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532	https://historysoa.com/items/show/532	The Author, Vol. 24 Issue 01 (October 1913)	<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.+24+Issue+01+%28October+1913%29"><em>The Author</em>, Vol. 24 Issue 01 (October 1913)</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>	1913-10-01-The-Author-24-1					1–32																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-10-01">1913-10-01</a>							1			19131001	Che HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authers. Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. XXIV.—No. 1.<br /> <br /> OcToBER 1, 1913.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> <br /> —_____+——__—___<br /> <br /> NOTICES.<br /> <br /> —_—-—+—<br /> <br /> 7 the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> paragraphs must be taken as expressing the<br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> <br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> <br /> ‘Author are cases that have come before the-<br /> <br /> notice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tue Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> subscription for the year.<br /> <br /> Communications for The Author should be<br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> than the 21st of each month.<br /> <br /> Communications and letters are invited by<br /> the Editor on all literary matters treated from<br /> <br /> Vou, XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> On and after June 13 Messrs. Matthews’<br /> Advertising Service, Staple Inn Buildings,<br /> High Holborn, W.C., will act as agents for<br /> advertisements for “The Author.” All<br /> communications respecting advertisements<br /> after that date should be addressed to them.<br /> <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<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> —______——__—___<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> — ++<br /> <br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done<br /> <br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid.<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> 79<br />  <br /> <br /> 2<br /> <br /> matter closely connected with the work of the<br /> Society. oe ‘<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> ee<br /> <br /> THE PENSION FUND.<br /> <br /> oo<br /> <br /> ‘N January, the secretary of the Society<br /> laid before the trustees of the Pension<br /> Fund the accounts for the year 1912, as<br /> <br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4% Extension Shares, 1914,<br /> £10 fully paid. The number of shares pur-<br /> chased at the eurrent price was twenty-five<br /> and the amount invested £296 1s. 1ld. The<br /> trustees are also purchasing three more Central<br /> Argentine Railway New Shares at par, on<br /> which as holders of the Ordinary Stock they<br /> have an option.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule ;—<br /> <br /> Nominal Value.<br /> <br /> 8<br /> Deca L0ans 2.5.2.2... 665. 500 0 0<br /> Victoria Government 3% Consoli-<br /> dated Inscribed Stock ........ 291 19 11<br /> London and North-Western 3%<br /> Debenture Stock .........&lt;.; 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certifieates ........ 200 0 0<br /> ‘Cape of Good Hope 34% Inscribed<br /> UOC os oc eee 200 0 0<br /> Glasgow and South-Western Rail-<br /> way 4% Preference Stock 228 0 0<br /> New Zealand 34% Stock ....... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> stock, 1927-57 ............. 438 2 4<br /> Jamaica 34% Stock, 1919—49 .. 18218 6<br /> Mauritius 4% 1987 Stock ....... 120 12 1<br /> Dominion of Canada, C.P.R. 34%<br /> Land Grant Stock, 1988 ...... 198 3 8<br /> Antofagasta and Bolivian Railway<br /> 5% Preferred Stock .......... 237 0 0<br /> Central Argentine Railway Or- .<br /> dinaty St0ck = ......-.e:c001. Be OG<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> 2 28<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ........... 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares .........:; 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4°% Extension Shares,<br /> 1914 (fully paid) ..........-. 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 80 0 6<br /> <br /> Total<br /> <br /> PENSION FUND.<br /> <br /> ee<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (t.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> January 3, 1913.<br /> <br /> It does not include either donations given<br /> prior to January, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> <br /> 1913, - #8<br /> Jan. 8, Toynbee, William (in addi-<br /> <br /> tion to his present sub-<br /> <br /> scription). . . ~ O16 0<br /> Jan. 9, Gibson, Frank . 0 6 8<br /> Jan. 29, Blaikley, Miss E. L. Oo Ss 6<br /> Jan. 31, Annesley, Miss Maude 010 6<br /> Feb. 6, Rothenstein, Albert . 0 7 &amp;<br /> Feb. 10, Bradshaw, Percy V. 010 6<br /> April 8, Caulfield-Stoker, T. . 0 5 0<br /> June 12, Wimperis, Arthur . fg<br /> June 16, Ballantyne, J.W. . » 0.5 0<br /> June 16, Thorold, Rupert 1 @ 0<br /> <br /> Donations.<br /> <br /> 1913. :<br /> Jan. 1, Risque, W. H. ‘ . 910 8<br /> Jan. 1, Rankin, Mrs. F. M. . . @ 6 06<br /> Jan. 2, Short, Miss L. M. 05 0<br /> Jan, 2, Mackenzie, Miss J. 0 5 0<br /> Jan. 2, Webling, Miss Peggy . O15 0<br /> Jan. 8, Harris, Mrs. E. H. . 0 5 0<br /> Jan. 3, Church, Sir Arthur,<br /> <br /> K.C.V.O., ete. ~ Fo 2 ©<br /> Jan. 4, Douglas, James A. . - 8 8 0<br /> Jan. 4, Grant, Lady Sybil . ~* 2.2 8<br /> Jan. 6, Haultain, Arnold é ~ ok 21 6<br /> Jan. 6, Beveridge, Mrs. : &lt;0 8 6<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan,<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Mar. 7, Keating,<br /> Lloyd ;<br /> Mar. 7, Tharp, Robert C.<br /> Mar. 10, Hall, H. Fielding<br /> Mar. 18, Moffatt, Miss Beatrice<br /> Mar. 14, Bennett, Arnold<br /> <br /> 6, Clark, The Rev. Henry<br /> 6, Ralli, C. Scaramanija .<br /> 6, Lathbury, Miss Eva .<br /> 6, Pryce, Richard<br /> <br /> 7, Gibson, Miss L. S.<br /> <br /> 10, K. : :<br /> <br /> 10, Ford, Miss May<br /> <br /> 12, Greenstreet, W. J. .<br /> 14, Anon : :<br /> 15, Maude, Aylmer<br /> <br /> 16, Price, Miss Eleanor .<br /> 17, Blouet, Madame<br /> 20,P.H.andM.K. .<br /> 22, Smith, Herbert W. .<br /> 25, Anon. . . :<br /> 27, Vernede, R. E. .<br /> 29, Plowman, Miss Mary<br /> <br /> 81, Jacobs, W. W.<br /> <br /> 1, Davy, Mrs. E. M.<br /> <br /> 8, Abraham, J. J.<br /> <br /> 4, Gibbs, F. L. A.<br /> <br /> 4, Buckrose, J. E. ‘<br /> 4, Balme, Mrs. Nettleton<br /> <br /> 6, Machen, Arthur<br /> 6, Romane-James, Mrs.<br /> 6, Weston, Miss Lydia .<br /> <br /> 14, Maunsell, A. E. Lloyd<br /> 14, O&#039;Higgins, H. J...<br /> 15, Stephens, Dr. Ricardo<br /> 15, Jones, Miss E. H.<br /> <br /> 17, Whibley, Charles<br /> <br /> 22, Probert, W. S.<br /> <br /> 24, S. F. G. ;<br /> <br /> 27, XX. Pen Club<br /> <br /> Mar. 17, Michell, The Right Hon.<br /> <br /> Sir Lewis, K.C.V.O.<br /> <br /> Mar. 17, Travers®Miss Rosalind<br /> <br /> Mar. 26, Anon. . . .<br /> April 2, Daniel, E. H. .<br /> April 2, Hain, H. M.<br /> <br /> April 7, Taylor, Miss Susette M.<br /> <br /> April 7, Harding, Newman .<br /> April 9, Strachey, Miss Amabel<br /> April 10, Aspinall, Algernon .<br /> April 15, Craig, Gordon<br /> <br /> June 12, Peel, Mrs.<br /> <br /> 29, Todd, Miss Margaret, M.D.<br /> <br /> 6, Coleridge, The Hon. Gilbert<br /> <br /> 14, Saies, Mrs. F. H. (in addi-<br /> tion to her subscription)<br /> <br /> Phe Hev. «3:<br /> <br /> THE. AUTHOR.<br /> <br /> .<br /> <br /> waoroo Ormmoooooo CORRE OF OH ONHFOCOCOCOBRHOHFOGCOCOCOROWO<br /> <br /> SOmocoooourore<br /> <br /> n<br /> <br /> _<br /> <br /> _<br /> <br /> ht<br /> OO HK OH OR ONE NEF OOREKF OF GUM OUR aw Oo:<br /> <br /> _<br /> <br /> i<br /> <br /> bt fen<br /> <br /> _<br /> BOF CUNO O,<br /> <br /> OS Ore or Or<br /> <br /> Com Om Oa O OH Ore<br /> <br /> SSSCSTSTOSOHMASOARSCSOHASOAASCSOSCSOSOCOCOCOSCOSCOOCOe<br /> <br /> SOS ACAaARSS<br /> <br /> QOooscoescoaoceceo oooce<br /> <br /> oo<br /> <br /> =<br /> <br /> June 13, Barlow, Miss Hilairé :<br /> June 13, Kynnersley, E. M. Sneyd.<br /> July 5, Williams, Robert :<br /> July 11, Broadbent, D. R. .<br /> <br /> July 22, Cameron, Mrs. Charlotte .<br /> <br /> Hae ooctk<br /> _~<br /> <br /> bet eet Ot Oe<br /> <br /> escooo™<br /> <br /> Oi<br /> <br /> COMMITTEE NOTES.<br /> <br /> —+-——+-—_<br /> <br /> HE last meeting of the Committee of<br /> Management before the vacation was<br /> held on Monday, July 7, at 1, Central<br /> <br /> Buildings, Tothill Street, S.W.<br /> <br /> Following the reading of the minutes, the<br /> committee proceeded with the elections. Eigh-<br /> teen members were elected, bringing the total<br /> for the year up to 207. The committee<br /> received, with regret, three resignations.<br /> <br /> The solicitors then reported the cases to the<br /> committee.<br /> <br /> In regard to two cases tried during the<br /> month of June, they reported that in the<br /> case of Corelli and Gray, the defendants had<br /> appealed, and in the case of Pett Ridge and<br /> The English Illustrated, that the defendants<br /> had gone into liquidation. Two claims, one<br /> against a publisher, and the other for infringe-<br /> ment of performing rights, they stated had<br /> been satisfactorily settled, the amount of<br /> the debt and costs being paid in both cases.<br /> They then gave a detailed report concerning<br /> the investigation of accounts on behalf. of<br /> one of the members, which had become<br /> rather a complicated matter, owing to the<br /> business of the defendants lying to a great<br /> extent in Germany. They hoped to carry the<br /> case through without any serious expense to<br /> the Society. There were three cases of infringe-<br /> ment of copyright. In two of these, which<br /> referred to dramatic rights, the amount to be<br /> paid had been settled, and the payment by the<br /> defendants was to be made by instalments.<br /> In the other case, an infringement of literary<br /> copyright, the solicitors stated they were<br /> awaiting a report from an expert reader,<br /> which report had to be carefully considered<br /> before any action could be taken. The com-<br /> mittee authorised the expenditure of £5 on this<br /> report. The solicitors then reported on three<br /> small County Court cases that were being<br /> carried through.