub-committee of three members shall be<br /> Benson<br /> Edward Dowden<br /> appointed annually to select from time to time one<br /> Laurence Binyon James George Frazer or more persons who, or one of whom, shall be<br /> Andrew Cecil Bradley Edmund Gosse<br /> appointed by the Academic Committee to deliver<br /> Robert Bridges<br /> Richard Burdon Haldane any such address as is contemplated in section 3 of<br /> Joseph Conrad<br /> Thomas Hardy<br /> province and duties.<br /> ;non<br /> <br /> <br /> ## p. 221 (#299) ############################################<br /> <br /> THE AUTHOR.<br /> 221<br /> 5. Any three members of the Academic Com- a money order for $1.00 (entry fee) should be sent<br /> mittee may propose the name of a book or an author in the same parcel. The law provides that post-<br /> as deserving public recognition by the committee, masters to whom are delivered the copies to be<br /> and any such proposal shall thereon be referred for deposited shall, if requested, give à receipt<br /> report to a sub-committee appointed for that therefore, and shall mail them to their destination<br /> purpose.<br /> without cost to the copyright claimant.<br /> Address : The Register of Copyrights, Copyright<br /> Office, Library of Congress, Washington, D.C.<br /> DRAMATIC RIGHTS IN AMERICA.<br /> THORVALD SOLBERG,<br /> Register of Copyrights.<br /> DRAMAS.<br /> Instructions for securing copyright registration<br /> MAGAZINE CONTENTS.<br /> under the new law.<br /> M HE new copyright law effective on July 1,<br /> BLACKWOODS.<br /> 1909, abrogates the former statutory A Mystery of Dickens. By Andrew Lang.<br /> provisions permitting the filing of the title About Marie-Claire. By Alfred Noyes.<br /> of a dramatic composition in advance of the<br /> BOOKMAN.<br /> deposit of complete copies of the composition.<br /> Under the new law copyright registration may<br /> The English Bible. By Thomas Seccombe.<br /> be secured for a dramatic or dramatico musical com-<br /> CONTEMPORARY.<br /> position by taking the following steps :-<br /> Antonio Fogazzaro. By Dora M. Jones.<br /> If the work is reproduced in copies for sale, two Programme Music By George Lilley.<br /> copies of the best edition published should be<br /> The Gardens of Chaucer and Shakespeare.<br /> sent to the Copyright Office, Washington, D.C.,<br /> CORNHILL.<br /> promptly after publication, together with an<br /> Charlotte Brönte&#039;s Street in Brussels. By Gerald<br /> application for registration and a money order for Cumberland.<br /> $1.00, payable to the Register of Copyrights, to The Scottish Homes and Haunts of Robert Louis<br /> cover the statutory fee for registration. Use for<br /> Stephenson. By Flora Masson.<br /> Charles Dickens. By G. W. E. Russell.<br /> this purpose application form “ D. 1.&quot;<br /> Sir Walter Scott. By Andrew Lang.<br /> If the work is afterwards reproduced in copies<br /> for sale, two copies of the best edition published<br /> FORTNIGHTLY.<br /> should also be deposited promptly after publication<br /> The Englishman in 18th Century French Comedy. By<br /> with application for second registration and fee,<br /> Prof. Gerothwohl and J. W. Eaton.<br /> Post Impressionism. By Roger Fry,<br /> as above. Application forms are supplied by this<br /> Thackeray as Historian. By Walter Sichel.<br /> office upon request.<br /> The Copyright Bill, 1911. By G. Herbert Thring.<br /> The Religious and Moral Status of Wagner. By Vernon<br /> NOTICE OF COPYRIGHT.<br /> NATIONAL.<br /> The law requires a notice of copyright to be The Portraits of Carmontelle. By Austin Dobson.<br /> affixed to each copy published or offered for sale in Why I Ceased to be a Dramatic Critic. By X.<br /> the United States. The notice required by law<br /> NINETEENTH CENTURY.<br /> In the case of pubnsned aramas consists. either. Our Debt to Latin. Poetry as Distinguished from<br /> the word “ Copyright” or the abbreviation Greek. II. Poetry of the Silver Age. By R. T. Tyrrell.<br /> * Copr. ” accompanied by the name of the copy-<br /> right proprietor and the year in which the copy-<br /> right was secured by publication. The notice<br /> SCALE FOR ADVERTISEMENTS.<br /> should appear upon the title page or the page<br /> immediately following.<br /> [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br /> FEES.<br /> Front Page<br /> Other Pages ... ... ... ... ... ... ... ... 3 0<br /> Hall of a Page ...<br /> The statute fixes the fee for registration of a<br /> ... ... 1 100<br /> Quarter of a Page<br /> ... O 15 0<br /> dramatic composition at $1.00, which includes the Eighth of a Page<br /> Single Column Advertisements<br /> per inch 0 0 0<br /> cost of a certificate of registration under seal.<br /> Reduction of 20 per cent, made for a Series of Six and of 25 per cent. for<br /> Such certificate “ shall be admitted in any court as<br /> Twelve Insertions.<br /> prima facie evidence of the facts stated therein.&quot;<br /> All letters respecting Advertisements should be addressed to J. F.<br /> The work, the application for registration and BELMONT &amp; Co., 29, Paternoster Square, London, E.C.<br /> Lee.<br /> £4 0 0<br /> ...<br /> ...<br /> ...<br /> ...<br /> **<br /> ***<br /> 0<br /> 7<br /> 6<br /> <br /> <br /> ## p. 222 (#300) ############################################<br /> <br /> 222<br /> THE AUTHOR.<br /> HOW TO USE THE SOCIETY.<br /> .T VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub.<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> 6. 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&#039;s work can be obtained in the<br /> Prospectus.<br /> 6. No contract should be entered into with a literary<br /> act 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 /> 7. Many agents neglect to stamp agreements. This<br /> must be done within fourteen days of first execution. The<br /> Secretary will undertake it on behalf of members.<br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society ; 80<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> 9. The subscription to the Society is £1 18. per<br /> annum, or £10 108. for life membership.<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,&quot;<br /> unless the same allowance is made to the author.<br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> (5.) Not to give up serial or translation rights.<br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor!<br /> III. The Royalty System.<br /> This is perhaps, with certain limitations, the best form<br /> of agreement. “It is above all things necessary to know<br /> what the proposed rovalt:<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 /> means.<br /> (2.) The inspection of those account books which belong<br /> to the author.&quot; We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> (3.) Always avoid a transfer of copyright.<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> N 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 any one 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 /> LTERE are a few standing rules to be observed in an<br /> u 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 /> <br /> <br /> ## p. 223 (#301) ############################################<br /> <br /> THE AUTHOR.<br /> 223<br /> DRAMATIC AUTHORS AND AGENTS.<br /> (6.) 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 /> 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 (6.) 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 /> D 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 /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> .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 /> WARNINGS TO MUSICAL COMPOSERS.<br /> T ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan.<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with-performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> STAMPING MUSIC.<br /> The Society undertakes to stamp copies of music 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 /> THE READING BRANCH.<br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> M EMBERS will greatly assist the Society in this<br /> M 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 /> REMITTANCES.<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> D 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 /> 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 /> Smiths Bank, Chancery Lane or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. 224 (#302) ############################################<br /> <br /> 224<br /> THE AUTHOR.<br /> GENERAL NOTES.<br /> COLONIAL MARKETS.<br /> ADHESION OF PORTUGAL TO THE BERNE<br /> The marketing of Colonial rights presents some<br /> CONVENTION.<br /> extraordinary facts. Although the Colonial markets<br /> By a note, dated March 29, 1911, M. Alb. are vast and growing larger every day, yet the<br /> d&#039;Olviera, Envoy Extraordinary, and Minister<br /> sale of English books in all the Colonies put<br /> Plenipotentiary of Portugal, in Switzerland, has<br /> together seldom reaches the amount of copies<br /> notified to the Swiss Federal Council that the<br /> sold in England. We pointed out how dangerous<br /> Provisional Government of the Portuguese Republic<br /> the American book-agent had proved himself as<br /> has decided. for Portugal and its Colonies. to a competitor in Canada and Australia ; how he<br /> adhere to the Convention of Berne (as revised on<br /> usurped those markets and, naturally, pushed<br /> November 13, 1908) for the protection of literary<br /> the sales of the works of American authors. It<br /> and artistic property.<br /> seemed that there were two main causes for this<br /> This adhesion takes effect from March 29,<br /> result : (1) the lack of enterprise on the part of<br /> 1911.<br /> Colonial publishers who wait till the books are<br /> Regarding contributions to the expenses of the brought to them. rather than make an effort to<br /> International Bureau, Portugal has requested to be<br /> secure the Colonial rights for themselves direct<br /> ranked in the third of the classes arranged by<br /> from the authors; and (2) the lack of enterprise<br /> article 23 of the Convention.<br /> on the part of English publishers who, snatching<br /> every right they possibly can from the author,<br /> neglect to market those rights to their full extent,<br /> caring little for the author&#039;s reputation and pros-<br /> COMMERCIAL EDITORS..<br /> perity so long as they recover the money they have<br /> put into the book, and turn over a fair percentage.<br /> THERE is a growing tendency on the part of the<br /> The publishers naturally repudiate these state-<br /> editors of the more commercial popular magazines ments and try to explain the labour and expense to<br /> to cheapen unduly the work of authors who are which they are willing to go to obtain a sale in the<br /> not very widely known. Several instructive experi- Colonies.<br /> ences have come under our notice and these, for<br /> II.<br /> the benefit of the craft, ought to obtain publicity.<br /> An author of some reputation, but moderate vogue, To show how true our conjectures have been<br /> received an offer of five guineas for a story of quite we relate with some chagrin the experience of a<br /> four thousand words. In a rash moment, thinking member of the society who has taken much interest<br /> to secure a “connection,&quot; he agreed. For the next in these issues. Last year he published a book and<br /> MS. of the same length he was offered three gave the American publishers the Canadian rights :<br /> guineas, and was told that the editor was not very the latter copyrighted the book in Canada, and.<br /> keen on the story, but if it were given at the sum although the sales in that country were, he con.