<br /> <br /> The secretary then drew the committee’s<br /> attention to some serious questions which had<br /> arisen between authors and agents. It was<br /> decided that the secretary should draft an<br />  <br /> <br /> 4<br /> <br /> article to appear in T&#039;he Author, setting out in<br /> full the facts of the case, which article should<br /> be considered at the October meeting. :<br /> <br /> The secretary reported two cases In which,<br /> during the month, he had obtained the chair-<br /> man’s leave to act. In the first, the chairman<br /> had sanctioned an application for an injunction<br /> (if necessary) for a copyright infringement.<br /> The secretary was glad to report that the<br /> infringement had been acknowledged, and that<br /> the matter would be settled without legal<br /> action. The second case arose owing to non-<br /> delivery of accounts by an American publisher.<br /> The committee confirmed the chairman’s<br /> decision to place the matter in the hands of<br /> the Society’s American lawyers. Another case,<br /> relating to copyright infringement in the<br /> United States, was laid before the committee,<br /> and they agreed that action should be taken if<br /> necessary. In a case of arbitration between<br /> author and publisher, which had been referred<br /> to the Committee of Management, the com-<br /> mittee nominated an arbitrator to act in the<br /> matter.<br /> <br /> The question of Canadian copyright was then<br /> raised on one or two important points con-<br /> nected with colonial copyright which had come<br /> before the Society. The secretary was in-<br /> structed to communicate with the Board of<br /> Trade on the matter, and to report to the next<br /> meeting.<br /> <br /> Owing to the resignation of the present<br /> lawyers of the Society in the United States,<br /> the secretary submitted the names of others,<br /> who were elected subject to a satisfactory<br /> report being received.<br /> <br /> A vacancy on the committee having occurred<br /> owing to the regretted illness of Mr. J. W.<br /> Comyns Carr, Mr. Charles Garvice was nomi-<br /> nated to fill the vacancy, subject to his willing-<br /> ness to serve,<br /> <br /> The secretary then made a full statement<br /> concerning the office management and<br /> expenses, and was instructed by the com-<br /> mittee thereon.<br /> <br /> The committee’s attention was drawn by<br /> the secretary to Mr. H. G. Wells’ lette#in The<br /> Author on the subject of model agreements.<br /> He was instructed to draft a model form of<br /> royalty agreement during the vacation. This<br /> form was to be laid before the committee in<br /> October.<br /> <br /> A legal question was next placed before the<br /> committee arising out of the mechanical<br /> reproduction clauses of the new Copyright Act.<br /> After hearing the report of the solicitors, the<br /> committee decided that no action could be<br /> taken. The committee delegated its powers,<br /> <br /> t cat ovh a vol ¥¥Ir<br /> <br /> THE AUTHOR.<br /> <br /> during the vacation, to the Chairman, to act<br /> in case of emergency, and finally passed votes<br /> of thanks to Mr. Alfred Sutro for a donation<br /> of £5, and to Miss Jeanette Marks, for a dona-<br /> tion of $5 to the Society’s Capital Fund.<br /> <br /> Dramatic SuB-COMMITTEE.,<br /> <br /> Tue Dramatic Sub-Committee held its July<br /> meeting on Friday, July 11, at the offices of<br /> the Society, 1, Central Buildings, Tothill Street,<br /> Westminster.<br /> <br /> After the reading of the minutes, the seere-<br /> tary reported that he had forwarded to Mr.<br /> Vedrenne, secretary to the Society of West End<br /> Managers, the Managerial Treaty, setting out<br /> the alterations made at the meeting between<br /> delegates of that society and delegates of the<br /> sub-committee. He read to the sub-committee<br /> Mr. Vedrenne’s letter acknowledging receipt of<br /> the document, and stating that he would show<br /> the agreement to his colleagues.<br /> <br /> The secretary then reported what had passed<br /> at a meeting he had attended of the Dramatic<br /> Clubs’ Association as delegate of the Society.<br /> He was instructed to write to the secretary<br /> and express the hope of the sub-committee,<br /> that it would be possible for delegates of<br /> the association to attend a meeting of the<br /> Dramatic Sub-Committee in the autumn.<br /> <br /> The question of foreign agents was then<br /> discussed, and the Dramatie Sub-Committee,<br /> subject to the approval of the Committee of<br /> Management, elected Mrs. Pogson, the agent<br /> of the Society in Germany.<br /> <br /> Various cases dealing with dramatists’<br /> matters were brought before the sub-committee.<br /> The first case referred to a difficulty which had<br /> arisen between members of the Society and<br /> their agents. The secretary was instructed to<br /> write an article for The Author, setting out the<br /> points in dispute, but first to submit the article<br /> to the members concerned. In another case<br /> the sub-committee regretted they were unable<br /> to take any action, and fhe secretary was<br /> instructed to advise the member accordingly.<br /> <br /> The last case was a question of appropriation<br /> of title. The Chairman was instructed to write<br /> a letter on the subject to the member con-<br /> cerned pointing out the serious difficulties, legal<br /> and otherwise, that might follow from such<br /> appropriation.<br /> <br /> It was finally decided to adjourn the con-<br /> sideration of the ‘‘ Draft Dramatic Agreement<br /> for a term of years’? to the autumn meeting.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 5<br /> <br /> ComposErs’ SuB-COMMITTEE.<br /> <br /> Tue Composers’ Sub-Committee met at the<br /> offices of the Society, 1, Central Buildings,<br /> Tothill Street, Westminster, S.W., on Saturday<br /> July 12.<br /> <br /> Following the reading of the minutes of the<br /> previous meeting, the arrangements for the<br /> general meeting of composers in the autumn<br /> were discussed. It was decided to call the<br /> meeting for Saturday, October 11, at 2 o’clock.<br /> The terms of the circular were settled, and the<br /> names of certain speakers were suggested and<br /> approved.<br /> <br /> The question of the price to be paid by the<br /> mechanical instrument trade on records repro-<br /> ducing selections from certain works was fully<br /> discussed. The secretary read the opinion of<br /> the Society’s solicitors, and the sub-committee<br /> came to the same conclusion as the Committee<br /> of Management, viz., that it would be im-<br /> possible to argue that a symphony, concerto,<br /> or opera did not form one musical work,<br /> although the different movements or parts<br /> could be dealt with independently. The<br /> secretary was instructed in sending out stamps<br /> to act in accordance with this opinion.<br /> <br /> The question of foreign agents was brought<br /> forward, and the secretary was instructed to<br /> write again to the French Society, and to<br /> obtain further particulars from the German<br /> Society.<br /> <br /> On a further question as to the assignment<br /> of mechanical rights, it was decided to refer the<br /> matter to the general meeting in October.<br /> <br /> —<br /> <br /> Cases.<br /> <br /> Durinc the vacation the secretary has dealt<br /> with forty-four cases. This keeps the monthly<br /> number at about the usual average.<br /> <br /> Seventeen of the claims put in his hands were<br /> claims for money. Of these eleven have ter-<br /> minated successfully ; the money has been<br /> obtained and forwarded to the authors in-<br /> volved. Five have been placed in the hands<br /> of the Society’s solicitors, and will be dealt with<br /> in due course; one it has been impossible to<br /> carry further, as the defendant cannot be<br /> found, and one has only recently come to the<br /> office.<br /> <br /> The claims for MSS., of which eleven cases<br /> have been dealt with, come next in number.<br /> Six, that is over half, have been successful ;<br /> the editors have returned the MSS. and<br /> the MSS. .have been forwarded to the<br /> authors. In one case it was impossible to<br /> <br /> —~Bax, Clifford . ;<br /> <br /> find the defendant and the matter had to be<br /> dropped. One ease is still unsettled, and three<br /> cases have only come into the office on the<br /> verge of going to press.<br /> <br /> Of seven cases of accounts four have ter-<br /> minated successfully, two have been placed in<br /> the hands of the solicitors, and one has only<br /> recently come to hand.<br /> <br /> There have been six disputes on agreements.<br /> Four of these have been settled, and the<br /> remaining two are in the hands of the solicitors<br /> to be dealt with.<br /> <br /> In two claims for infringement of copyright<br /> the damages claimed have been obtained, and<br /> the matters have been concluded.<br /> <br /> There was one case of unauthorised use of an<br /> author’s name, but, as the matter lies in the<br /> United States, the issues are still pending.<br /> <br /> The Society has obtained counsel’s opinion<br /> on an important dramatic case dealing with<br /> cinematograph rights, and the cases the<br /> solicitors have had in hand during the vacation<br /> will be reported at length in the November<br /> issue. But little court work is carried on in<br /> the summer either in the high courts or in the<br /> county courts.<br /> <br /> —_+—&lt;—+ —_<br /> <br /> Elections.<br /> <br /> Ball, W. Valentine - ft; Brick Court,<br /> <br /> Temple, E.C.<br /> <br /> The Manor House,<br /> Broughton-Gif-<br /> ford, Wilts.<br /> <br /> Royal Societies’<br /> Club, London ;<br /> and The Cross<br /> Roads, Mt. Kisco,<br /> New York, U.S.A.<br /> <br /> 2, Porchester Gar-<br /> dens, W.<br /> <br /> 7, Old Deer Park<br /> Gardens, Rich-<br /> mond, S.W.<br /> <br /> 40, Tregunter Road,<br /> W.<br /> <br /> Chagford House,<br /> 209, North End<br /> Road, West Ken-<br /> sington, W.<br /> <br /> William 62, Station<br /> Colchester.<br /> <br /> Swan Hill Court,<br /> Shrewsbury.<br /> <br /> Matron, Salford<br /> Maternity Train-<br /> ing School.<br /> <br /> Davis, Richard Harding<br /> <br /> Farquharson, R.<br /> Ganthony, Richard<br /> <br /> Ganz, Wilhelm<br /> <br /> Harvey, Henry Leslie .<br /> <br /> Harwood, Road,<br /> Henry.<br /> <br /> Humphreys,<br /> Rachel.<br /> <br /> Macdonald, Sarah<br /> <br /> Miss<br /> 6 THE AUTHOR.<br /> <br /> Makgill, Sir George,<br /> Bt. (‘‘ Victor Waite”<br /> and ‘“‘ Francis Grant ’’).<br /> <br /> Maude, Graham K.<br /> <br /> Yaxley Hall,<br /> Suffolk.<br /> <br /> Eye,<br /> <br /> 56, Stanwick Man-<br /> sions, W. Kensing-<br /> ton, W.<br /> <br /> Forest Hill, West<br /> Kirby, Cheshire.<br /> “Invergordon,”<br /> Warrior Gardens,<br /> St. Leonards-on-<br /> <br /> Menzies, Mrs. M. I. :<br /> Moodie, Walter Wolston<br /> <br /> Sea.<br /> Richardson, Leslie . ‘Ker Avelek,’’ Con-<br /> carneau, Finis-<br /> <br /> tere, France.<br /> <br /> 15, Sloane Gardens,<br /> S.W.<br /> <br /> 57, Gwendwr Road,<br /> W. = Kensington,<br /> W.<br /> <br /> Whinyates, Miss Amy .<br /> Whitley, William T.<br /> <br /> ——_———_1+—— &gt; —__——_-<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> —<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as pomille, 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 /> ARCH AXOLOGY.<br /> <br /> Tue XIrn Dynasty Tremere at Derr EL-BaHart.<br /> Part III. By E. Navmie and H. R. Harr. (32nd<br /> Memoir of the Egypt Exploration Fund.) 124 x 10.<br /> 36 pp. xxxvi. Plates. Kegan Paul.<br /> <br /> Inscriptions From Swiss Cuaxets. A collection of<br /> Inscriptions found outside and inside Swiss Chalets,<br /> Storehouses and Sheds. By W. LarprEn. 8} x 5}.<br /> 208 pp. Milford. 15s. n.<br /> <br /> IntustRATIVE Descriptive Account oF THE MUSEUM OF<br /> ANDALUSIAN PorreRy AND Lacr. Antique and<br /> Modern, with notes on Pre-Roman Seville and Lost City<br /> of Tharsis. By B. and M. ELLEN WuisHaw. 8} x 53.<br /> 43 pp. Smith, Elder. Is.<br /> <br /> ART.<br /> CHuronoLocicaL List, with Notes oF PAINTINGS AND<br /> DRAWINGS FROM DANTE BY DANTE GABRIEL ROSSETTI.<br /> By Pacet ToynBer. 12} x 84. Pp. 135—166. Turin<br /> <br /> Fratelli Bocca.<br /> BIOGRAPHY.<br /> <br /> Tue Lire AND WRITINGS oF Puitip, DUKE oF WHARTON.<br /> By Lewis MELVILLE. 8} x 5}. xx. + 336 pp. Lane.<br /> 168. n.<br /> <br /> Tue Lire or Jonn Goopwin. By Henry W. Cuark, D.D.<br /> 7} x 43. 68 pp. Congregational Union of England<br /> and Wales. 6d. n.<br /> <br /> IncipENTS IN THE LirE or MADAME BLAVATSKY.<br /> piled and edited by A. P. Srynett.<br /> The Theosophical Publishing Co.<br /> <br /> Com-<br /> 74 x 5. 256 pp.<br /> 2s. 6d. .<br /> <br /> Lire or Kircnener. By Frepk. Wm. Hacxwoopn.<br /> Author of ‘‘ William Hone: His Life and Times,” ete.<br /> Anew pocket volume of Collins’ “‘ Wide World” Library.<br /> William Collins, Sons, &amp; Co., Ltd. 7d. n.<br /> <br /> VINCENT DE Pav, PRrest AnD PHILANTHROPIST, 1576—<br /> 1660. By E. W.Sanpers. 9 x 54. 419 pp. Heath,<br /> Cranton &amp; Ouseley. 16s. n.<br /> <br /> A Court PaInTER AND His CrrcLe: Francois BoucHER<br /> (1703—1770). By Mrs. BEarng. 9 x 53. 388 pp.<br /> Fisher Unwin. 15s. n.<br /> <br /> My Days with THE Farries. By Mrs. Ropotpn STawE LL.<br /> 8} x 6. 169 pp. Hodder &amp; Stoughton. 6s. n.<br /> <br /> BOOKS FOR THE YOUNG.<br /> <br /> Tue Cracsmen. A Story of Smuggling Days. By<br /> Dl _ Cooxr. 84 x 53. 316 pp. Cassell.<br /> 8. 6d.<br /> <br /> Piays CoMPILED By Girt GuipEs. Suitable for Perform-<br /> ance by Girl Guides. Edited by Miss A. BapEN<br /> <br /> PowrELtt. 5} x 4}. 137 pp. Brown. 6d. n.<br /> <br /> Kine or THE Arr. By Herpert Strange. 272 pp.<br /> <br /> Jack Harpy. By Herperr Strang. 232 pp.<br /> <br /> THE Lost Istanp. By Capt. Girson. 288 pp.<br /> <br /> Lorp or THE SEAs. By Herpert Stranc. 238 pp.<br /> (The Boys’ New Sevenpenny Library.) 62 x 44.<br /> Frowde &amp; Hodder &amp; Stoughton. 7d. n. each. :<br /> <br /> LirtLe Wars. A Game for Boys. By H. G. WELLS.<br /> <br /> 9 x 62. 111 pp. F. Palmer.<br /> <br /> DIVINITY.<br /> <br /> Tue FourroLp GosreL. Section 1. Introduction. By<br /> Epwix A. Assotr. Cambridge University Press.<br /> 2s. 6d. n.<br /> <br /> 2s. 6d. n.<br /> <br /> DRAMA.<br /> <br /> Apvent. A Play in Five Acts. By Aveust StRinDBERG.<br /> Translated by CraupE Fretp. 7 x 4}. 110 pp.<br /> Holden &amp; Hardingham. ls. n. ,<br /> <br /> Tue Emancipation. A Playin Three Acts. By LEoNaRD<br /> Inkster. 7} X 4}. xii. + 95 pp. . Sidgwick &amp; Jack-<br /> son. ls. 6d. n.<br /> <br /> Tue Divine Girt. A Play in Three Acts. By H. A.<br /> Jones. 74x 5. 178 pp. Duckworth. 3s. 6d. n.<br /> <br /> Tur Harpy Kryapom. A Comedy in Three Acts, written<br /> in blank verse and prose. By ArruuR MaQvuaRIE.<br /> <br /> 74 x 54. 150 pp. Bickers. 5s. n.<br /> JosEPH AND His BReTHREN. By Lovis N. Parker.<br /> 74 x 5. 154 pp. Lane. 2s. 6d. n.<br /> <br /> Eicut o’CLtock AND OTHER STUDIES.<br /> Ervine. 7} X 5.<br /> <br /> EDUCATIONAL,<br /> <br /> Tue Tracepy or Epvucation. By E. G. A. Hormzs.<br /> 74 x 5. 100 pp. Constable. 2s. 6d. n.<br /> <br /> By Sr. Joun G.<br /> 128 pp. Maunsell. 2s. 6d. n.<br /> <br /> ENGINEERING.<br /> <br /> FurTHER PROBLEMS IN THE THEORY AND DESIGN OF<br /> Srrucrures. An advanced text-book for the use of<br /> Students, Draughtsmen and Engineers engaged in con-<br /> structional work. By Ewart §. AnpRrews, Lecturer in<br /> Theory and Design of Structures at the Goldsmiths’<br /> <br /> College, New Cross. 8} x 54. viii. + 236 pp. Chap-<br /> man. 7s. 6d. n.<br /> Irniagation Works. By E. 8. Beruasts. M.Inst.C.E.<br /> 8% x 54. vii. + 195 pp. Spon.<br /> FICTION.<br /> Jenny: A Novel. By Roy Horniman. 7} x 5.<br /> <br /> 335 pp. Hurst &amp; Blackett. 6s.<br /> Swrrting Waters. By Max RitrEenBerc.<br /> 312 pp. Methuen. 6s.<br /> <br /> 2<br /> :<br /> |<br /> %<br /> 4<br /> :<br /> :<br /> 3<br /> a<br /> ao<br /> 2<br /> |<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 7<br /> <br /> Tue Hour-Guass Mystery.<br /> 320 pp. Ward, Lock. 6s.<br /> <br /> CLeopaTRA. By H. Riper Hacearp. 259 pp. Havoc.<br /> By E. Pumurms Opprennem. 258 pp. 6} x 44.<br /> Hodder &amp; Stoughton. 7d. n. each.<br /> <br /> THE Cockatoo. A Novel of Public School Life. By Max<br /> Rirrenserc. 7} 5. 309 pp. Sidgwick &amp; Jack-<br /> son. 5s.<br /> <br /> A Marssar, Haut. By Joun MaAsEriep.<br /> 189 pp. Elkin Mathews. 3s. 6d. n.<br /> <br /> THE Sty or Jasper Stanpisn. By “Rrra.”<br /> 318 pp. Long. 7d. n. each.<br /> <br /> Furze THE Cruret. By JoHN TREVENA.<br /> 391 pp. (Popular Edition.) Alston Rivers.<br /> <br /> THE GARDEN or Mystery. By RicHarp<br /> 316 pp. Long. 7d. n.<br /> <br /> THe Rep Hovsz. By E. Nessir.<br /> Methuen. 7d. n.<br /> <br /> THe Patapry. As beheld by a Woman of Temperament.<br /> By H. Annestey Vacuett. 64x 4. 474 pp. Nelson.<br /> 1a. 1.<br /> <br /> A Son of THE Peopite. 340 pp. Tau Tancuep SKEIN.<br /> 332 pp. By Baroness Orczy. 7} x 4}. Hodder.<br /> Is. n. each.<br /> <br /> THe Patchwork Papers. By E. Tempte Tuurston.<br /> (New and Cheaper Edition.) 7} x 43. 268 pp. Chap-<br /> man. 2s. n.<br /> <br /> By Srroke or Sworp. By A. Batrovr.<br /> 319 pp. (Cheap Reprint.) Methuen. 7d. n.<br /> <br /> A Bep or Roses. By W.L. Grorer. 7 x 43.<br /> Palmer. ls. n.<br /> <br /> THE OLD Man IN THE CorNER. 340 pp. By THE Gops<br /> BeLoveD. 310 pp. 7} x 44. By Baronzss Orczy.<br /> (Cheap Reprint.) Hodder. 1s. n.<br /> <br /> FEviciry iy France.<br /> 377 pp. Ils. n.<br /> <br /> THE Wipow’s Neckiacr. By Ernust Davies.<br /> 315 pp. Duckworth. 6s.<br /> <br /> Tue Por or Bast. By BrERNarD Capss.<br /> Constable. 6s.<br /> <br /> Lity Macic. By Mary L. Penperep.<br /> Mills &amp; Boon. 6s.<br /> <br /> Raven, V.C. By Coratre Stanton and Heatu Hosken.<br /> 7s x 5. 400 pp. Nash. 6s.<br /> <br /> THe Vieer or Minan. A Romance of Lombardy. By<br /> Margorie BowEn. (Cheap Reprint.) 7k X 5. 348 pp.<br /> Alston Rivers. Is. n.<br /> <br /> PeTer, A Parasitre. By E. Marra ALBANESI.<br /> Reprint.) 6} x 4}. 224 pp. 7d.n.<br /> <br /> Tue Mystery or HetmMstey Grane. By Aice and<br /> CraupE Askew. 7} x 5. 254 pp. Pearson. ls. n.<br /> Tue CounTrY oF THE BLIND AND OTHER STORIES. By<br /> H. G. Wxis. 6} x 4. 574 pp. (Cheap Reprint.)<br /> <br /> Nelson. 7d. n.<br /> <br /> THE Woman Tuov Gavest Mz.<br /> O&#039;Neill. By Haun Carne.<br /> mann. 6s,<br /> <br /> Evporapo. A Story of the Scarlet Pimpernel. By<br /> Baroness Onczy. 73 x 5. 374 pp. Hodder &amp;<br /> Stoughton. 6s.<br /> <br /> Tue Stricrty Trarnep Motuer. By F. F. Monrresor.<br /> 73 x 5. 221 pp. Murray. 3s. 6d.<br /> <br /> Tue CLup oF QuEER TRADES. By G. K. Cuesrrerron.<br /> 192 pp. Hodder &amp; Stoughton. Is. n.<br /> <br /> THE Way oF Ampition. By Ropert Hicuens. 7% x 54.<br /> 476 pp. Methuen. 6s.<br /> <br /> Tue Reminaton Sentence. By W. Pzrr Ruivaz.<br /> 7% x 5. 300 pp. Methuen. 6s.<br /> <br /> Tue Miscuter-Maxrer. By E. Pamurs OppenneErm.<br /> 7% x 5. 332 pp. Hodder &amp; Stoughton. 6s.<br /> <br /> Tue SHapow or Evi. By Cartron Dawe. TE x 5.<br /> 312 pp. Werner Laurie. 6s.<br /> <br /> By Heapon Hm. 7? x 5.<br /> <br /> 7% x 54.<br /> 64 x 4.<br /> 74 X 5.<br /> ls. n.<br /> <br /> Marsa.<br /> <br /> 64 x 4}. 212 pp.<br /> <br /> 64 x 4.<br /> <br /> 384 pp.<br /> <br /> 75 X 43.<br /> 320 pp.<br /> <br /> 7k X 5. 372 pp.<br /> <br /> (Cheap<br /> <br /> Being a Story of Mary<br /> 73 x 5. 586 pp. Heine-<br /> <br /> By Constance ExizaBeru Mavp..<br /> <br /> THE Grey Countess. By Tuzo Dovanas (Mrs. H. D.<br /> Everett). 73 x 5. 311 pp. Cassell. 6s.<br /> Tue Netuer Mitztstone. By G. Lrrruestons.<br /> 380 pp. Ward, Lock. 6s.<br /> <br /> Gov’s Pray. By Atice and CLaupEe AsKEw.<br /> 31l pp. Fisher Unwin. 6s.<br /> <br /> A Mrxep Marriace. By Mrs. Frank Penny.<br /> 263 pp. (Cheap Reprint.) Methuen. 7d. n.<br /> <br /> Tue Brass Borrte. By F. Anstey. 256 pp.<br /> Reprint.) Hodder &amp; Stoughton. 7d. n.<br /> <br /> PrerRE AND His Propte. By Smr Gmsert ParKeEr.<br /> = pp. (Cheap Reprint.) Hodder &amp; Stoughton.<br /> 7d. n.<br /> <br /> Hypocrites AND SINNERS. By Vioter TWrEbDALe.<br /> 63 x 4. 318 pp. (Cheap Reprint.) John Long. 7d. n.<br /> <br /> A Woman Perrectep. By R. Marsu. 318 pp. 63x 4.<br /> (Cheap Reprint.) John Long. 7d. n.<br /> <br /> THe Fourrow on tHE Hutz. By Ftorence Bore.<br /> 83 x 53. 128 pp. (The “Leisure Hour” Library.)<br /> <br /> OLIVER SaAnpys.<br /> <br /> Cutcanzn. By 74k x 42.<br /> (Cheap Reprint.) John Long.<br /> <br /> An AvERAGE Man. By R. H. Benson.<br /> 380 pp. Hutchinson. 