<br /> named, an effort would be made to use it. Not fesses, not enormous, the American publishers sold<br /> being pressed for money, and regretting his initial more than the English publishers could sell in<br /> folly, the author refused, and said that in future he England. He did not transfer the Australian rights<br /> would not sell for less than two guineas per to the American publishers, although they asked<br /> thousand, a rate which he has no difficulty in for them. An Australian jobber sent to the<br /> obtaining elsewhere. From that day he has been American publishers an order for seven hundred<br /> unable to find acceptance with the editor in ques- and fifty copies which, of course, the American pub-<br /> tion. Soon after, he obtained satisfactory terms lishers could not fulfil. The author concludes with<br /> for the same MS. from an old-established journal. some bitterness, “ The net result to me is that by<br /> In another instance an author who offered a story upholding the English publisher I have lost not<br /> of more than four thousand words received to only some small return in loyalties, but, what is<br /> proposal of five guineas for all rights ! He was more important to me, the excellent opening in<br /> fortunately, a man of long practical experience in Australia along with the chante of becoming better<br /> editorial work, and knew the ways of the “ market” known to the public there.&quot;<br /> thoroughly, but his pen-name doubtless led the The conclusion seems clear that it may become<br /> editor to imagine that he was dealing with a worth the while of English tuthors not only to<br /> beginner and a greenhorn. These sidelights are secure the American copyright, but to transfer to<br /> not without their own humour, but they also the American publisher the Ausralian, New Zealand<br /> indicate a tendency which writers are bound to and Canadian rights. Thoughwe should desire all<br /> combat.<br /> authors to be patriotic, yet it is asking too much of<br /> <br /> <br /> ## p. 225 (#303) ############################################<br /> <br /> THE AUTHOR.<br /> 225<br /> them at the same time to give up a great portion of<br /> their livelihood. Our correspondent informs us that<br /> the American house, besides giving over the English<br /> rights in the illustrations done by a well-known and<br /> expensive man, also offered, as a gift, the complete<br /> stereos of the same.<br /> Cannot the English publisher really put some<br /> more energy into the Colonial markets, which,<br /> though they may not pay him in 1911 or 1912,<br /> may, if fairly dealt with, bring him in his largest<br /> circulation in 1920.<br /> Unless by that time the United States are<br /> dealing with all the Colonial markets.<br /> their utmost to lay hold of these rights. What<br /> happens is this. The English dealers obtain all<br /> the serial rights from authors, and then sell to the<br /> American magazines at a price which pays the<br /> English dealers exceedingly well, underselling the<br /> American market. The dealer thereby gets the<br /> profit instead of the author. It does happen also,<br /> sometimes, that an American editor who might<br /> not be entirely patriotic, adopts a similar plan,<br /> coming direct to the author and offering him a<br /> sụm for the American use of his work which,<br /> though considerably in advance of the price the<br /> author might receive in England, does not reach<br /> as high as the price which would have been made for<br /> American work. This ought to be for the benefit<br /> of the English author, but while agents will not<br /> take the trouble to secure the American market,<br /> and while, in a good many cases, they consent to<br /> transfer these minor rights to the publisher, the<br /> English author is not likely to benefit. Again, we<br /> should impress upon the English author that if he<br /> works off his rights through an agent he must see<br /> that the agent is well up to his business ; he<br /> must see that the agent makes every effort to<br /> obtain the American serial and book rights before<br /> he places the English serial and book rights, and<br /> he must see also that the agent does not slack off<br /> in his efforts merely because it is harder, and there-<br /> fore, brings him in less profit, to place work in<br /> America than in England.<br /> AGENTS AS PRINCIPALS.<br /> We should like once more to put before our<br /> members the danger arising from placing work in<br /> the hands of those agents who undertake from time<br /> to time to deal with work as principals. “Once<br /> an agent always an agent” ; this should be the<br /> established motto.<br /> We do not discuss the question of an agent<br /> who, knowing he can sell an author&#039;s work for<br /> a certain price, turns to the author and says “I<br /> will purchase this from you,&quot; and then, having<br /> purchased, pockets the difference ; but we take the<br /> case merely of an author&#039;s agent who has a con-<br /> siderable amount of copyright property of his own<br /> which he has purchased. He will, naturally, desire<br /> to sell this in preference to the work of the authors<br /> for whom he acts, and again, may be tempted,<br /> when he receives anything particularly good from<br /> an author, to offer to purchase it-not because he<br /> has any special market at the moment where he<br /> knows he can sell at a profit, but because he knows<br /> from his experience that a handsome profit can be<br /> obtained. If, therefore, an agent offers to pur-<br /> chase outright from an author, the author should<br /> at once look upon that offer with considerable<br /> suspicion, and should be exceedingly careful of the<br /> agent&#039;s dealing in the future. If these instances<br /> had not arisen from time to time there would be<br /> no need to warn authors against them, but, un-<br /> fortunately, both dramatic and literary agents yield<br /> to the temptation to act as principals, and it is only<br /> right that authors should be made aware of the<br /> dangers.<br /> CHEAP BOOKS AND THE U. S. A. MARKETS.<br /> An American correspondent writes as follows :<br /> &quot; The book market seems to be taking a trend towards<br /> the state of affairs in England. The output of mediocre<br /> novels is appalling, and they seem to sell at an average<br /> about 1,500 copies. A number of English books are put on<br /> the market by English publishers who get all rights&#039;<br /> from an ignorant client, and these are offered to publishers<br /> here at as little as $100 ; which the English publisher<br /> of course pockets as found money. A book, fairly<br /> well adapted to American tastes and well published, can<br /> count on a sale of from 6,000 to 8,000 copies at $1.50, and<br /> if the cheap edition publishers take it up they will pay<br /> the usual five cent. royalty on from 15,000 to 20,000<br /> copies. The worst seller of the so-called six best sellers<br /> should, I am told, bring in royalties on about 40,000 copies<br /> of the $1.50 edition. And the best anything between<br /> 100,000 and 200,000,<br /> “The cheap edition is threatening to scuttle the higher-<br /> priced one, especially as even the best seller cannot count<br /> on a year of life.<br /> It is quite clear that this issuing of cheap<br /> editions will, if it is not very carefully watched,<br /> kill the author&#039;s remuneration and fill book shops<br /> to such an extent that no space-room will be left.<br /> The Committee of the Society of Authors have<br /> warned authors over and over again against<br /> yielding to the temptation of the cheap edition<br /> SERIAL RIGHTS IN THE UNITED STATES<br /> OF AMERICA.<br /> The fact that English authors get much less for<br /> their serial work in England than in America is<br /> becoming known not only to the astute English<br /> dealers but also to American jobbers. Perhaps it<br /> is for this reason that we see the publishers trying<br /> <br /> <br /> ## p. 226 (#304) ############################################<br /> <br /> 226<br /> THE AUTHOR.<br /> until their book has had three years&#039; run at least;<br /> indeed, the longer an author can stop the issuing<br /> of his book in a cheap edition the more likely<br /> he will be to bave a success for his subsequent<br /> novels, but we are afraid too often £25 in the<br /> hand is better than £100 in the bush. The French<br /> market has already suffered tremendously from this<br /> cheapening process. In consequence, only those<br /> authors who can be certain of an enormous circu-<br /> lation can get put forward at the publishers&#039;<br /> expense, and as an enormous circulation very often<br /> does not go to the producer of the highest literature<br /> till after thirty or forty years&#039; struggle, and some-<br /> times not even then, the cheap edition really<br /> means, to a certain extent, depriving the public<br /> of the highest and best in the world of letters.<br /> MEMORIAL PORTRAIT OF THE LATE MRS. FLOWER<br /> OF AVONBANK, STRATFORD-UPON-Avon.<br /> On Monday, April 24, St. George&#039;s Day falling<br /> this year on a Sunday, there was handed over to<br /> the Governors of the Shakespeare Memorial at<br /> Stratford-upon-Avon a portrait of the late Mrs.<br /> Flower of Avonbank.<br /> To Mr. and Mrs. Charles Edward Flower, in<br /> chief, we owe the Memorial Theatre in Shakes-<br /> peare&#039;s native town, to which they devoted money<br /> and care without stint. But no portrait of her<br /> existed. With the help of photographs, Mr. Frank<br /> Carter painted, from memory, the present picture<br /> which is considered an excellent likeness, besides<br /> its qualities as a work of art. It was subscribed<br /> for and presented exclusively by those who had<br /> known Mrs. Flower personally. On the same<br /> occasion of the meeting of the Governors, a mural<br /> plaque, of beaten copper, designed to commemorate<br /> Mr. and Mrs. Flower, was deposited in the library,<br /> eventually to be fixed on the house of Avonbank,<br /> which, under the terms of her will, became the<br /> property of the Governors. The beaten work of<br /> this introduces the Monstera Delisciosa, a large<br /> variety of the arum lily, which Mrs. Flower, who<br /> took a great interest in botany, reared in the palm-<br /> house at Avonbank.<br /> Mrs. Flower was the third daughter of Peter<br /> Martineau, of Highbury, London.<br /> administrator, and scholar, there was the rare and<br /> enviable combination of man of action and man of<br /> letters.<br /> Probably only a few members of our Society know<br /> what large part Sir Alfred Lyall played in events<br /> now historical. Born in 1835, he went to Eton at<br /> the age of ten, and in 1853 to Haileybury. He<br /> entered the Bengal Civil Service in 1856, the vear<br /> before the terrible time of the Mutiny, in the sup-<br /> pression of which, as a member of the Volunteer<br /> Cavalry, he did heroic work. From that event<br /> onwards his record was one of continuous service<br /> in India in advancing grades until he reached the<br /> position of Lieutenant-Governor of the North-<br /> Western Provinces. His retirement from that<br /> post was followed by fourteen years&#039; service as a<br /> member of the India Council. The results of his<br /> administrative labours are writ large in the history<br /> of British rule in India, but the details of these lie<br /> outside the scope of this notice, the space allotted<br /> to which is all too scanty to permit reference to<br /> Lyall other than as philosophic essayist and poet.