6s.<br /> <br /> THane BRANDON. By Francis BANCROFT. it xX 43.<br /> 326 pp. Hutchinson. 6s.<br /> <br /> THE SWASHBUCKLER AND OTHER TALES. By Mrs.<br /> Baim Reynoups. 8 x 5. 343 pp. Mills &amp; Boon.<br /> 6s.<br /> <br /> Mrs. Murpyy. By Barry Pain.<br /> Werner Laurie. Is. n.<br /> THe ParaDIsE or Foots.<br /> <br /> Everett &amp; Co. 6s.<br /> <br /> THE Man Wuo Par. By Rearyatp C. Borsrer and<br /> <br /> Mason Ausrey O’Brign, C.I.E. 74 x 43. 332 pp.<br /> <br /> Alston Rivers. 6s.<br /> THortEy Weir. By E. F. Benson. 73 x 5}. 336 pp.<br /> <br /> Smith, Elder. 6s.<br /> <br /> BaRBARA OF THE THORN.<br /> <br /> 314 pp. Chatto &amp; Windus. 6s.<br /> <br /> Brtow Srams. By Mrs. Atrrep Smewicx. 72 x 6.<br /> 304 pp. Methuen. 6s.<br /> <br /> THE GOVERNOR or Encuanp. By Margorrz Bowen.<br /> 72 x 5. 376 pp. Methuen. 6s.<br /> <br /> Tipe Marks. By MarcarutT WESTRUP. 7% x 5. 380 pp.<br /> Methuen. 6s.<br /> <br /> THe CHars or Harton. A Tale of Frolic, Sport and<br /> Mystery at Public School, By Benrypa Biiypers.<br /> Edited by Desmonp Coxz. 7} x 43. 159 pp. Chap-<br /> man &amp; Hall. 2s. 6d. n.<br /> <br /> Winns or Gop. By Hammron Drummonp.<br /> 321 pp. Stanley Paul. 6s.<br /> <br /> One WonpeErFuL Nicut. By Lovis Tracy. 74 X 5.<br /> 321 pp. Ward, Lock. 6s.<br /> <br /> THRovcH Wat AND THrovaH Wor. By Err Apz-<br /> LAIDE Rowxanps. 74 x 5. 317 pp. Ward, Lock. 6s.<br /> <br /> Hieas anp Porrer. By Brarp FRANCIS. 74 xX 5.<br /> 296 pp. Drane. 3s. 6d.<br /> <br /> Tse Crry or Brautirut Nonsense. By E. Tempe<br /> Tuurston. (New and Cheaper Edition.) 6} x 4}.<br /> 360 pp. Chapman &amp; Hall. ls.<br /> <br /> A Prizstess or Humanity. By Mrs. Stanuey WRENCH.<br /> 7% X 43. 319 pp. (Popular Edition.) John Long.<br /> ls. n.<br /> <br /> Links in tue Cuarn. By Heapon Hu.<br /> John Long. 7d. n.<br /> <br /> Tur Ossornes. By E. F. Benson. 6} x 4}. 378 pp.<br /> Nelson. 7d, n.<br /> <br /> ALLAN QuaTEeRMAIN. By H. Riper Haccarp.<br /> Hodder &amp; Stoughton. 7d. n.<br /> <br /> ASERVANT or THE Pustic. By ANTHONY Hops.<br /> Hodder &amp; Stoughton. 7d. n.<br /> <br /> 72 x 5.<br /> 7% X 5.<br /> 64 x 44.<br /> (Cheap<br /> <br /> 287 pp.<br /> 7k xX 43.<br /> <br /> 74 x 43. 114 pp.<br /> <br /> By Derrek Vane. 320 pp.<br /> <br /> 7} x 5.<br /> <br /> 72 Xx 5.<br /> <br /> 256 pp.<br /> <br /> 320 pp.<br /> 317 pp.<br /> 8 THER AUTHOR.<br /> <br /> ASENATH OF THE Forp. By “ Riva.” 83 x 53.<br /> <br /> Stanley Paul. 6d.<br /> <br /> 196 pp.<br /> <br /> HISTORY.<br /> <br /> Sures aND Ways or OTHER Days. By E. KeBLEe CHATTER-<br /> TON, 9% xX 7. 308 pp. Sidgwick &amp; Jackson. 16s. n.<br /> <br /> JorRQUEMADA AND THE SpanisH_ INQuIsiTION. By R.<br /> SaBATINI. 9 X 53. 404 pp. Stanley Paul. 16s, n.<br /> <br /> LITERARY.<br /> Tae Story or THE ALPHABET. By E. Ciopp. Revised<br /> Edition. 63 x 4}. 234 pp. (Useful Knowledge Series.)<br /> Hodder &amp; Stoughton. ls. n.<br /> <br /> Unxiversity and HisroricaL AppREssEs. By JAMES<br /> Bryce. 8 x 54. 433 pp. Macmillan. 8s. 6d. n.<br /> MATHEMATICS.<br /> <br /> PROCEEDINGS OF THE FrerH INTERNATIONAL CONGRESS OF<br /> Maruematicrans (Cambridge, August 22, 28, 1912).<br /> Edited by E. W. Hopson and A. E. H. Love. Two<br /> vols. 104 x 7. 500 x 657 pp. Cambridge University<br /> <br /> Press. 30s. n.<br /> MEDICAL.<br /> <br /> Tur Huarruy Marrracse. A Medical and Psychological<br /> Guide for Wives. By G. T. Wrencu, M.D., B.S.<br /> 74 x 5.<br /> <br /> Tur Nervous AND CHEMICAL ReauLaTions oF Mura-<br /> BoLIsM. Lectures by D. Norn Paton, M.D., B.Sc.,<br /> Professor of Physiology in the University of Glasgow.<br /> 9 x 54. 217 pp. Macmillan. 6s. n.<br /> <br /> NATURAL HISTORY.<br /> <br /> Tue Birpsor Avstratia. By G.M.Maruews. Vol. III.<br /> <br /> Part Ill. 144 x 10}. Pp. 205—300. Witherby.<br /> NAVAL.<br /> <br /> Turn Krye’s Sutres. Together with the important His-<br /> <br /> torical Episodes connected with the successive ships of<br /> <br /> the same name from remote times, and a list of names and<br /> services of some ancient war vessels. By H. 8. Lzoxy.<br /> <br /> In six volumes. Vol. I. 11} x 8}. 327 pp. H.<br /> Muirhead. £3 n. each volume.<br /> <br /> POETRY.<br /> My Lapy’s Boox. By Greratp Goutp, 7} x 5. 54 pp.<br /> <br /> Sidgwick. 2s. 6d. n.<br /> <br /> Sart Water Batyaps. By JoHN MasEFIELD. 112 pp.<br /> 73 x 5}. Elkin, Matthews. 3s. 6d. n.<br /> <br /> Rasmie’s Buppre: Porms iN THE SHETLANDIC. By<br /> J. J. HAtpaNE Buresss. 74 x 5. 129 pp. Manson.<br /> <br /> A SELECTION FRoM THE Love PorTry or WILLIAM<br /> Burter Years. 8} x 6. 30 pp. The Cuala Press,<br /> 2 Dundrum, Co. Dublin. To subscribers,<br /> 7s. 6d.<br /> <br /> Maytime Sones. By ANNIE MATHESON.<br /> Max Goschen. 2s. 6d. n.<br /> <br /> Prers THE Plowman. An English Poem of the Fourteenth<br /> Century. Translated into Modern Prose, with an Intro-<br /> duction, by Kare M. Warren, Lecturer in English<br /> Language and Literature at Westfield College (University<br /> of London). Arnold. 2s. 6d.<br /> <br /> SOCIOLOGY.<br /> <br /> A PLEA FoR THE YOUNGER GENERATION.<br /> Hamirton. 7? X 5.<br /> 2s. 6d. n.<br /> <br /> Woman, Marrtace AND MotHernoop. By ELiIzaBETH<br /> <br /> 8 x 5h. 67 pp.<br /> <br /> By Cosmo<br /> 63 pp. Chatto &amp; Windus.<br /> <br /> Stoan CHESSER. 8} x 5}. 287 pp. Cassell. 6s. n.<br /> SPORT.<br /> Women tn THE Huntina Frevp. By Mrs. Sruart<br /> <br /> Menzizs. 734 x 5. 269 pp. Vinton. 7s. 6d. n.<br /> <br /> THEOLOGY.<br /> <br /> Hymns,&quot; Lirantes AND PRAYERS FOR A VILLAGE. By<br /> J. Hunrutey Sxrre. 63 x 4}. 85 pp. Mowbray.<br /> Tene \<br /> <br /> Tur Porr at Home. By Doveras StapEN. 7} X 43.<br /> 222 pp. Hurst &amp; Blackett. Is. n.<br /> <br /> Lessons ror THE CuuRcH’s CHILDREN. Book I. By<br /> Tne Rey. J. Hastocn Potter and Tue Rev. A. E. W.<br /> <br /> Suearp. 74 x 5. 262 pp: Skeffington, 1s. 6d, n.<br /> TOPOGRAPHY.<br /> Tur New Foresters. By Witttam Carne. 8} x 5}?<br /> <br /> 248 pp. Nisbet. 5s. n.<br /> <br /> Quiet Roaps anp Suenpy Vittaces. By ALLen FEa.<br /> <br /> 9 x 53. 292 pp. Nash. 7s. 6d. n.<br /> TRAVEL,<br /> A Tourn Touramr. By Raymonp NEEDHAM. Second<br /> Edition. 7} x 4}. 300 pp. 5s. n.<br /> From a PunsavuB PomrGranate Grove. By C. C.<br /> Dyson. 9 x 54. 289pp. Mills&amp; Boon. 10s. 6d. n.<br /> <br /> Tue LanD oF VEILED WOMEN.<br /> Algeria, Tunisia and Morocco.<br /> 7k x 5. 288 pp. Cassell.<br /> <br /> Some Wanderings in<br /> By J. Foster Fraser.<br /> ls. 6d. n.<br /> <br /> —_—_—_—_——_+——_+-_—_—_—__<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> —+— +<br /> <br /> HE novel-publishing season is now in<br /> full swing. Mr. Maurice Hewlett’s<br /> ‘“‘Bendish: a Study in Prodigality,”<br /> <br /> appeared on September 19, through Messrs.<br /> Macmillan &amp; Co. Mr. H. G. Wells’s “ The<br /> Passionate Friends” was published by the<br /> same house.<br /> <br /> Mr. Hall Caine, with his ‘“‘ Woman Thou<br /> Gavest Me” (Heinemann), has had _ the<br /> distinction of being the first author this season<br /> to come into conflict with the Circulating<br /> Libraries’ Association, The matter is referred<br /> to in another column.<br /> <br /> Sir Arthur Conan Doyle’s “‘ The Poison<br /> Belt’ is published by Messrs. Hodder &amp;<br /> Stoughton.<br /> <br /> Mr. Robert Hichens’s new novel, ‘‘ The Way<br /> of Ambition,” has been published by Messrs.<br /> Methuen &amp; Co.<br /> <br /> The same firm has produced Mr, Arnold<br /> Bennett’s “‘ The Regent” (re-introducing the<br /> reader to “* The Card ’’); Sir Gilbert Parker’s<br /> “The Judgment House”’; Mr. Pett Ridge’s<br /> “The Remington Sentence’; Miss Marjorie<br /> Bowen’s ‘‘ The Governor of England”; Mrs.<br /> Belloc Lowndes’s ‘‘The Lodger’’; Miss<br /> Dorothea Conyers’s ‘‘ Sandy Married”; Mr.<br /> Putnam Weale’s ‘“‘ Romance of a Few Days ”’ ;<br /> and Mrs. A. Sidgwick’s “‘ Below Stairs.”<br /> <br /> Mr. W. B. Maxwell has brought out “* The<br /> Devil’s Garden,” through Messrs. Hutchinson<br /> <br /> <br /> <br /> |<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> HAR ENO SRS<br /> <br /> THE AUTHOR. 9<br /> <br /> &amp; Co. This firm publishes also Mrs. Wilfrid<br /> Ward’s ‘ Horace Blake.”<br /> <br /> From the same publishers come “ The Power<br /> Behind,” by Miss M. P. Willcocks; “An<br /> Average Man,” by Mr. R. H. Benson; “ Sandy’s<br /> Love Affair,” by Mr. S. R. Crockett; and<br /> * Thane Brandon,” by Mr. F. Bancroft.<br /> <br /> Messrs. Chatto &amp; Windus publish ‘“ The<br /> Door that has no Key,” by Mr. Cosmo<br /> Hamilton; ‘Love in the Hills,” by Mrs.<br /> F. E. Penny; ‘ Barbara of the Thorn,” by<br /> Miss Netta Syrett ; “‘ Prodigals and Sons,” by<br /> Mr. John Ayscough; and “ The Price Paid,”<br /> by Miss Effie Adelaide Rowlands.<br /> <br /> Mrs. Florence L. Barclay’s “The Broken<br /> Halo,”” was published by Messrs. G. P. Put-<br /> nam’s Sons, on September 16.<br /> <br /> “Anne of the Marshlands,’’ by the Hon.<br /> Mrs. Julian Byng, and “ Daffodil’s Love<br /> Affairs,” by Mrs. L. M. Stacpoole Kenny, are<br /> published by Messrs. Holden &amp; Hardingham.<br /> <br /> Major Aubrey O’Brien, C.I.E., and Mr.<br /> Reginald Bolster, authors of ‘Cupid and<br /> Cartridges,” have collaborated again in a novel<br /> entitled “‘ The Man Who Paid” (Messrs. Alston<br /> Rivers).<br /> <br /> Miss Florence Bone’s autumn novels are,<br /> “The Valley of Delight,” and “‘ A Burden of<br /> Roses.” Her new serial, ‘‘ The Golden String,”’<br /> commences in the October number of The<br /> Sunday at Home.<br /> <br /> Mr. Frankfort Moore has had two novels<br /> published since our last issue—‘‘ The Narrow<br /> Escape of Lady Hardwell ” (Constable) ; and<br /> “The Rescue of Martha ” (Hutchinson).<br /> <br /> Mrs. L. Allen Harker’s new novel is ‘‘ The<br /> Ffolliots of Redmarley.”” Mr. John Murray<br /> is the publisher of this, and also of ‘“ The<br /> Strictly Trained Mother,” by Miss F. F.<br /> Montresor.<br /> <br /> “ Myles Calthorpe, I.D.B.,” by Mr. F. E.<br /> Mills Young, is announced by The Bodley<br /> Head as already in its seventh edition.<br /> <br /> The Baroness Orezy’s “‘ Eldorado,” another<br /> story of the Scarlet Pimpernel, is published by<br /> Messrs. Hodder &amp; Stoughton.<br /> <br /> Miss Edith C. Kenyon’s historical tale,<br /> “ Christine the Huguenot,” is being published<br /> by the Religious Tract Society. The same<br /> author’s “Ashes of Honour,” and ‘“ The<br /> Mystery of Blackstone Mine,” have been<br /> brought out by Messrs. Holden &amp; Hardingham<br /> in sixpenny form.<br /> <br /> Messrs, Greening &amp; Co. have brought out a<br /> sixpenny edition of Miss May Wynne’s “ Henry<br /> of Navarre,”’ the novel adapted from the play<br /> by Mr. William Devereux.<br /> <br /> “The Old Time before Them,” is Mr. Eden<br /> <br /> Phillpott’s title for a new collection of West<br /> Country stories, which Mr. John Murray<br /> publishes.<br /> <br /> Miss Edith L. Blaikley’s new novel, ‘ Alone<br /> in a Crowd,” will appear early this autumn<br /> through Messrs. Heath, Cranton &amp; Ouseley,<br /> who published the same author’s “ Dorothy<br /> Eayle ” last October.<br /> <br /> Messrs. Stanley Paul &amp; Co. are the pub-<br /> lishers of ‘‘ The Watered Garden,” by Mrs.<br /> Stepney Rawson; ‘ Winds of God,” by Mr.<br /> Hamilton Drummond; ‘ The Eyes of Alicia,”’<br /> by Mr. Charles E. Pearce; ‘‘ Youth will be<br /> Served,” by Miss Dolf Wyllarde: “The<br /> Cloak of St. Martin,” by Miss Armine Grace<br /> (sister of Miss Dolf Wyllarde); ‘The<br /> Adventures of Mortimer Dixon,” by Mrs.<br /> Alicia Ramsey ; and ‘“‘ The Painted Lady,” by<br /> Miss Arabella Kenealy.<br /> <br /> Miss Constance Serjeant’s ‘‘ Where the Saints<br /> are Gone’ has been republished by Mr. W.<br /> Nicholson.<br /> <br /> “The Sentence of the Judge,” by Miss<br /> Hilaré Barlow, is published by Messrs. Lyn-<br /> wood &amp; Co.<br /> <br /> E. M. Channon (Mrs, Francis Channon) calls<br /> her new novel “Miss King’s Profession.”<br /> Messrs. Mills &amp; Boon are the publishers of this,<br /> and of Mrs. H. H. Penrose’s ‘t The Brat.”<br /> <br /> “The Call of the Past,” by Fflorens Roch,<br /> is published by Messrs. Sands &amp; Co.<br /> <br /> “The Pot of Basil,” by Mr. Bernard Capes,<br /> is published by Messrs. Constable &amp; Co., as also<br /> are “No Place Like Home,” by Mr. John<br /> Trevena; and ‘‘ The Judgment of the Sword ”<br /> (previously announced as “‘ Retribution *), by<br /> Mrs. Maud Diver.<br /> <br /> Shilling editions of Mr. Clive Holland’s<br /> stories, “My Japanese Wife,” ‘‘ The Spell of<br /> Isis,” and ‘‘ Marcelle of the Latin Quarter,”’<br /> are issued by Messrs. Lynwood.<br /> <br /> Mr. Roy Horniman’s “‘ Jenny ”’ is published<br /> by Messrs. Hurst &amp; Blackett.<br /> <br /> Miss Mary B. Sandford’s story for young<br /> people, *‘ The Young Gordons in Canada,” was<br /> published last month by the Religious Tract<br /> Society.<br /> <br /> Miss Violet A. Simpson’s new novel, ‘‘ Flower<br /> of the Golden Heart,” will be published by<br /> Messrs. Chapman &amp; Hall this autumn. This<br /> story deals with life and manners in London<br /> immediately preceding the Great Fire of 1666.<br /> <br /> We regret an error in the chronicling of<br /> Miss Marriott Hodgkins’ tragedy, “ Cyrus,”’<br /> in the July issue of the Books published by<br /> Members, which was erroneously described<br /> under the title “‘ Cyprus.”<br /> <br /> Messrs. Macmillan &amp; Co. are about to<br /> 10<br /> <br /> publish the second of Mr. Douglas Ainslie’s<br /> translations of Senatore Benedetto Croce’s<br /> system of the Philosophy of the Spirit. This<br /> volume will deal with the will in its various<br /> manifestations, and notably with its two<br /> forms of ethic and economic, showing how the<br /> former depends upon and is developed from<br /> the latter. The chief title of this work is<br /> ‘“‘ Philosophy of the Practical.’’ Mr. Ainslie’s<br /> next translation will be that of Croce’s profound<br /> and creative critique of Hegel, and will be<br /> entitled, ‘‘ What is Living and what is Dead<br /> of the Philosophy of Hegel.” The third<br /> and last volume of the Crocian system will<br /> be the ‘‘ Logic,” to be issued next year. The<br /> introduction to the ‘‘ Philosophy of the<br /> Practical’ appears in the October number<br /> of the North American Review.<br /> <br /> Mr. Douglas Ainslie’s last volume of poems,<br /> ‘“‘ Mirage,” has now been transferred to<br /> Messrs. Constable &amp; Co., who have also<br /> published his “Moments,” “John of<br /> Damascus,” and ‘‘ Song of the Stewarts.”<br /> <br /> Mr. Havelock Ellis writes the introduction to<br /> Miss Ellen Key’s life of Rabel Varnhagen, who<br /> has been described as the greatest woman<br /> genius that Germany has produced (Putnam,<br /> 6s. net).<br /> <br /> Mr. Lewis Melville’s new biography is<br /> ‘“* Philip, Duke of Wharton ”’ (John Lane, 16s.).<br /> <br /> Messrs. Hutchinson &amp; Co. are on the point<br /> of producing Mr. Philip W. Sergeant’s ‘* Mrs.<br /> Jordan, Child of Nature,” a new attempt to<br /> pierce the mystery surrounding the unfortu-<br /> <br /> nate actress. There will be twenty-one<br /> illustrations.<br /> Mrs. Edith Cuthell’s ‘A Vagabond<br /> <br /> Courtier ’’—a biography in two volumes of the<br /> Baron von Polnitz, of whom a rather acid<br /> portrait appears in Thackeray’s ‘‘ Virginians ”’<br /> —is announced by Messrs. Stanley Paul &amp; Co.<br /> <br /> Mr. Yoshio Markino, the Japanese artist, is<br /> producing through Messrs. Chatto &amp; Windus<br /> ‘““ My Recollections and Reflections,’’ with nine<br /> illustrations in colour and several in mono-<br /> chrome.<br /> <br /> Messrs. Chatto &amp; Windus’s autumn cata-<br /> logue includes also ‘‘ Browning’s Heroines,”<br /> by Miss E. C. Mayne (6s. net); “* Under the<br /> Greenwood Tree,” an edition, illustrated by<br /> Mr. Keith Henderson, of Mr. Thomas Hardy’s<br /> novel (6s. net); and ‘‘ A Plea for the Younger<br /> Generation,’’ by Mr. Cosmo Hamilton (2s. 6d.<br /> net). f<br /> <br /> *“ Quiet Roads and Sleepy Villages,’’ pub-<br /> lished recently by Eveleigh Nash, is another<br /> of Mr. Allan Fea’s touring rambles in search<br /> of the picturesque. Like last year’s volume<br /> <br /> THE AUTHOR.<br /> <br /> several counties are included in these rambles.<br /> Again Barnet is taken as a starting-point,<br /> but this time we journey across Herts into<br /> Bedfordshire, and thence to south Northants,<br /> through Oxfordshire and eastern Gloucester-<br /> shire to northern Wilts, and thence by Berks<br /> again to the narrow “ waist’ of Oxon. As<br /> before, there are several views of old-world<br /> villages.<br /> <br /> Messrs. Chapman &amp; Hall have published a<br /> new book by Mr. C. E. Gouldsbury, author of<br /> “Life in the Indian Police,” ete.. It is<br /> entitled “ Tiger Land: or Reminiscences of<br /> Forty Years’ Sport and Adventure in Bengal.”<br /> There are twenty-four illustrations, and an<br /> introductory chapter deals with big game<br /> shooting in India.<br /> <br /> Mr. Archibald B. Spens and has lately been<br /> travelling across India, and writing an account<br /> of his trip. This is to be published by Messrs.<br /> Stanley Paul &amp; Co., under the title “‘ A Winter<br /> in India.” The book contains 100 photographs<br /> by the author.<br /> <br /> A book is to be published this month by<br /> Messrs. Stanley Paul &amp; Co., under the title<br /> ‘“More about Collecting,” by Sir James<br /> Yoxall, M.P., the author of ‘“‘ The A. B. C.<br /> about Collecting.”” His new work, which is<br /> very thoroughly illustrated, gives many<br /> practical hints about books, glass, pictures,<br /> porcelain, lace, clocks, and furniture, among<br /> other subjects, and is written ‘ for the help of<br /> amateurs smitten with the passion for picking<br /> up things which are odd, pretty or rare.”’<br /> <br /> ‘Ships and Ways of Other Days,” is the<br /> name of Mr. E. Keble Chatterton’s new book<br /> (Sidgwick, 16s. net).<br /> <br /> Mr. Wynford Dewhurst has _ written<br /> “Wanted: A Ministry of the Fine Arts,”<br /> attacking the national attitude toward art<br /> (Rees, 1s. net).<br /> <br /> Miss Jeanette Marks’s “‘ Vacation Camping<br /> for Girls” is a practical manual issued by<br /> Messrs. Appleton of New York at $1 net.<br /> <br /> The Rev. F. W. Coulter has republished in<br /> pamphlet form his articles on ‘“‘Some Causes<br /> of Modern Unbelief,’’ which appeared serially<br /> in the Lancaster Guardian. ‘The price of the<br /> pamphlet is 1d.<br /> <br /> Mr. S. M. Franklin and Miss Alice Henry,<br /> both Australian members of the Society of<br /> Authors, are the joint editors of Life and Labor,<br /> which is published in Chicago by the National<br /> Women’s Trade Union League of America.<br /> <br /> Mr. and Mrs. Bernhard Whishaw, authors of<br /> ‘** Arabic Spain,” have published through<br /> Messrs. Smith, Elder &amp; Co., at the price of Is.,<br /> an illustrated descriptive account of the<br /> <br /> <br /> <br /> <br />  <br /> <br /> 7<br /> <br /> <br /> <br /> THE AUTHOR. 11<br /> <br /> Museum of Andalusian Pottery and Lace at<br /> Seville.<br /> <br /> Mr. Francis Gribble’s ‘‘ Romance of the<br /> Oxford Colleges,’ with twelve illustrations, is<br /> published by Messrs. Mills &amp; Boon, 2s. 6d. net.<br /> <br /> Mr. George Grossmith’s “‘ Gaiety and George<br /> Grossmith: The Random Reflections of an<br /> Apostle of Pleasure,’’ will be issued this month<br /> by Messrs. Stanley Paul.<br /> <br /> A new edition has appeared of Mr. J. J.<br /> Haldane Burgess’s “‘ Rasmie’s Biiddie,’’ poems<br /> in the Shetlandic dialect (T. &amp; J. Manson,<br /> Lerwick, 2s. 6d. net).<br /> <br /> Dr. Elizabeth Sloan Chesser, M.B., has<br /> produced a work entitled ‘‘ Woman, Marriage,<br /> and Motherhood ’’—dealing with her subject<br /> from all points of view, sexual, hygienic, legal,<br /> political, social, economic, industrial. The<br /> price is 6s. net.<br /> <br /> “*Goldwin Smith: A Study,” is the name of<br /> a biographical sketch of the late Professor by<br /> Mr. Arnold Haultain. The publisher will be<br /> Mr. T. Werner Laurie.<br /> <br /> Captain J. Stuart has published, through<br /> <br /> Messrs. Macmillan, ‘‘ A History of the Zulu .<br /> <br /> Rebellion, 1906, with maps, and<br /> illustrations. The price is 15s.<br /> <br /> Messrs. J. D. Symon and S. L. Bensusan<br /> together are the authors of ‘‘ The Renaissance<br /> and its Makers” (T. C. &amp; E. C. Jack, 10s. 6d. net).<br /> <br /> “Women in the Hunting Field,” by Mrs.<br /> Stuart Menzies, is published by Messrs.<br /> Vinton &amp; Co. at two prices, 7s. 6d. net, cloth ;<br /> and 10s. 6d., leather.