<br /> No man knew the East au fond as he did ; and<br /> never has there been a more accurate, incisive, and<br /> sympathetic interpreter of Hindu beliefs and<br /> customs. His bent of mind, reflective, tinged with<br /> melancholy and steeped in uncertainty, found con-<br /> genial employment in study of the great religions<br /> which remain living forces ; factors so potent in<br /> life that a man is known by his creed more than by<br /> his race. There is not one India, but many Indias,<br /> and the various religions are their boundaries. In<br /> the districts where some of Lyall&#039;s work was centred<br /> it was his fortune not only to measure the power<br /> of ancient faiths, but to observe the continuous<br /> merging of the lower in the higher. No hard and<br /> fast dogmas, as in Western creeds, insulates the old<br /> from the new; there goes on to-day the absorption<br /> of barbaric conceptions by Brahmanism, the passage<br /> of dead, sometimes of living, men into the ranks<br /> of the deified, of ghosts into godlings to whom the<br /> venerable faith accords a place in its pantheon, to<br /> the retention of its own vitality. All this, and<br /> much cognate thereto, Lyall has described in the<br /> brilliant essays composing the two volumes of<br /> “Asiatic Studies,” every page revealing what<br /> appeal the magic and mystery of the East made to<br /> his contemplative, speculative temperament, where-<br /> from came hesitation to theorize, the more so as<br /> the complexity and tangle of the materials were<br /> borne in upon him. Lord Ripon is reported to<br /> have said, and the remark has independent con-<br /> firmation, that Sir Alfred Lyall saw so many sides<br /> to a question that he rarely reached a definite<br /> conclusion. “I am a born sceptic,” he would<br /> often say, and the more coherent any theory<br /> seemed, the more did he suspect its soundness, as,<br /> for example, is seen in his criticism of Dr. Frazer&#039;s<br /> SIR ALFRED COMYN LYALL<br /> (1835–1911).<br /> M HE brevity of the obituary notice of Sir Alfred<br /> | Lyall, which was due to the occurrence of<br /> - his death on the eve of the issue of the May<br /> number of this journal, is warrant for supplemental<br /> tribute to the memory of one in whom, as soldier,<br /> <br /> <br /> ## p. 227 (#305) ############################################<br /> <br /> THE AUTHOR.<br /> 227<br /> “Golden Bough.&quot; If Montaigne&#039;s “Que sçais je ?&quot; biography that he issues must be sold for &amp; guinea<br /> is a fitting motto to “ Asiatic Studies,&quot; still more or two, or that a particular novel is a six-shilling<br /> applicable is it to the “ Verses Written in India,&quot; book or a three-and-sixpenny one. He would be<br /> some of the poems in which it was Sir Leslie regarded as an innovator of a somewhat startling<br /> Stephen&#039;s delight to recite again and again ; poems kind if he declined thus to dictate to sellers and<br /> whose keynote is struck in the opening stanza of buyers the price at which they must deal during the<br /> “Meditations of a Hindu Prince&quot; :<br /> months or years of a book&#039;s effective existence, or<br /> during a period arbitrarily fixed to cover that exist-<br /> All the world over, I wonder, in lands that I never have<br /> trod,<br /> ence, but there is nothing but the prudence of a<br /> Are the people eternally seeking for the signs and steps of business man to prevent him from doing so. The<br /> a God?<br /> question whether books should be freed from the<br /> Westward across the ocean, and Northward across the<br /> contract as to sale price which is now customary<br /> snow,<br /> Do they all stand gazing as ever, and what do the wisest<br /> has been raised before, and it was discussed again<br /> know?<br /> at great length recently under the auspices of the<br /> London Branch of the National Book Trade<br /> A history of India worthy of the subject has yet<br /> Provident Society in a debate opened by Mr. J. H.<br /> to be written, but, once and for all, Lyall has told<br /> Crocket, who invited those present to affirm by<br /> the story of British conquest of, and, on the whole,<br /> their votes “ that in the opinion of this meeting<br /> beneficent rule over, the vast peninsula in his<br /> it is desirable in the interests of the trade that the<br /> “ Rise and Expansion of the British Dominion in<br /> published price of books should be abolished.” He<br /> India” in a manner showing that he had in him<br /> met with considerable opposition from other<br /> the makings of a great historian. His “Life of<br /> speakers led by Mr. J. G. Wilson, and secured only<br /> Lord Dufferin,&quot; published in 1905, had brief refer-<br /> six votes at the close of the discussion, but the full<br /> ence in the notice spoken-of above ; on a smaller<br /> report of the arguments used, which will be found<br /> scale, full of discriminating assessment of the poet&#039;s<br /> in the Publishers&#039; Circular of March 18, does not<br /> place in Victorian literature, is his monograph on inform us how many were present to supply the<br /> Tennyson. At the time of his death, which came majority against him. It will be observed that the<br /> with the suddenness that he desired, he was pre-<br /> terins of the motion considered only the interests -<br /> paring an article on Edward FitzGerald, in whose<br /> of the trade (presumably the retail booksellers,<br /> paraphrase of Omar Khayyam&#039;s “Rubáiyát” are<br /> exclusively or principally), but the question is one<br /> thoughts and speculations to which his own were<br /> obviously affecting authors and of interest to them<br /> responsive. Nothing is said here, because nothing<br /> even though it cannot be deemed at present to<br /> can be communicated, concerning the ineffable<br /> be within the range of “practical politics.”<br /> charm of Sir Alfred Lyall in the intimacy of social<br /> Reference has been made above to the fall report of<br /> intercourse. His conversation and expression were<br /> debate, and only the principal arguments are<br /> marked by an old-world courtesy which is becoming<br /> quoted or summarised below. Mr. Crocket was<br /> a lost art; these, and all the kindred graces that<br /> aware that his proposal would meet with opposition<br /> attract a man to his fellows, were his full possession,<br /> from many in the trade, but he submitted that<br /> and their memory will abide till the end with those<br /> perhaps they might not have considered the matter<br /> who had the privilege and profit of his friendship.<br /> or might merely have conservative prejudices. It<br /> EDWARD CLODD. may here be said that so far as can be gathered<br /> from him and others the procedure which would<br /> follow upon abolition of the published price must<br /> almost necessarily be this. A publisher would issue<br /> BOOKS AND THEIR PUBLISHED PRICE.<br /> lists of new books with no prices named in them.<br /> With these lists he would furnish to the book-<br /> sellers particulars of the terms upon which he<br /> W E are so accustomed to every new book would supply them with the various books<br /> V being issued to the public at a retail specified. The booksellers would then show the<br /> price fixed by the publisher, and to this books stocked by them to their customers, or send<br /> being usually at the present time a “ net &quot; price, them lists, and in doing so, or in reply to inquiries<br /> that we are apt to forget that the“ published price” addressed by them, would quote prices. The book-<br /> is a matter of custom only, and is dependent for its sellers in short would fix prices to suit their own<br /> existence upon a tacit convention between the trade as individuals.<br /> publisher and the retailer who are used to it, and In Mr. Crocket&#039;s opinion :-<br /> who rightly or wrongly are quite willing that it 1. The fixed price had not prevented under-<br /> should continue. There is no law that compels a selling.<br /> publisher to state that the book of travel or 2 . The fixed price had been directly responsible<br /> <br /> <br /> ## p. 228 (#306) ############################################<br /> <br /> 228<br /> THE AUTHOR.<br /> rs.<br /> for underselling, because it was looked upon as bound books, Bibles, remainders, out of print<br /> official, and the bookseller who advertised his offer books, etc.<br /> to give 25 per cent. off all books (not being net 2. The omission of prices from advertisements<br /> books) could not do so if there was no published and reviews would mean much extra trouble and<br /> price as a standard. In that case he would have expense to the booksellers.<br /> to advertise his own price for each book.<br /> 3. The recipient of a prospectus giving no price<br /> .3. The net system had been expected to would have to find it out from his bookseller or from<br /> revolutionise the trade, giving every one a living the publisher.<br /> profit ; it had failed to do so. Terms in the 4. There is already a tendency among some<br /> trade had never been better, but were not such as publishers to deal direct with members of the<br /> to induce investment in it. In the opinion of the public. Without a published price this mode of<br /> speaker no increase of profit was to be obtained doing business would be increased and could not<br /> from the publishers,-it must come from the public. be checked.<br /> 4. If the publisher, instead of the bookseller, 5. The booksellers would have to consult one<br /> raised prices he would expect to share in the profit another in fixing prices, or make mistakes and lose<br /> obtained. It would be better for the retailer to be<br /> in the position to raise prices for himself, and so 6. Persons ordering from reviews which stated<br /> to secure all the benefit accruing from them. no price would cancel orders if they found the price<br /> 5. The bookseller in raising prices all round 5 higher than they expected.<br /> to 71 per cent. would not diminish his sales, but 7. Large stores would send out their price lists<br /> would increase his profits, and would only be doing and capture the trade from smaller dealers.<br /> in the case of other books what he already does in 8. Heavy cutting of prices in particular would<br /> the case of bound books, Bibles and remainders. take place in dealing with libraries.<br /> 6. In the speaker&#039;s opinion the differences 9. Those who remembered the trade before the<br /> would be so slight between individual shops that net system stopped universal discounts would say<br /> customers would not complain of them, nor would whether they wished to return to still worse com pe-<br /> they find it worth wbile to go from one bookseller to tition and cutting of prices.<br /> another and compare the prices asked by them.<br /> 10. Under fixed prices and the net system book-<br /> 7. The public would not follow the advertiser, sellers had a guaranteed 25 per cent. or thereabouts,<br /> but would go to the man who best advised his which might be lost without fixed prices.<br /> customers what to select.<br /> From the above authors will gather the nature<br /> 8. The drapers and their underselling need not of the points put forward and will form their own<br /> be feared,—they dealt in fancy books for the good opinions. They will, however, observe that with<br /> of their other trade, and were not booksellers the increase of prices which it was suggested might<br /> at all.<br /> accrue to some retailers in the case of some books.<br /> 9. Without official prices the advertising of the authors of those books would not be concerned.<br /> second-hand books by libraries at a reduction would To them, at any rate, the extra price would bring<br /> lose its effect, as comparison with the price of the no increased profit. The bookseller might, if he<br /> books when new would be impossible.<br /> could obtain such an increased price for a particular<br /> 10. There would be no prices advertised or volume, make more out of it than he would by selling<br /> mentioned in reviews. These, if high, were apt to two copies at the lower price which a publisher<br /> scare the customer in the case of more or less would have fixed. This, however, would not con-<br /> expensive books, whereas if he went to a bookseller sole the author (or, indeed, the publisher), if, in<br /> to inquire as to the price of a book which, he fact, one copy were to be sold instead of two. It<br /> thought, might suit him, an expert salesman might was suggested that slightly increased prices (if<br /> effect a sale.