<br /> <br /> The volume of *‘ Reminiscent Gossip of Men<br /> and Matters,’’ announced by Messrs. Chapman<br /> &amp; Hall, is by Mr. James Baker, who for over<br /> forty years has travelled widely, coming in<br /> contact with many famous men and women.<br /> <br /> Mr. E. M. Beardsley is the author of ‘‘ Rome<br /> versus Jesus ’’—described as an indictment of<br /> the Papacy from a new point of view (Andrew<br /> Melrose, 6s. net).<br /> <br /> _Mr. Wilfrid C. Thorley has just published,<br /> through Messrs. Macmillan, an ‘English<br /> Reader for Foreign Students.” It is an<br /> attempt to give, by means of selections from<br /> about fifty of the best writers of the nineteenth<br /> century, a microcosm of Anglo-Saxon life and<br /> thought during that period.<br /> <br /> “The Rainbow Book,’ by Mrs. M. H.<br /> Spielmann, was issued in a third edition last<br /> month. Although published at a cheaper<br /> price, this collection of stories for children<br /> retains its original format, and has all the<br /> illustrations (by Mr. Hugh Thomson, Mr.<br /> Arthur Rackham, and others) that distin-<br /> guished the first edition, issued in 1909. The<br /> <br /> plans,<br /> <br /> new issue forms a companion volume to<br /> “ Littledom Castle,’’ of which a third edition<br /> appeared last year, when it was placed upon<br /> the prize-list of the London County Council.<br /> <br /> Mrs. Charlotte Cameron, author and traveller,<br /> has returned recently from a 26,000-mile trip.<br /> Not only has she circumnayigated the entire<br /> East and West Coast of #Africa, but traversed<br /> that continent as well with the exception of a<br /> few hundred miles. The story of her adven-<br /> tures in Logoland, Cameroons, Liberia, French<br /> Congo, as well as in our own colonies, entitled<br /> ““A Woman’s Winter in Africa,” will appear<br /> this autumn.<br /> <br /> Mr. E. A. Reynolds-Ball edits ‘“‘ Bradshaw’s<br /> Through Routes to the Chief Cities, Bathing<br /> and Health Resorts of the World” (Henry<br /> Blacklock &amp; Co., 6s. net).<br /> <br /> Mr. S. Leonard Bastin has _ published,<br /> through Messrs. Cassell, a book upon “‘ Flower-<br /> less Plants.”<br /> <br /> Mr. John Masefield’s new long poem, “‘ The<br /> River,”’ will appear in next month’s issue of the<br /> English Review.<br /> <br /> Mr. William Watson’s ‘‘ The Muse in Exile ”’<br /> is issued by Mr. H. Jenkins at 3s. 6d. net.<br /> <br /> ‘**In Arcady, and Other Poems”’ is the title<br /> of a volume by Mr. W. J. Cameron (Erskine<br /> Macdonald, 3s. 6d. net).<br /> <br /> Mr. H. Cooper Pugh calls his volume of verse<br /> ““Les Chausans d’un Ingénu” (J. &amp; J.<br /> Bennett).<br /> <br /> In the September number of the West-<br /> minster Review appeared a new poem by Mr.<br /> Alfred Smythe, ‘Our Royal Betrothal,”’<br /> commemorating the announcement of the<br /> marriage of Prince Arthur of Connaught and<br /> the Princess Alexandra.<br /> <br /> Mr. K. C. Spiers has had a book ‘‘ The Soul<br /> of a Doll, and Other Poems” published by<br /> Messrs. Chapman &amp; Hall, at 2s. 6d. net. ::<br /> <br /> DrRamMatTIc.<br /> <br /> On September 1, at the St. James’s Theatre,<br /> there were seen for the first time, Mr. Bernard<br /> Shaw’s ‘“‘ Androcles andthe Lion,”’ and ‘‘ The<br /> Harlequinade,” in which Mr. Dion Clayton<br /> Calthrop collaborated with Mr. Granville Barker.<br /> <br /> On September 2 Mr. Louis Parker’s “‘ Joseph<br /> and His Brethren”’ was staged by Sir Herbert<br /> Tree at His Majesty’s Theatre.<br /> <br /> On September 3 ‘‘ Love and Laughter,” a<br /> comic opera by Messrs. Frederick Fenn and<br /> Arthur Wimperis, with music by Oscar Strauss,<br /> began a season at the Lyric Theatre.<br /> <br /> September 4 was the first night, at the Duk<br /> of York’s, of ‘‘ The Will”? and ‘* The Adored<br /> One,” both by Mr. J. M. Barrie.<br /> 12 THE AUTHOR.<br /> <br /> At Drury Lane, on September 11, Messrs.<br /> Cecil Raleigh and Henry Hamilton produced<br /> a new melodrama entitled ‘‘ Sealed Orders.”<br /> <br /> “The Fugitive,” by Mr. John Galsworthy,<br /> made its appearance in the matinee bill at<br /> the Court Theatre on September 15, under the<br /> management of Messrs. Greig &amp; Rosmer.<br /> <br /> Mr. Henry Arthur Jones’s new play, “ Mary<br /> Goes First,” was put on at the Playhouse on<br /> September 18, with Miss Marie Tempest as the<br /> heroine.<br /> <br /> On the evening of September 22 Miss<br /> Horniman opened a short season at the Court<br /> Theatre with Mr. Stanley Houghton’s “‘ Hindle<br /> Wakes.”<br /> <br /> Mr. Forbes Dawson has been spending a<br /> fortnight in New York, in order to arrange for<br /> the production of a play there.<br /> <br /> In the July number of The Author<br /> Mrs. Florence Eaton was described as the<br /> author of ‘‘ The Triumph.” She should have<br /> been called part-author, Mr. William Crossing<br /> having collaborated with her in that play.<br /> <br /> Mrs. Irene Osgood’s drama, ‘“‘ Une Aventure<br /> du Capitaine Lebrun,” was published in Paris<br /> by the Comedia—the last two pieces in that<br /> paper having been by Hauptmann and Balzac<br /> respectively.<br /> <br /> Mr. Anthony P. Wharton’s idyll in three<br /> acts, “‘ At the Barn” (produced for the first<br /> time at the Prince of Wales’s Theatre on<br /> August 11, 1912), has appeared in book form,<br /> published by Messrs. Joseph Williams at<br /> 2s. 6d. net.<br /> <br /> Under the title of ‘‘ A Living Theatre,” a 1s.<br /> booklet has been published in Florence to set<br /> forth Mr. Gordon Craig’s aims as prosecuted at<br /> his school and in his journal.<br /> <br /> M. Lugné-Poe’s Théatre Subventionné de<br /> 1CEuvre, Paris, will re-open in November with<br /> M. Maurice Bourgeois’s sole authorised French<br /> translation of the late J. M. Synge’s “ The<br /> Playboy of the Western World.’’ The French<br /> title will be ‘“‘ Le Baladin du Monde Occiden-<br /> tal.” M. Bourgeois’s ‘‘ John Millington Synge<br /> and the Irish Theatre’ is being published<br /> immediately by Messrs. Constable &amp; Co.<br /> <br /> $$$.<br /> <br /> PARIS NOTES.<br /> <br /> se<br /> <br /> ARELY has any woman writer had the<br /> world-wide appreciation and success<br /> of the late Pierre de Coulevain. The<br /> <br /> announcement of her death has caused real<br /> grief to thousands of her readers in many<br /> <br /> countries. To those of us who had the great<br /> privilege of knowing her intimately, her loss<br /> is irreparable. Her five novels were all<br /> written after her fiftieth year. Her last one,<br /> “Au Coeur de la Vie,” is in its 85th edition<br /> in French, “‘ L’le inconnue” in its 1381st<br /> edition, and “Sur la Branche,” in its 179th.<br /> Translations of her books have been published<br /> in Dutch, English, German, Italian, Norwe-<br /> gian, Portuguese, Spanish, Swedish and Tchek.<br /> <br /> One of the finest articles written on Pierre<br /> de Coulevain comes to us from Constantinople.<br /> <br /> ‘All her works,” says the writer of this<br /> article, ‘‘ the outcome of individual energy put<br /> forth with the sole object of endeavouring to<br /> comprehend the true meaning of life, are so<br /> many sources of energy for those who consult<br /> them attentively... . / According to her, moral<br /> strength took higher rank than all the other<br /> advantages an individual might have.”<br /> <br /> Fortunately she had completed her last<br /> book, ‘‘ Le Roman merveilleux,” in June. She<br /> was at work on another one, for her brain<br /> was ever active and the problems of life were<br /> of absorbing interest to her. Her whole life<br /> had been noble and dignified, and she faced<br /> death consciously and unflinchingly.<br /> <br /> The French literary world has lost another<br /> woman writer of great value in Lucie Felix-<br /> Faure Goyau, the daughter of the late Presi-<br /> dent. Madame Goyau’s books were all on<br /> subjects that would appeal to intellectual men<br /> and women of any nationality. The writer<br /> of them was an extremely cultured woman and<br /> a great linguist. In her “ Ames _ paiennes,<br /> Ames chrétiennes,”’ she studied the psychology<br /> of Christina Rossetti, of Eugénie de Guérin,<br /> and of Catherine de Sienne. Her book on<br /> the life and works of Cardinal Newman has<br /> been very widely read. ‘‘ Les Femmes dans<br /> l’GEuvre de Dante,” ‘‘ Méditérranée ”’ and *‘ La<br /> Vie et la Mort des Fées ”’ all represent years of<br /> patient research, thoughtand work. Besides<br /> all this literary activity and her social obliga-<br /> tions, Madame Goyau was deeply interested<br /> in all social problems. She founded the<br /> Children’s League and was on the committee<br /> of many philanthropic associations. Her<br /> lectures on literary and sociological subjects<br /> were always crowded. Fortunately her<br /> husband, Georges Goyau, the well-known<br /> sociological author, had kindred tastes, so<br /> that their home was the rendezvous of the<br /> intellectual élite of Paris. Independently of<br /> her literary and public work, Madame Goyau<br /> will be sincerely regretted, as her charm of<br /> manner and her wide sympathies made her<br /> a great favourite in Parisian society.<br /> <br /> <br /> <br /> <br /> <br /> 4 +<br /> *<br /> 1<br /> |<br /> |<br />  <br /> <br /> THE AUTHOR.<br /> <br /> The Autumn publishing season is now<br /> commencing and there seems to be no dearth<br /> of books ready for publication. A volume<br /> compiled by O. G. de Heidenstam, entitled<br /> ** Marie-Antoinette, Fersen et Barnave—Leur<br /> Correspondance,”’ will, no doubt, be much<br /> read, as there is always some fresh light to be<br /> thrown on the great revolutionary period of<br /> French history.<br /> <br /> A book has been written by Daniel<br /> Chenneviére on ‘“‘Claude Debussy et son<br /> Chuvre.”” The publisher who is bringing this<br /> out has given us a volume on Vincent d’Indy<br /> and on Paul Dukas.<br /> <br /> All who have been following the Balkan<br /> question closely will, probably, be glad to<br /> read a volume just published, entitled “‘ La<br /> Conférence de Constantinople et la Question<br /> Egyptienne en 1882,” by Sayed Kamel.