<br /> increased by the booksellers) would not diminish<br /> 11. Books would be given more often as presents sales. It would be strange if this were to be the<br /> if there were no means by which the recipient case. “Slightly” is a vague word, but the<br /> could know the price of the gift.<br /> tendency of raised prices must be to diminish<br /> 12. Fixed price gave the public too much for output.<br /> their money. A higher price in some instances It is submitted for the consideration of the<br /> could be got if the public did not know that an author that under the present system he knows<br /> official price existed and what it was in the case of fairly exactly, before he enters upon his contract,<br /> a particular book.<br /> what the gross receipts of himself, the publisher and<br /> The principal points made in opposition to the the bookseller should be over every edition that<br /> above by Mr. J. G. Wilson and others were :- his agreement contemplates, if that edition is sold<br /> 1. The question must be considered from the out. That knowledge is the basis of his estimate<br /> point of view of the new book only, leaving out of the respective net profits of the three parties<br /> <br /> <br /> ## p. 229 (#307) ############################################<br /> <br /> THE AUTHOR,<br /> 229<br /> named upon wbich he founds his opinion as to the such articles as collars and books lies in the fact<br /> fairness of the terms offered to him. Without a that the buying public always know who the whole-<br /> sale price he will know apparently nothing beyond sale dealer is from whom they can obtain any<br /> the terms offered to him. He will not know more particular book, and so have no difficulty in getting<br /> as to the price obtained per volume by the publisher at him if he will sell to them. In the case of collars<br /> than the latter may be willing to tell him, and a man does not know who the manufacturer is who<br /> neither he nor the publisher will know what the book- makes the particular article that he fancies at his<br /> sellers are getting, or how much they may be hosier&#039;s, and probably he could not get supplied<br /> diminishing (or perhaps, in some cases, increasing) by him if he did know. The question of the public<br /> the sale of the book by putting its price up or down. taking to dealing direct with the publishers is<br /> It is also submitted that the tendency towards perhaps the most serious point for the consideration<br /> general competition introduced will be to put book- of booksellers. It is not easy for them to prevent it,<br /> prices down rather than up, and that as the cost of and quite easy for publishers to sell to the public<br /> a book, other than that portion of it which goes to at oply a trifle over their usual trade terms, if there<br /> the author, is more or less fixed by the terms of is no published price to bind them. Very pertinent<br /> printing and other trades which do not yield observations were made by a gentleman who opposed<br /> readily to pressure, the reduction will eventually be Mr. Crocket&#039;s motion, and who held that the net<br /> made in an unfair proportion at the expense of the system was in the best interests of bookseller, pub-<br /> author. . The amount of confusion likely to result lisher and author, when he said that Mr. Wilson<br /> from the system suggested is a matter of specula- “had made a serious charge, but a just one, that<br /> tion, but it is not likely to be inconsiderable. certain publishers were showing a tendency to<br /> The booksellers who discussed the matter seem supply retail orders direct. The explanation of<br /> to have been impressed with the danger of big this was that the bookseller, in spite of the growing<br /> firms getting a monoply in the book trade ; it is demand for books as the result of education, had<br /> submitted that their fear is not unreasonable. The not himself moved sufficiently rapidly with the<br /> big firm taking books in large quantities would, in times. The machinery for the distribution of<br /> the absence of fixed prices, probably command books was in an antiquated condition, and publishers<br /> preferential terms even more advantageous than it were constantly in receipt of letters regarding the<br /> is now in their power to do, and their opportunities difficulty experienced in getting information from<br /> for underselling and cutting out smaller competitors booksellers.” With this quotation the subject may<br /> wou ld be increased. In the discussion, the outline be left for the criticism of any authors who may<br /> of which has been given above, a speaker who think that the abolition of the published price of<br /> advocated open prices snggested the analogy of the their books is a question sufficiently within the<br /> trade in collars. His point was that the booksellers range of practical politics to be worth serious con-<br /> were in business to make money just like other sideration. If an individual not greatly affected<br /> tradesmen, and that, to take another trade as an as an author, but with some experience of trade,<br /> example, the inan who sold collars did not put may hazard any further opinion than those sug-<br /> a published price on them. He suggested a private gested above, the abolition in question would<br /> mark to show cost price being put upon a book. If introduce a state of uncertainty into the book<br /> this means anything, it recommends that a book- trade amounting to something like chaos, which<br /> seller should keep himself reminded by a private would be highly irritating and perplexing to the<br /> mark of what a book has cost him, and, subject to public, and financially detrimental to author,<br /> this precaution against selling below cost price, publisher and bookseller in possibly equal propor-<br /> should speculate upon the appearance or known tions. However, the last two may be trusted to<br /> peculiarities of his customer in asking him the best take care of themselves.<br /> price likely to be obtainable. It is submitted that<br /> E. A. A.<br /> such a method of doing business would not please<br /> book buyers, and that if it became general it would<br /> rapidly diminish the sale of books very consider-<br /> PRIZE COMPETITIONS.<br /> ably. A good many arguments were put forward<br /> against the collar analogy, including the forcible<br /> one, that two copies of a book are the same book VTOST people&quot;commencing author&quot;—to adopt<br /> although exposed for sale by two different book M the beautiful expression coined by some-<br /> sellers, but that two collars by the same manufac-<br /> body, presumably on the other side of the<br /> turer are not to be recognised by a customer as Atlantic Ocean—are likely to be attracted by the<br /> identical when he sees them at two different bait of a reasonable prize for the best novel, short<br /> hosiers. It was not, however, pointed out, as it story, poem or essay. And even writers who have<br /> might have been, that the main difference between already commenced are capable of being attracted<br /> <br /> <br /> ## p. 230 (#308) ############################################<br /> <br /> 230<br /> THE AUTHOR.<br /> also if the prize offered appears of sufficient size. to be paid for his work. But here arises the<br /> It is not, therefore, unnatural that there should be necessity for the first warning. His eyes should be<br /> a growing tendency on the part of publishers and open to what he is giving in return for the prize.<br /> editors to organise prize competitions, with their It is to be feared, however, that they are often shut,<br /> terms often set forth in glowing language, for the though if only the competitor took care to read the<br /> benefit of the constantly increasing army of literary conditions he could not remain in ignorance. From<br /> and would-be literary persons. Nor can it be a few announcements of competitions now before me<br /> doubted that these competitions have an appreci. I take the following statements :-<br /> able influence in inducing the timid to submit their “This contract (which the successful author<br /> work to publishers and editors. Normally an must sign] will provide for the assignment of<br /> untried (and many a well-tried) author is appre- the entire copyright and all rights to the<br /> hensive of sending his productions to people whom publishers.<br /> he has no reason to believe at all anxious to look at “ The winners of the competition agree to cede<br /> them ; but when he sees a cordial invitation to to the publishers all rights of every kind in the<br /> submit them, coupled with a specious guarantee of prize-winning novels.&quot;<br /> perfectly impartial consideration, how can he resist “Payments will be made to successful writers as<br /> the temptation ?<br /> soon as the decision is made, when the copyright of<br /> This being so, it is, perhaps, not out of place in the stories becomes the property of” the proprietors<br /> the columns of The Author to put forward a few of a certain magazine.<br /> warnings to competitors in the many prize competi One well-known weekly paper which invites the<br /> tions which one sees advertised in newspapers, sending in of short stories, for the acceptance of<br /> magazines, and elsewhere. It is very human to which ten guineas a story is promised, does not<br /> enter upon a contest of any kind without due con- state in its offer that the entire rights are required;<br /> sideration of the real conditions ; and authors are but at the bottom of the page on which the story<br /> very human beings, in spite of the firm belief to appears there is printed in small type “ Exclusive<br /> the contrary in the unliterary world.<br /> copyright of — ” (the name of the paper).<br /> It may be reasonably assumed that a writer As far as I know, it is the invariable rule for the<br /> taking part in a prize competition expects certain · publisher or editor to demand, either beforehand or<br /> things as a matter of course. Reduced to their afterwards, the entire copyright in the prize-winning<br /> lowest terms, these seem to be: (1) a fair field; work. Readers of The Author, perhaps, do not need<br /> (2) a fair price ; (3) an assurance of publication to be reminded of the words which appear every<br /> if he wins a prize ; and (4) the return of his MS. month under the heading of “How to Use the<br /> if it is unsuccessful.<br /> Society,&quot; viz., “ Selling it [literary property out-<br /> Unless the first two conditions appear to exist, right. This is sometimes satisfactory, if a proper<br /> it is extremely improbable that he will compete. price can be obtained. But the transaction should<br /> All organisers of these prize competitions are eager be managed by a competent agent, or with the<br /> to disclaim favouritism in the selection of the prize advice of the secretary of the society.” Unless,<br /> winner. They pay for their big names at other therefore, an author is himself fully capable of<br /> times, giving the big prices which are necessary to judging the value of the entire copyright of a<br /> secure them, with “no damned nonsense about successful novel in a big competition, he should<br /> merit” actually shown by the work apart from the similarly seek the advice of those whose business it<br /> author. But in the competitions it is the merit of is to know about such matters. Need it be said<br /> the work which alone is to count. It is usual to that $100 would not be adequate remuneration for<br /> announce the names of the adjudicator or adjudica- all the rights in a prize-winning novel, unless the<br /> tors at the same time as the competition itself. If, entries were very bad indeed ?<br /> therefore, anyone has an objection to the judges, he With regard to short stories, poems, etc., it would<br /> has an easy remedy, to abstain from submitting his be still more of a mistake to assign the copyright<br /> work to them. Where novels are concerned, more in return for a few guineas and thus preclude oneself<br /> over, it is the regular practice to ask that they from ever republishing them in book form without<br /> should be sent in under a pseudonym, or at least to the purchaser&#039;s consent. Moreover, cases have<br /> state that the author&#039;s real name will be concealed occurred, both in the past and recently, of the<br /> from the adjudicators after the preliminary weeding republication of juvenile work without the author&#039;s<br /> out has been done by readers employed by the consent, indeed much against his wishes, owing to<br /> publisher for that purpose.<br /> the assignment of copyright in such work at the<br /> Again, as to the fair price, the reward to the date of selling. When a writer disposes of all<br /> winners being announced beforehand, a competitor rights in any of his productions, however short, he<br /> knows what he will get if he is selected as best must be prepared for the possibility of annoyance<br /> second best, etc. He has formal notice of the price in the future. It ought not to be necessary to<br /> <br /> <br /> ## p. 231 (#309) ############################################<br /> <br /> THE AUTHOR.<br /> 231<br /> insist on this, were it not that the lure of a prize of<br /> some guineas is apt to blind the eyes of the<br /> ordinary author to the existence of a small-type<br /> claim of exclusive copyright.<br /> Still less necessary ought it to be to say that any<br /> provision for the use of non-successful stories, etc.,<br /> at “ordinary” rates in the magazine offering prizes<br /> for competition should at once warn off writers,<br /> unless they know these rates and are prepared to<br /> accept them. They should discover, moreover,<br /> whether they are expected to sell the copyright or<br /> merely the serial rights in return for the ordinary<br /> rates of the magazine.<br /> The provisions as to the date of payment to<br /> successful competitors should be carefully con-<br /> sidered. The question of “payment on acceptance&quot;<br /> has been discussed recently in The Author. It can<br /> easily be seen that prompt payment is even more<br /> desirable in the case of a prize-story, which is pre-<br /> sumably a more readily saleable thing than the<br /> ordinary story, seeing that it has won first place in<br /> an open field. Authors should, therefore, always<br /> look for a statement as to when the award will be<br /> made and the money paid. A reasonable latitude<br /> must, of course, be allowed, as the possibility of a very<br /> big entry makes it impracticable to name an abso-<br /> lately certain date for the award. But such<br /> indefinite wording “as soon as possible after the<br /> close of the competition” or the like is scarcely<br /> satisfactory.<br /> The third of the essential points is closely<br /> connected with the subject just mentioned. If<br /> one does not want to wait indefinitely for the<br /> publication of the award and the payment of the<br /> prizes, neither does one wish to be without an<br /> assurance that the prize-winning work will be<br /> published at all. Yet in one of the novel competition<br /> announcements before me there is nothing whatever<br /> about the publication of the successful novels.<br /> The authors cede all rights of every kind in them<br /> —and there, as far as the prospectus explains it,<br /> i he matter might end. Similarly, in connection<br /> with a short story competition of which I have the<br /> advertisement in front of me, there is no statement<br /> that the stories will ever be published. By impli-<br /> cation, it is true, it appears that they will come out<br /> in the magazine purchasing them ; just as it may<br /> be inferred that the novels awarded prizes will one<br /> day see the light. But there is no agreement to<br /> publish them by any particular date or at all.<br /> They might be bought and then buried, destroyed,<br /> or used in some way by some one other than the<br /> author. With regard to a novel, it ought at least to<br /> be specified that it will be published within a certain<br /> period from the date of the award. Nor should<br /> a short story, poem, or article, to which a prize is<br /> awarded, be hung up indefinitely.<br /> In the case of some authors it may be imperative<br /> to know that a novel shall not be published<br /> before a certain date, for it is not uncommon to<br /> include in a contract the provision that no other<br /> book by the writer shall be published within a<br /> fixed time.<br /> The return of unsuccessful MSS. seems generally<br /> to be arranged for, provided that stamps are sent<br /> in for the re-postage. But the weekly paper<br /> mentioned above, as only letting the competitors<br /> know indirectly that the full copyright is expected<br /> of the stories submitted for its prize page, also<br /> omits to say anything about the return of<br /> unsuccessful stories. It looks rather, from an<br /> announcement on the same page about a poetical<br /> competition that “ rejected poems will not be<br /> returned to the sender,” as if the short-story<br /> writers must expect the same fate for their MSS<br /> This, however, is surely not a matter on which<br /> competitors should be left in doubt. There are<br /> unwary authors who keep no copy, or at least none<br /> but a rough copy of work which they send out. It<br /> would certainly be unsafe for such people to enter<br /> for a prize competition where the editor does not<br /> promise to endeavour to send back all MSS.<br /> accompanied by stamps—and to send them back in<br /> a reasonable space of time, it may be added. Can<br /> it be looked upon as a legitimate way of adding<br /> to a paper&#039;s sales to induce the unhappy writer to<br /> go on purchasing copies indefinitely in the hope<br /> of seeing his work in print ?<br /> In short, before entering any of the numerous<br /> prize competitions, authors cannot be too careful<br /> in reading the conditions and seeing that they<br /> offer sufficient guarantees concerning the treatment<br /> which will be accorded to their work in event of<br /> either success or failure.<br /> STYLE IN LITERATURE.<br /> By ARCHIBALD DUNN.<br /> III.<br /> [The broad requirements of style were discussed in the<br /> April issue, and, last month, the laws of Economy, Climax<br /> and Variety—the laws of form-were dealt with in detail].<br /> D ASSING from Form in literature, as I have<br /> ( ventured to call it, we have now to speak<br /> of Grace, which is the stage beyond. Up<br /> to a point-that point to which the rules of Form<br /> have carried us—our author&#039;s task, we may believe,<br /> is well and truly done ; it is concise, direct of pur-<br /> pose, clearly expressed and satisfying in its sequence,<br /> and so varied withal as not to be monotonous.<br /> Excellent, then ! in all those particulars within our<br /> knowledge ; and deserving of a very comforting pat<br /> <br /> <br /> ## p. 232 (#310) ############################################<br /> <br /> 232<br /> THE AUTHOR.<br /> upon the back. But, presently, the vision changes; limitations of Form. As you see, it will suffice for<br /> and, as we read through the masterpiece again, the the presentation of the simple and familiar thought,<br /> fancy takes us and what is worse-grows upon us but, alone and unaided, it will not suffice for the<br /> that something is lacking. As we see it now, this more abstract and less familiar. And why?<br /> is the chrysalis and not the butterfly. At first, the Because the first, which is readily intelligible and<br /> precise character of the shortcoming is hardly dependent for its elucidation only on an orderly<br /> apparent ; we recognise the imperfect thing, and presentation, can be grasped by an appeal to the<br /> that is all. But, later, the mist clears; and then, reason ; whilst the latter, which is not exact by<br /> with a calmer judgment and in a brighter light, we nature and which can not, therefore, be explained<br /> perceive, though dimly perhaps, that the trouble in precise terms, can as a consequence only be<br /> lies in a certain coldness and unreality, that, though grasped by an appeal to the imagination; and the<br /> the rough-hewn figure is there, we have still to method of arousing the imagination is a thing<br /> attain to the finished and inspiring model. For, distinctive and apart.<br /> the early processes in any art are but the In illustration, consider the description of a<br /> labourer&#039;s work, it remains for the artist himself stormy night from two different points of view.<br /> to come and give the final touch—of life and According to the scientist, perhaps : “Rate of wind<br /> beauty. Thus, the aesthetic in literature ; but, forty miles an hour, rainfall two inches, tempera-<br /> at the same time, the practical—they are marching ture 30 degs. Fahr.,&quot; and the ordinary humdrum<br /> hand in hand. Which is all, of course, rather to individual would not think much of the stormy<br /> make assertions without proof and, so, to steer a night; there would be, no doubt, a certain interest<br /> passage for those troubled waters where we may in the meteorological details, but no actual vision of<br /> well heave-to and take our bearings.<br /> the scene. Described, however, by the novelist in<br /> This process in a literary question is, as we know, something after this fashion : “It was a wild night<br /> seldom a difficult matter. In other affairs than with the rain splasbing against the verandab, and<br /> literature there may be, and there generally are, the wind moaning dismally through the nooks and<br /> many considerations ; here there is only one-the crannies of the house,&quot; then it would be a very<br /> reader&#039;s requirement that the thought shall be remarkably humdrum individual indeed who failed<br /> adequately and attractively expressed, and so con- to become fully alive to the wet and boisterous con-<br /> veyed that it shall be easy of comprehension. That ditions outside. Or, again, speak of autumn, and<br /> was the author&#039;s business from the outset ; he had for a while the word is wanting in significance-it<br /> these conditions to satisfy, come what might. Are takes an effort to fulfil its meaning ; but speak of<br /> they, then, satisfied by an observance of the rules autumn as Collins does in his beautiful Ode to<br /> of Form, or is there need to supplement those rules Evening-&quot;While sallow autumn fills thy lap with<br /> in any way? Is there, in fact, any solid reason for leaves ”—and the true sense of it all stands forward<br /> the aesthetic in Style in literature ? * That is the in an instant, the yellow fogs, the thinning foliage,<br /> problem, and such are the principles on which the the dying of the year.<br /> solution depends.<br /> A sure inference, then, I think, that the imagina-<br /> Well, this is how it stands. If you have a simple tion is aroused most certainly and most readily by<br /> business proposition to lay before me, and if you means of pictures which suggest and explain the<br /> will so state it that the principles of Form are main thought. On the evidence of our examples,<br /> observed throughout, I shall follow your meaning; the vague is made distinct by the introduction of<br /> but if, on the other hand, you would speak of some some familiar idea-autumn is realised at mention<br /> less definite idea—say, the emotions or a season of of the falling leaves, the stormy night comes home<br /> the year—and if (without resorting to other aids) to us when we think of the moaning wind and the<br /> you will again so state it that the principles of splashing of the rain-drops. And so, it would<br /> Form are observed throughout, I shall still follow seem, we have come direct to an obvious law : that<br /> you, but-not so completely. In the one case, the the less comprehensible in literature shall be<br /> whole thing is clear ; in the other it is only approached through the more comprehensible, the<br /> partially clear—the picture is incomplete. Now, less familiar through the more familiar, and that<br /> what is the meaning of this ? Why, surely, that this sball all be brought about by the use of suitable<br /> we have come straight to the bed-rock of the Symbols and Images.