<br /> <br /> The theatres are beginning to announce<br /> their programmes for the winter. M. Antoine<br /> intends putting on some of the French classical<br /> plays at the Odéon, with the staging of the<br /> epoch to which they belong. At the Athénée<br /> ““La Bourgeon’”’ is being given; at the<br /> Vaudeville, ‘‘ Le Menuisier ’’ and ‘‘ La Dame<br /> du Louvre’; and at the Gymnase, “ La<br /> Demoiselle de Magasin.”’<br /> <br /> Atys HAuuarp.<br /> <br /> <br /> <br /> **Le Roman meryeilleux.” (Calmann-Lévy.)<br /> <br /> “ Ames paiennes, Ames chrétiennes.” (Perrin.)<br /> <br /> “ Marie-Antoinette, Fersen et Barnave—Leur Corres-<br /> pondance.” (Calmann-Lévy.)<br /> <br /> * Claude Debussy et son (Euvre.” (Durand.)<br /> <br /> “Ta Conférence de Constantinople et la Question<br /> Egyptienne en 1882.” (Alcan.)<br /> <br /> — se<br /> <br /> AUTHORS AND EDITORS.<br /> <br /> te<br /> <br /> . the July issue a resolution was published<br /> passed at a meeting of the Committee of<br /> Management and Editors. This resolution<br /> was subscribed to by the editors of ten papers.<br /> Since then the Society has issued a circular<br /> to those who did not happen to be present<br /> when the resolution was passed, and is pleased<br /> to state that the following have allowed their<br /> names to be added to the list :—<br /> Mr. John Stead, of Review of Reviews.<br /> Mr. James Parmerlee, of Vanity Fair.<br /> Mr. J. E. Harold Terry, of the Onlooker and<br /> Throne.<br /> Mr. C. R. Simpson, of the Weekly Telegraph,<br /> who, however, agrees with the editor of the<br /> Quarterly Review (see note to list appended).<br /> <br /> <br /> <br /> 13<br /> <br /> Mr. St. Loe Strachey, of the Spectator.<br /> <br /> Mr. J. S. Wood, of the Gentlewoman.<br /> <br /> The Society has also had answers from the<br /> Fortnightly .Review—Mr. Courtney is kind<br /> enough to state that he is unable to give his<br /> sanction without the approval of the board,<br /> and it is hoped that that approval may be<br /> obtained—from Mr. E. M. Bunting, of the<br /> Contemporary Review, who has been kind<br /> enough to write expressing his interest in the<br /> action that has been taken, and stating that he<br /> will be glad to hear what goes on further, and<br /> from Mr. Arthur Hutchinson, editor of the<br /> Windsor Magazine. We have pleasure in quoting<br /> Mr. Hutchinson’s letter in full, as the Windsor<br /> Magazine appears to. be one of the few<br /> magazines in England that follows the<br /> recognised American custom :<br /> <br /> <br /> <br /> Dear Sir,—In repiy to your request that<br /> we should add our name to the list which you<br /> are preparing for your October number, of<br /> those who wish to establish the new rule for<br /> the date of payment for articles or illustra-<br /> tions, I write to point out that as our custom<br /> is to pay on the Saturday of each week for all<br /> work accepted or delivered to us, if previously<br /> commissioned, within that week, it would be<br /> very retrograde on our part to support any<br /> rule which establishes so long postponed a<br /> date for payment as either of those suggested<br /> in your resolution. We cannot help thinking<br /> that our method is much fairer to authors and<br /> artists than any such postponement, even<br /> though the latter may be an improvement on<br /> older customs of deferred payment in the<br /> ease of offices whose methods you may be<br /> considering.<br /> <br /> Yours truly,<br /> ARTHUR HUTCHINSON,<br /> Editor, the Windsor Magazine.<br /> <br /> The editor of Punch is in favour of the more<br /> elastic resolution, and in order that this<br /> reference may be clear to the readers, we append<br /> the original resolution with the signatures as<br /> they at present stand and repeat the rest of the<br /> article as it appeared in the July issue.<br /> <br /> Resolution.<br /> <br /> “The authors and artists whose articles,<br /> stories, or drawings may have been accepted,<br /> shall be paid for those accepted articles,<br /> stories, or drawings, at the next official pay-<br /> day after the publication, or within six<br /> months from the date of acceptance of such<br /> articles, stories, or drawings, whichever is<br /> the shorter period.”<br /> <br /> <br /> 14 THE AUTHOR.<br /> <br /> In favour.<br /> <br /> J. I. Bailey, The Connoisseur.<br /> <br /> Vivian Carter, The Bystander.<br /> <br /> F. Chalmers Dixon, English Review.<br /> <br /> L. J. Maxse, National Review.<br /> <br /> *G. W. Prothero, Quarterly Review.<br /> <br /> Harold Cox, Edinburgh Review.<br /> <br /> C. E. S. Chambers, Chambers’s Journal.<br /> <br /> F. H. Fisher, Literary World.<br /> <br /> Chas. Hyatt-Woolfe, Science Siftings.<br /> <br /> G. Binney Diblee, The Field ; The Queen.<br /> <br /> John Stead, Review of Reviews.<br /> <br /> James Parmerlee, Vanity Fair.<br /> <br /> J. E. Harold Terry, Onlooker and Throne.<br /> <br /> *C. R. Simpson, Weekly Telegraph.<br /> <br /> Mr. St. Loe Strachey, Spectator.<br /> <br /> J. S. Wood, Gentlewoman.<br /> <br /> * There was a reservation by the editor of the Quarterly<br /> Review that the word “shall” should be altered to<br /> “should.” With this reservation the editor of the<br /> Weekly Telegraph agrees.<br /> <br /> The rest of the article is as follows :—<br /> <br /> “ After this resolution had been put forward,<br /> it was proposed—owing to the fact that many<br /> editors, while approving the spirit of the<br /> resolution, objected to the letter, and that no<br /> voice was raised in opposition to the principle<br /> of obtaining a more uniform and businesslike<br /> practice—to discuss, either by circular or by<br /> means of an adjourned meeting later in the<br /> year, the following :-—<br /> <br /> ‘“¢* We consider that it should be under-<br /> stood by all authors and artists whose con-<br /> tributions have been accepted, that they<br /> shall be entitled to make requisition for pay-<br /> ment at any period six months after such<br /> acceptance, and that such requisition shall<br /> not be considered in any way contrary to<br /> established precedent.’<br /> <br /> “It is hoped by the committee that it will be<br /> possible to get a still larger number of editors<br /> to consent to this more elastic resolution,<br /> which will give great relief to contributors,<br /> Many editors are quite willing to pay within a<br /> reasonable time if they are asked, but they fail<br /> to understand the author’s point of view. It<br /> is not so much natural modesty, as a fear—<br /> in many cases, we regret to say, well-founded—<br /> that any step they may take to disturb the<br /> equanimity of the editor will result in their<br /> future contributions being set aside.<br /> <br /> ‘“‘ Another point was put forward, which the<br /> committee hope to deal with in the autumn,<br /> namely, the possibility of arranging between<br /> authors and editors some form of conditional<br /> acceptance in those cases where editors feel they<br /> could not give an immediate and unconditional<br /> decision.”<br /> <br /> <br /> <br /> COPYRIGHT AND BANKRUPTCY.<br /> <br /> ——<br /> <br /> he of The Author may call to mind<br /> the case of Deeping v. Grant Richards#of<br /> which a report appeared in our May,<br /> <br /> 1907, issue.<br /> <br /> Judgment delivered in that case demon-<br /> strated that if an author transferred his copy-<br /> right to a publisher subject to the payment of<br /> royalty his only remedy if the publisher went<br /> bankrupt was for damages for breach of agree-<br /> ment against a bankrupt estate. Briefly, it<br /> was laid down that in cases of bankruptcy the<br /> agreement could be assigned by the trustee in<br /> bankruptcy without the assignee being respon-<br /> sible to the author for payment of royalties.<br /> The result of subsequent cases of a similar<br /> character served to confirm the ruling given<br /> in Deeping v. Grant Richards.<br /> <br /> An attempt was made to get this grievance<br /> of authors, dramatists and composers removed<br /> while the Copyright Act of 1911 was being<br /> discussed in Parliament, but the Government,<br /> whilst sympathetic, regretted they could not<br /> deal with the matter in a Copyright Bill,<br /> stating it could only be dealt with as an<br /> amendment to the Bankruptcy Laws.<br /> <br /> Accordingly, for the time the matter was<br /> dropped.<br /> <br /> In the spring of this year, however, the<br /> attention of the Society was called by Mr.<br /> Mackinder to the fact that Amending Bills<br /> dealing with bankruptcy were before Parlia-<br /> ment, and he suggested that they afforded the<br /> Society an opportunity of attaining a removal<br /> of the peculiar hardships inflicted upon authors,<br /> dramatists and composers by the Warwick<br /> Deeping decisions. Mr. Mackinder called upon<br /> the secretary and had a long conversation with<br /> him, with the result that, with the sanction of<br /> the chairman, counsel was instructed to draft<br /> certain clauses designed to protect authors not<br /> only from the results of the judgments referred<br /> to above, but also from the losses arising out<br /> of the bankruptcy of magazines and other<br /> periodical publications. Mr. Mackinder very<br /> kindly undertook to take charge of these clauses<br /> on behalf of the Society and to use every effort<br /> to get them accepted by the Government. As<br /> it was found impossible to get the clauses<br /> affecting contributions to magazines accepted,<br /> these clauses had, perforce, to be dropped.<br /> <br /> The committee, however, are pleased to<br /> report that the clause relating to the transfer<br /> of copyright under royalty agreements was<br /> accepted by the Government and that the Bills<br /> which have now become law each contain this<br /> <br /> - Sfb Peeprns v. Mora (Be Trnotee )<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> clause. Inthe English amendment of the<br /> bankruptcy law it runs as follows :—<br /> <br /> “Where the property of a bankrupt comprises the<br /> copyright in any work or any interest in such copyright,<br /> and he is liable to pay to the author of the work royalties<br /> or a share of the profits in respect thereof, the trustee in<br /> bankruptcy shall not be entitled to sell, or authorise the<br /> sale of, any copies of the work, or to perform or authorise<br /> the performance of the work, except on the terms of pay-<br /> ing to the author such sums by way of royalty or share<br /> of the profits as would have been payable by the bankrupt,<br /> nor shall he, without the consent of the author or of the<br /> court, be entitled to assign the right or transfer the<br /> interest or to grant any interest in the right by licence<br /> except upon terms which will secure to the author pay-<br /> ments by way of royalty or share of profits at a rate not<br /> less than that which the bankrupt was liable to pay.”