<br /> Thus we speak of the æsthetic, of the charm to<br /> * I have already pointed out the impossibility of dis-<br /> the senses in evolving the finished picture out of<br /> tinguishing exactly between the entirely æsthetic and the these symbols and images. At the same time we<br /> entirely practical, and I have explained that my division of are as certainly treating of the practical ; for, with<br /> the subject is arbitrary. It is, however, to be observed that<br /> Form- which becomes, by its orderliness, a charm to the<br /> a moment&#039;s thought, it is clear that the use of<br /> senses—is certainly to be considered æsthetic, if only,<br /> symbols and images tends to the fulfilment of the<br /> perhaps, in a modified sense.<br /> first principle in literature-economy of the reader&#039;s<br /> <br /> <br /> ## p. 233 (#311) ############################################<br /> <br /> THE AUTHOR.<br /> 233<br /> attention. The “angry” man is an indefinite athlete, and there is a sure delight to the eye in<br /> affair ; the man standing with upraised fist&quot; is the that delicacy of touch or grace of movement ;<br /> picture illustrated in two words. There is here a listen to a well-constructed piano-organ and,<br /> directness of purpose, a clear transparency of ex- mechanical and inartistic though the performance<br /> pression, which carries its own recommendation be, the ear will still dwell with pleasure on the accu-<br /> most fully in that it lightens the task of the reader. racy of the playing. Why, then, if this be the<br /> In place of much verbosity and of a wearisome common effect of excellence in any pursuit, deny<br /> explanation, the scene is sketched vividly, realistic- the same conditions in literature ? Why deny<br /> ally, by a stroke of the pen. Need we wonder, attractiveness in language, in the balancing of the<br /> then, that this ready means of suggesting an idea phrase, in the choice of words ? And if you still<br /> should have found in time a wider application, that tell me that this is not proof, I agree, of course ;<br /> so valuable an asset to the writer&#039;s account should but I take the liberty of adding that it is just<br /> have been pressed more fully into the service, and next door to it—a remarkably strong presumption.<br /> that, by degrees, its use should have extended from Besides, there is another thing which must not<br /> the obscure thought to the simple ? “ Black as be overlooked-the verdict of the cultured. It is<br /> night” strikes the imagination at once, whilst final, you know, in the world of Art, and there is<br /> “black” alone, though a simple enough thought, is no court of appeal beyond. The ill-educated taste<br /> never too definite in conception, because of the of the multitude may create, and often has created,<br /> many different conditions with which we are in the the success of a moment, and set a nonentity on a<br /> habit of associating it. And if this be a matter as pedestal. Similarly, the more advanced thought,<br /> much of emphasis as of interpretation, a distinction the original and unaccustomed idea, has not always<br /> as much as an explanation, well, what of it ? Take met with immediate approval ; and we find great<br /> it at that, if you please, its force as an aid to artists slow to reach acceptance, even critics<br /> comprehension is still not to be denied; and, so, it delaying the triumph of a Wagner and Tschai-<br /> follows that writing of any sort on any subject kowsky. And this is no matter for surprise, for<br /> must, in order to be good, abound freely in symbols the appreciation of any art depends largely on<br /> and images.<br /> education, and it is not likely, therefore, that even<br /> But that is not all. The conditions of the game the most talented will realise all in a moment<br /> are that the thought shall be presented as attrac- the complete beauty of an unfamiliar design. It<br /> tively as may be; and there is, therefore, still the takes time and study to cultivate the mind and<br /> attractiveness of language itself to be discussed. advance it to a pinnacle. Thus, in the earlier<br /> And this, believe me, is to step uncommonly near stages, the “penny dreadful” was the best book on<br /> a quicksand ; it is an attempt at cracking as hard earth, and “Pop goes the Weasel ” the best music.<br /> a nut as you would meet with in a month of The deeper insight came afterwards, as a rule, and<br /> Sundays. For here is a man coming along and the discovery to our surprise that there is some-<br /> asserting roundly that there is no charm in lan- thing more than incident in a story or than<br /> guage at all. &quot;If there is,” he adds significantly, melody in music. Then, at once, with this advance-<br /> «prove it !” And then, in sober truth, there is ment arose naturally the demand for every subtle<br /> nothing for it but to stand down from the witness- nicety which could aid in beautifying the thought,<br /> box, silent and abashed.<br /> the demand that not only the thought itself should<br /> At the same time, a point or two calls for remark be well conceived but also that its treatment should<br /> and comment. You know, for instance, that it is be perfect in every detail. What wonder, then,<br /> possible to write very badly. We laugh at and when the cultured mind demanded, and very soon<br /> stumble over the halting ill-expressed essay of the found, beauty in the arrangement of words—the<br /> schoolboy ; you know that it is possible to write medium in literature through which the thought<br /> better--the schoolboy himself improves in a twelve- is conveyed-found it in their euphony and appro-<br /> month ; you know of a better stage still in the priateness, in their harmonious setting, in the<br /> fairly practised writer, and of one again beyond rhythmical swing of the phrase ? To the unlets<br /> this when you first experience the gratifying ease tered, of course, this is incomprehensible ; it i-<br /> and comfort of reading a work by Stevenson, meaningless, like the music of Wagner or the sun-<br /> Thus, without touching upon debatable ground, it set, perhaps, of a Turner ; but it is true, never-<br /> is at once obvious that one method of expression is theless. It is no question of a pose or affectation,<br /> better than another, and that we may believe the it is the genuine appreciation of an æsthetic effect.<br /> gamut of progression to move evenly from the very But if you tell me again that all this is proof of<br /> worst to the very best. But it is a fact that, in nothing—for these highly cultured people may be<br /> the accomplishment of anything, the “best” very sincerely and very whole-heartediy wrong--I<br /> creates invariably some sense of æsthetic charm. agree; it is not proof. But in the light of past<br /> Watch the expert billiard player or the champion experience, in the kuowledge that the verdict of<br /> <br /> <br /> ## p. 234 (#312) ############################################<br /> <br /> 234<br /> THE AUTHOR.<br /> these cultured people has stood the test of time in Cresswell professed to teach in the course of this<br /> other artistic affairs, I submit that we have reached, book how authors may become successful. But<br /> at any rate, a second “strong presumption”—this, they expressly disclaim any intention of being<br /> too, on top of the first.<br /> “ didactic.” The word, it must be confessed, has<br /> With two presumptions, then, which are not a bad odour nowadays, and it would surprise us if<br /> reasonably to be denied, I shall take it that the any writer willingly branded his work as didactic.<br /> case is established, that language itself is capable Nevertheless, there are people who would not deny<br /> of creating an æsthetic charm ; and with this that something may be learnt from their writings,<br /> admitted, then at the same time the real practical and among these we suspect that our two present<br /> advantage of polished writing becomes obvious— authors may be classed. At any rate, we shall not<br /> its power to hold the reader&#039;s attention. Here is a scruple to state that there is much in the book<br /> thing a pleasure in itself—these words which run which is worth taking to heart.<br /> so smoothly to the eye and which, if spoken, The keynote of the advice which Messrs. Colles<br /> would slip so glibly off the tongue; there is no and Cresswell give is : Learn from the Great. To<br /> effort in following them, no more than in lazily help those who would learn, they have, to use their<br /> watching a river as it flows onward to the sea, but own words, collected from many sources such<br /> there is music surely, like the music of those counsels of writers of renown as may be serviceable<br /> rippling waters. And maybe the thought is but a to men of letters—not in the form of an anthology,<br /> poor affair and never much worth the trouble of but, as it were, in that of a sermon richly illustrated<br /> expressing at all ; indeed, wbere is the writer who by texts. They hold that “the pathway of author-<br /> has not uttered many thoughts to be rightly ship is no uncertain track, but a beaten road,<br /> scheduled in this category? Well, here is a saving trodden by many, and he who would walk in it<br /> clause ; here is a cloak to the nakedness; here is securely has only to follow the footprints of the<br /> the means of holding the reader&#039;s attention until great who have gone before him.” A counsel of<br /> the conception becomes more attractive in itself.* perfection, it might doubtless be objected; but are<br /> It only remains now to reduce generalities to not the best counsels always counsels of perfection ?<br /> particulars and to examine into the working details About the answer to the question “Who are the<br /> of the conclusions we have reached—that is, into Great” ? our authors feel no hesitation. They are<br /> the practical application of symbols and images, “the household names,” “the writers whose indis-<br /> and into such considerations as may help us in putable claim to attention is based upon their<br /> any way to the effective handling of words. works having found a response in the thoughts and<br /> feelings of millions.&quot; And we are warned against<br /> &quot; the personal satisfaction which modern critics<br /> * It is not suggested, of course, that a writer can make a<br /> worthless book valuable by virtue of beauty of style—such<br /> derive from drawing some almost unknown writer<br /> a book is always worthless. My meaning is only this, that<br /> out of his obscurity, and demonstrating that his<br /> the value of a composition is enhanced by the charm of its work has merits of the rarest quality.” In other<br /> expression.<br /> words, we are recommended to the world&#039;s classics.<br /> (To be continued.)<br /> Well, we suppose this is sound doctrine ; though<br /> assuredly some of us will think with a sigh of some<br /> namus which are not household, but are certainly<br /> SUCCESS IN LITERATURE.*<br /> dear to us, of some works which do not touch the<br /> feelings of millions, but yet touch ours deeply.<br /> However, this is not the place for an argument on<br /> The joint authors of this little work are certainly the comparative value of the judgments of the<br /> to be congratulated on one point, which may be many and the few in the award of places among<br /> regarded as a proof of their success in collaborative the world&#039;s classics, so we will pass on, accepting<br /> literature. The style throughout is wonderfully our authors&#039; interpretation of their precept, Learn<br /> homogeneous. It may be added that it is an from the Great.<br /> attractive style : at its best somehow faintly As to what we are to learn from the Great, the<br /> suggestive of the old “Spectator,” yet at the same two supreme lessons we are told are &quot;to arrive at<br /> time of a directness and simplicity that is modern some adequate appreciation of the consummate<br /> in a good sense of the term.<br /> work of the masters” and “to perceive more or<br /> “ Success in Literature&quot; sounds an ambitious less lucidly the art by which the effects are secured.&quot;<br /> subject to be tackled in a volume of 360 small Criticism of the weak points in the great master-<br /> pages. And so it would be if Messrs. Colles and pieces is deprecated, and the wisdom of a literary<br /> man is declared to lie in the opposite direction.<br /> * &quot; Success in Literature,&quot; by W. Morris Colles and Henry<br /> He must be able to recognize in the works of the<br /> Cresswell-London : Methuen &amp; Co.<br /> masters, not where they failed, but where they<br /> <br /> <br /> ## p. 235 (#313) ############################################<br /> <br /> THE AUTHOR.<br /> 235<br /> were successful, and must reserve destructive Another passage, illustrative of the fact that a<br /> criticism for his own work.<br /> work of indisputable merit may be judged worth-<br /> Obviously the inculcation of admiration for the less before it becomes a classic-a consolation<br /> Great without insistance on the need of originality often to writers whose belief in themselves exceeds<br /> would be an incitement to merely imitative work. their literary income-we would gladly quote if<br /> So it is not surprising to find a whole chapter we had space. But perhaps enough has been said<br /> devoted to the subject of originality-and a very to show that “Success in Literature” is both an<br /> good chapter, too, though it does not readily interesting and an instructive work. Those who<br /> lend itself to quotation. It could be wished in want a handbook showing them how to construct<br /> these days, when the market (the word is volumes which will go at once into four large<br /> objectionable from the literary point of view, but editions will not find it here. If, however, some-<br /> so is the literature of which we are speaking) is thing is required which will stimulate profitably<br /> being swamped with weak books on all kinds of thought and at the same time please the literary<br /> subjects, that the writers would take to heart what judgment, then this book may be commended<br /> is here said on the desirability of asking oneself safely.<br /> the question, is what I am going to say worth Perhaps it should be added, in conclusion, that<br /> saying?<br /> “ Success in Literature ” is primarily addressed<br /> After laying down these two fundamental con- not (of course) to the big authors of to-day, nor<br /> ditions, that the great masters must be taken as yet to the beginners ; but to the men of letters<br /> our examples and that we must have something who have advanced a certain way and find a<br /> to say, the authors proceed to discuss the best difficulty in advancing further. Yet we believe<br /> methods in literary work, the equipment required that to the beginners, and to those who hare<br /> before engaging in it, appropriate style, and form arrived also, it will not be without its appeal. com<br /> and treatment, in all of which subjects they put<br /> most excellent advice before their readers, collected<br /> from authorities as far apart as Augustus and<br /> Anthony Trollope, Metastasio and Crombie,<br /> author of “ The Gymnasium,” and supplemented by THIRTY-SIX DRAMATIC SITUATIONS.*<br /> facts taken from the lives of literary men of<br /> various lands. To ourselves, we must confess,<br /> the latter furnish some of the most interesting TN our April issue we printed (quoting from a<br /> parts of the book. We cannot refrain from quoting 1 Chicago contemporary) a paragraph respecting<br /> one passage from the chapter entitled “ The the “ Thirty-six Dramatic Situations ” of the<br /> Worker and his Work.” After saying that exact Italian dramatist, Count Carlo Gozzi, with a<br /> records of the manner in which writers of note further mention of a treatise on the same subject<br /> have done their work, of their hours, and of the written by M. Georges Polti, and published in<br /> rules which they made for themselves, are not to Paris some fifteen years since. Want of space<br /> be easily had, our authors continue:<br /> forbade at the time any remarks of our own on<br /> the subject, to which we here revert, as the<br /> &quot; William Beckford states that he wrote Vathek at a<br /> whole question is one of considerable interest to<br /> single sitting. • It took me three days and two nights of<br /> hard labour. I never took off my clothes the whole time.<br /> dramatists, and perhaps also of some importance to<br /> The severe application made me very ill.&#039; This feat, if it novelists.<br /> was really accomplished, which is very doubtful, about At present Gozzi&#039;s assertion seems to rest on<br /> 25,000 words is probably the largest single spell of literary<br /> the authority of Goethe. M. Polti quotes (without<br /> work with a pen on record. More has been dictated;<br /> naturally in less time. Zola&#039;s daily output of fiction was giving any reference) from Goethe&#039;s “ Entretiens<br /> four pages of print of Charpentier&#039;s edition of his work avec Eckermann&quot; (presumably Eckermann&#039;s<br /> (about 1,300 words). He laid down his pen as soon as the “Gespräche mit Goethe &quot;), “ Gozzi used to maintain<br /> four pages were completed-even if that was in the middle<br /> that there could not be more than thirty-six tragic<br /> of a sentence ; but he wrote the four pages in the morning<br /> directly after breakfast, every day. Anthony Trollope, all<br /> situations. Schiller gave himself a good deal of<br /> of whose work was conducted with extraordinary regu. trouble to find some more, but did not find so<br /> larity, and much of it written whilst he was a busy Post many as Gozzi.” It will be at once observed that<br /> office functionary, wrote a page of 250 words, and made<br /> “ tragic ” not “ dramatic&quot; situations are here<br /> it a rule to produce a certain number of pages every week.<br /> The average was forty ; but he sometimes required of<br /> limited to thirty-six, a difference of considerable<br /> himself more, and sometimes only twenty. He rose at importance. Next, an evident first question is :<br /> five, and had his literary work finished before break “Whence has Goethe this information ? &quot; Are<br /> fast. He regarded three hours as the limit of time for a<br /> single day&#039;s work. ... Sir Walter Scott had made<br /> himself a rule of six pages of close MS.=thirty pages of &quot;Les Trente-six Situations Dramatiques,&quot; par Georges<br /> letterpresse about 6,450 words per diem,&quot;<br /> Polti, Paris. 1895.<br /> <br /> <br /> ## p. 236 (#314) ############################################<br /> <br /> 236<br /> THE AUTHOR.<br /> 06<br /> these thirty-six situations mentioned anywhere in spirited scene at its conclusion when Pelasgus<br /> Gozzi&#039;s works (they fill twenty-two volumes); or repels the insolent attempt of the herald to seize the<br /> was this hearsay only, for Goethe (1749–1830) suppliants in the name of Aegyptus. In “ Hamlet”<br /> and Gozzi (1772-1806) are contemporaries. we should say that there is a highly dramatic<br /> Respecting this M. Polti gives us no information. “tragic situation &quot; when the court, assembled to be<br /> It appears, however, that Gozzi did not mention entertained with a play, find themselves witness-<br /> what his thirty-six situations were. We learn ing a minutely accurate representation of the<br /> further from M. Polti (who again vouchsafes no murder by which the king obtained his throne.<br /> reference) that Gérard de Nerval occupied himself M. Polti groups “Hamlet” under “ Situation<br /> with the question of the number of possible XIII: Hatred between Relatives.” That such<br /> situations, and could find only twenty-four. He hatred might be naturally productive of “ tragic<br /> also does not mention what they were. All this situations &quot;is evident ; but it does not appear to<br /> and much more may be read in M. Polti&#039;s us that it is itself a tragic situation. In short,<br /> preface, where little that is interesting is lacking, whilst admitting that there is much that is<br /> except correct references.<br /> interesting in M. Polti&#039;s work, we are unable to<br /> M. Polti thereafter devotes himself to the see that it offers any answer to the problem, “ What<br /> question of what the thirty-six situations are, and were Gozzi&#039;s thirty-six tragic situations ?”<br /> sets forth, in succession, the thirty-six enumerated<br /> in our April number.<br /> This mere enumeration, however, conveys no idea<br /> either of the gigantic labour, or of the very wide<br /> acquaintance with the world&#039;s literature which the ESSAYS ON RUSSIAN NOVELISTS.*<br /> little book shows. M. Polti having mentioned “Sup-<br /> plication ” (Implorer) as his first situation demon-<br /> strates how“ Supplication ” can assume as many&quot; LISSAYS<br /> T SSAYS on Russian Novelists,” by Prof.<br /> as nine different aspects, and then quotes examples, D Phelps, is a work of which it is not easy<br /> in many cases several examples, of every one of<br /> to give a just estimate. Here is a great<br /> them. The number of dramas and other works of deal that is true and also very farniliar, yet hardly<br /> the imagination, classical and modern, European to be omitted from any work on Russian fiction<br /> and Oriental, quoted is astounding, and the toil intended for general perusal; a good deal that is<br /> involved in grouping them under the several open to debate,or, indeed, hardly defensible(theasser-<br /> “ situations ” must have been enormous. If tion, for instance, that Russian literature is a new<br /> precise results of laborious l&#039;esearch merit any literature); and much that must be pronounced<br /> praise, M. Polti has deserved it.<br /> exaggerated, even after every allowance has been<br /> At the same time, whilst willingly according<br /> made for the author&#039;s exuberant enthusiasm for his<br /> M. Polti&#039;s labours all the admiration which they<br /> subject. The book produces an uncomfortable<br /> deserve, and freely admitting that his work may impression because it is nowhere made quite plain<br /> be perused with interest, we have always felt that that the author is not speaking at second hand ;<br /> the advantage to be derived from it is not very and relying merely on translations. If he is a<br /> great. The results reached are curious rather Russian scholar why is he so careful to mention by<br /> than illuminating.<br /> whom translations from the Russian have been<br /> We must also confess to having felt that made for him ? If he is not a Russian scholar<br /> M. Polti has entirely misunderstood what is what judge is he of the Russian style which bo<br /> meant by a “tragic situation.” We say this with praises in one case and condemns in another ? We<br /> all deference for the opinions of those who may are entirely unable to agree with the opening asser-<br /> think otherwise. and freely admit that unless tion that Russian fiction is the best in the world ;<br /> Gozzi&#039;s original statement, and what he himself and do not understand why that assertion is made<br /> meant by it, can be found, the interpretation of his by an author, who, later in his work, freely admits<br /> words must always remain a more or less open the “intense gloom” of Russian fiction, and justly<br /> question. To ourselves, however, the matter has describes reductio ad absurtlum as the characteristic<br /> always appeared thus : that “tragic situations” of Russian thought. That cannot be great which<br /> are the individual moments of a dramatic action, can see only the grey aspects of life. Notwith-<br /> many of which may occur in a play; and that standing the shortcomings of the book, the reader<br /> what M. Polti has been illustrating are rather the who is on his guard against being misled may,<br /> fundamental themes upon which various plays are however, gather much from it; for it brings into<br /> built. Thus, his first example of “ Supplication ”..<br /> is“ The Suppliants&quot; of Aeschylus ; but it appears * William Lyon Phelps, Ph.D. : &quot; Essays on Russian<br /> to us that the great situation of that play is the Novelists.&quot; New York : Macmillan Co. 1911.<br /> <br /> <br /> ## p. 237 (#315) ############################################<br /> <br /> THE AUTHOR.<br /> 237<br /> one focus things that cannot be elsewhere found ditions in the States are not altogether so propitious<br /> together in any single English volume. The work as at some times, the woman&#039;s club of the New<br /> concludes with a bibliography (which we could wish England village through its president, Mrs. Henry<br /> more perfect) of the stories written by nine of the C. Rolfe, has been appealing to all lovers of Miss<br /> best-known Russian novelists, setting forth the Alcott&#039;s books to contribute toward a fund of at<br /> translations of them which have appeared in least £1,600 to guarantee the preservation and<br /> English, French and German. A note should maintenance of this ancient historic home. A<br /> have been added that the greatest caution in the portion of the fund has already been subscribed,<br /> selection of translations from Russian must be mostly in small amounts, and is in the hands of<br /> exercised by readers who desire to peruse faithful Henry F. Smith, junr., Middlesex Institution for<br /> renderings of the original texts.<br /> Savings, Concord, Massachusetts. In view of the<br /> international interest in Miss Alcott&#039;s works the<br /> management of the woman&#039;s club has felt itself<br /> justified in issuing an international appeal for<br /> CORRESPONDENCE.<br /> assistance.<br /> The Orchard House at Concord is situated near<br /> AUTHORS AND THE LIBRARIES.<br /> the house owned by Ralph Waldo Emerson. It<br /> was first occupied by Bronson Alcott and his family<br /> SiR, -As a new author, may I draw your in 1857. It continued to be their home for twenty-<br /> attention to the following facts.<br /> five years when it was sold to the late William T.<br /> My first novel, published about three months Harris, for many years United States Commissioner<br /> ago, received very favourable press notices, and of Education. In it were written &quot;Little Women&quot;<br /> was advertised as being obtainable at all libraries.<br /> and several others of Miss Alcott&#039;s best liked<br /> and<br /> Several of my friends, wbo belong to Mudie&#039;s, stories. On the woodwork, in places, may be seen<br /> repeatedly applied for it without success, until a little paintings and sketches by 6 Amy.&quot; Louisa&#039;s<br /> ek or so ago, when, in answer to a pointed note younger sister whose death, shortly after her happy<br /> of inquiry, Mudie&#039;s returned a reply &quot;that, as the marriage to Ernest Nieriker, a young Swiss gentle-<br /> demand was so small, they had not as yet procured<br /> man, was one of the tragic events of the author&#039;s<br /> it. but would now do so.&quot; This action of Mudie&#039;s middle age.<br /> appears to me to amount practically to a boycott This house, about which cluster so many memo-<br /> of all new authors, the demand for whose work ries of one of the most helpful writers for the<br /> must necessarily be small at first; and if the small<br /> young, it is hoped not only to purchase but to<br /> demand, which should legitimately widen into a<br /> maintain as a permanent Alcott memorial.<br /> maintain as<br /> A plain<br /> larger, is baffled, what hope is there for the new wooden dwelling, after the fashion common in New<br /> author ? Such action nullifies any good which England, it is almost unchanged in its general<br /> laudatory reviews might have worked. Would features, but now so desolate as to move the com-<br /> even “Marie Claire,” for instance, have sold<br /> miseration or indignation of visitors who have<br /> largely if the supply had not responded instantly<br /> loved Miss Alcott&#039;s stories and the characters she<br /> to the demand ?<br /> has created. Restored to its original state it will<br /> It is but fair to say that I believe all the other charm the many people from overseas who include<br /> libraries stocked the book.<br /> in their American itinerary the most famous of<br /> Yours faithfully,<br /> New England villages.<br /> A MEMBER.<br /> F. W. COBURN.<br /> Miss LOUISA ALCOTT.<br /> SIR,-It may interest some of the many English<br /> men and English women who as children enjoyed<br /> Louisa Alcott&#039;s “Little Women” and other stories,<br /> to know that at Concord, Massachusetts, U.S.A., a<br /> movement has been started to keep intact the<br /> Orchard House in which the Alcott family lived<br /> for many years. Americans of late have shown a<br /> disposition to preserve such literary and artistic<br /> shrines as there are in their country. The birthplace<br /> or former residences of Longfellow, Poe, Irving,<br /> Whittier, Whitman, Whistler and others have been<br /> commemorated. This year, although financial con-<br /> PROFESSIONAL TYPISTS.<br /> DEAR SIR,-May I, as a “ Professional Typist&quot;<br /> of nearly fifteen years&#039; experience, while offering<br /> my sincere sympathy to “A Member,&quot; ask him<br /> with all deference what else he could have expected<br /> at the price ? 85,000 words and a duplicate for £4!<br /> This means that the 85,000 or 84,000 words were<br /> typed at about 8d. per 1,000 words, the duplicate<br /> being charged at less than half price. He does not<br /> tell us if the paper was included—more than a ream<br /> would be required. Copying from MS. (even if fairly<br /> clear, and most author&#039;s MS. is anything but that),<br /> a thousand words would take a good typist from<br /> <br /> <br /> ## p. 238 (#316) ############################################<br /> <br /> 238<br /> THE AUTHOR.<br /> half to three quarters of an hour, or longer in pro-<br /> CANADIAN MAGAZINES.<br /> portion to the difficulty of the MS. But in addition<br /> to this it should be read, carefully compared and<br /> SIR,-It may possibly interest some readers of<br /> checked with the MS., corrected, if necessary, and<br /> The Author, particularly when the question of the<br /> the words counted. This means over an hour&#039;s<br /> Canadian Copyright Bill is being discussed, to hear<br /> work for each 1,000 words. If there are duplicate the opinion of one Canadian editor with regard to<br /> copies, any errors have to be corrected separately English contributors. I quote from his letter :<br /> in each, taking still further time and work, and ail “ We could not use your work because it is too<br /> this is expected for less than a shilling! The English for us. We are essentially &amp; Ca<br /> “ firm&quot;has, moreover, to pay the typist employed, publication for the Canadian people, and our own<br /> to provide all necessaries for the work, i.e., ribbons big land has enough interest to provide exhaustless<br /> for machine (the best are 38. 6d. each), carbons for topics for stories and verse. You will readily<br /> duplicates (best 2s. 6d. per dozen), erasers, paper understand that Canadian people do not want an<br /> fasteners. packing materials. wear and repair of English magazine published in Canada. If they<br /> machines, and very often is expected also to provide wish to read magazines with English character they<br /> paper at from 28. 6d. to 38. or more a ream. He buy an English publication, but they have no use<br /> wants somehow to make a profit out of which to pay<br /> for a magazine which is part Canadian and part<br /> office rent, insurance. lights and heating, also board English. The fact that Englishmen who come to<br /> and lodging, travelling expenses, and all other items Canada constantly try to introduce their home<br /> incidental to one&#039;s being alive, including clothes. customs into Canada, instead of adapting them-<br /> How is this to be done at the price quoted ? Only, selves to those of the country, has built and fostered<br /> as “ A Member&#039;s &quot; sad experience proves, by scamp- an antagonism to Englishmen.&quot;<br /> ing the work, employing uneducated, inefficient and Why an English writer should be rated for the<br /> “cheap&quot; assistants, using cheap materials and third- failings of her countrymen who go to Canada is<br /> rate machines, and so sending out work which merits somewhat hard to understand. Evidently Canadian<br /> “A Member&#039;s” graphic description. I have had editors do not believe in free trade.<br /> reams of such useless stuff to re-type for other dis-<br /> Believe me, Yours faithfully,<br /> gusted authors who have made trial of the cheap<br /> EDITH DART.<br /> typist. Years ago I myself tried to give really good<br /> work at these low rates, to work up a “connection,&quot;<br /> but I found that it meant literally starvation. I<br /> JOURNALISM AGAIN.<br /> am writing, therefore, in defence of those—most of SIR,—I regret to notice in a recent number of<br /> them well-educated and cultivated women—who are a certain illustrated weekly, the following state-<br /> trying to make a living and to put by something for ment by the writer of a literary letter published in<br /> their old age, by giving really good and honest work that journal, and signed “C. K. S.”<br /> at fair and reasonable rates. “ A Member&quot; might “I have always looked upon the Royal Society<br /> easily have found the names of several of these of Literature as a ridiculous body, even worse than<br /> (even “ good wine &quot; needs an alluring “bush ” in the Society of Authors.”<br /> these days of competition !), and would, in far less It is clear that C. K. S. is either wilfully<br /> time, have received accurate, well-typed, and well ignorant of the work that the Society of Authors<br /> turned-out work which would have rejoiced the has done, and is continuing to do for authors and<br /> hearts both of himself and his publisher. Authors dramatists, or that his remarks are merely the<br /> have, unfortunately, forced this cheap work into outcome of some spite or pique which he has<br /> the market by insisting on &quot;lowest terms,” irre- against the society.<br /> spective of the quality of the work. Cheap type- The publication of such a statement, while it is<br /> writing is “cheap and nasty,&quot; and good work unlikely to injure, at this time of day, the prestige<br /> deserves fair pay.<br /> of the society which is now firmly established as the<br /> Should“ A Member” be so rash as to purchase a result of its work for authors, dramatists and<br /> suit at 18s. 6d. in the City Road, would he expect musicians, is scarcely calculated to aid the circula-<br /> the cut and style of Bond Street ? I think not. tion of the paper in which it appeared. The<br /> Yours faithfully,<br /> paragraph I have quoted is much more likely to<br /> A TRAINED AND CERTIFICATED TYPIST. make Mr. C. K. S. appear ridiculous than the<br /> Society of Authors.<br /> P.S.-A hint to typists. It is said that a well- I write to direct your attention to the matter,<br /> known author, when asked to supply a certain though you may not consider it worth while to<br /> editor with a serial at a very cheap rate, replied take notice of it by printing this letter.<br /> briefly : “Dear Sir, I am not a charitable institu-<br /> Yours, etc.,<br /> A SYMPATHISER.<br /> tion.”<br /> <br /> <br /> ## p. 238 (#317) ############################################<br /> <br /> ADVERTISEMENTS.<br /> AUTHORS wishing to make arrange-<br /> Commi<br /> Authors&#039; MSS. 10. 1,000 words; over 40,000, 10d.<br /> Educated Operators, GOOD PAPER, Standard Machines. .<br /> Plays and Actors&#039; Parts. Legal, General and Commercial<br /> Documents. Duplicating. Facsimile Typewriting.<br /> FULL TERMS ON APPLICATION. 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