<br /> <br /> It appears with a slight modification in the<br /> amendment of the bankruptcy law for Scotland,<br /> but the effect is the same in both cases.<br /> <br /> The Society must thank Mr. Mackinder most<br /> heartily for drawing the attention of the Com-<br /> mittee of Management to the point, and for the<br /> energy and care with which he piloted the<br /> clauses through to a triumphant success.<br /> <br /> The issues are perhaps of more importance<br /> to composers than to authors or dramatists.<br /> Nowadays authors very seldom assign their<br /> copyright. They have been taught by the<br /> work of the Society through the past twenty-<br /> five years ; but composers still suffer severely,<br /> and there are but few who do not recklessly<br /> assign their copyright. This is no doubt partly<br /> due to the composers’ ignorance and partly to<br /> the yoke that music publishers have for many<br /> years past thrown on their shoulders.<br /> <br /> It is the duty of composers to move shoulder<br /> to shoulder with a view to overcoming the<br /> difficulties that surround them and prevent<br /> them from getting a fair return for their life’s<br /> work.<br /> <br /> In the meantime all members of the Society<br /> must join in thanking Mr. Mackinder for the<br /> work he has done on their behalf.<br /> <br /> —_—_———__+—&gt;—_+____—_-<br /> <br /> STOCK COMPANY RIGHTS.<br /> <br /> HE attention of the Dramatic Sub-Com-<br /> mittee has been called to the value of<br /> the stock rights in the United States.<br /> <br /> Mr. Walter C. Jordan, the agent of the Society<br /> in New York, was the first to impress upon the<br /> members the importance of retaining their<br /> rights, and he has reiterated his warning at<br /> every opportunity.<br /> <br /> Every member who has dramatic rights of<br /> value in the U.S.A. should take special note,<br /> because there are companies existing ready to<br /> purchase stock rights, and the author in his<br /> ignorance may be willing to sell for a lump sum<br /> <br /> <br /> <br /> <br /> <br /> 15<br /> <br /> —a sum which may appear to him to be large—<br /> rights which, if retained, might through the<br /> years bring him many times the amount.<br /> <br /> It would appear that managers in the U.S.<br /> try very hard to get control of stock rights<br /> in the original contract. This they do by<br /> obtaining the sole right of performance which<br /> the author often conveys in ignorance of the<br /> existence of stock rights ; but, even if he knows,<br /> the manager puts forward the argument—<br /> sometimes with success—that he contributes<br /> towards the establishing of the play and<br /> creating a demand for. it by stock companies.<br /> <br /> It is, therefore, advisable either that the<br /> author should withhold all rights whatever to<br /> lease out his plays for stock company purposes,<br /> and should grant to the producing manager<br /> only the right to produce and perform the piece<br /> under his own management (not including any<br /> right to the producing manager to lease out the<br /> play at any time for stock company purposes) :<br /> or should he think the manager’s argument, set<br /> out above, of any value, should stipulate in the<br /> original contract that after the producing<br /> manager has produced and performed the piece<br /> under his own management for not less than<br /> 100 performances, that for a specified period<br /> the manager shall be entitled to receive a<br /> fixed share of the net royalties earned by the<br /> play being leased out—by the author—for stock<br /> purposes, but that the play shall be handled<br /> for stock purposes by the author himself, or by<br /> his authorised agent without the intervention<br /> of the manager.<br /> <br /> The author had better place his work for all<br /> stock purposes in the hands of an agent<br /> exclusively, who should be thoroughly reliable,<br /> and the agent should proceed to lease out the<br /> play for stock companies for the best royalty<br /> terms obtainable, according to the size of the<br /> cities, the season of the year, the size of the<br /> theatre, and the prices charged at the theatre.<br /> <br /> What can be obtained for stock engage-<br /> ments must vary under these different circum-<br /> stances.<br /> <br /> It is most important also that while the<br /> author employs an agent, that agent should<br /> have exclusive power to act. This not only<br /> stimulates the agent but prevents two agents<br /> crossing one another in the same market,<br /> prejudicing the author’s position, and perhaps<br /> losing the contract.<br /> <br /> It will be seen, therefore, how important it<br /> is that the agent should be thoroughly reliable<br /> and trustworthy; that he should have no<br /> interest as principal in other joint stock rights,<br /> that he should be agent pure and simple, honest<br /> and above all with a full knowledge of his work<br /> <br /> <br /> 16<br /> <br /> Over and over again in these columns the<br /> position of agents has been referred to. In<br /> many cases it is safest for the author to do his<br /> own work, backed with the advice and help of<br /> the Society, but in the placing of stock rights<br /> in the U.S.A. an agent is no doubt essential.<br /> <br /> There is one other important point that it<br /> is necessary to put before authors. It has<br /> already been mentioned that the managers in<br /> the U.S.A. make every effort to obtain the<br /> stock rights from the author in the original<br /> contract. If the author parts with these<br /> through ignorance or for any other reason, he<br /> should not be paid the same fees on the per-<br /> formances as he is paid in the ordinary contract.<br /> There are two reasons why he should not be<br /> paid in this manner. To begin with, if, as an<br /> <br /> -author, he is in a position to claim a high<br /> percentage, then his stock rights are con-<br /> siderably prejudiced, because the American<br /> manager won’t let out to stock companies unless<br /> he can make something himself by the trans-<br /> action. Therefore, if he is paying to the author<br /> a very high percentage, he would have to ask<br /> the stock companies a percentage so high that<br /> they would not be able to pay it—therefore the<br /> author would lose the chance of gaining a large<br /> sum which he might otherwise obtain.<br /> <br /> If, however, the manager is paying the author<br /> a small percentage, then it is essential also that<br /> a different system should obtain for the stock<br /> rights, and it is important that the author<br /> should receive a certain fixed share of not less<br /> than half of the royalties accruing from the use<br /> of his play in stock. The following example<br /> will suffice to show the reason of this :—<br /> <br /> When a producing manager has established a<br /> certain play by producing it for a certain<br /> number of weeks, and has the authority to<br /> sub-lease the play subject only to the author’s<br /> percentage, if that percentage is small then the<br /> manager frequently not only gets double the<br /> amount from the stock company, but also<br /> exacts from the manager a minimum guarantee.<br /> The matter works out as follows: The pro-<br /> ducing manager controlling a certain play<br /> leases to a stock company the play for one<br /> week for royalty terms of 10 per cent. of the<br /> gross receipts, with a minimum guarantee to be<br /> paid by the stock company to the producing<br /> manager of $500. If, then, the producing<br /> manager is paying the author only 5 per cent.<br /> on the first $3,000 gross receipts,, and the stock<br /> company plays the said play for one week to<br /> gross receipts of $2,500 (which would be very<br /> fairly good business to the average stock com-<br /> pany) the producing manager would only have<br /> to pay the author $125, and he would retain<br /> <br /> THE AUTHOR.<br /> <br /> for himself the balance of $375 as his share<br /> from the said engagement. But if the author’s<br /> agreement was that he should receive at least<br /> half of all the royalties accruing from stock<br /> company engagements, the author would get<br /> just double the amount out of the week’s stock<br /> engagement. Very successful plays often com-<br /> mand weekly guarantees of more than $500 a<br /> week, and the less successful plays which lease<br /> to the smaller stock companies command<br /> minimum weekly guarantees of from $200 to<br /> $400. It is clear, therefore, that in the<br /> majority of cases the author’s best interest lies<br /> firstly in holding the entire stock company<br /> rights himself, and secondly, if he is foolish<br /> enough to transferthem to a producing manager,<br /> that he shall receive a certain percentage of the<br /> total amount received, rather than accept his<br /> ordinary percentage royalties on the gross<br /> receipts on the stock company engagement,<br /> as on the gross receipts of other engage-<br /> ments. The advantage is two-fold, first, that<br /> in most cases the author would get more, and<br /> secondly, that it gives the producing manager<br /> a freer hand with which to contract.<br /> <br /> We are indebted for the substance of this<br /> article to the information forwarded to the<br /> Society by Mr. Walter C. Jordan, the Society’s<br /> agent in America,<br /> <br /> —_+——o —_____<br /> <br /> WHAT IS A VALUABLE RIGHT OR<br /> INTEREST ?<br /> <br /> <br /> <br /> Crauz v. SHEARD.<br /> <br /> N this case an important question arose as to<br /> whether a right or interest in a musical<br /> composition was ‘valuable and sub-<br /> <br /> sisting ’’ at a certain date, when the Order in<br /> Council relating to Austria-Hungary came into<br /> operation.<br /> <br /> The plaintiffs, a firm of music publishers in<br /> Vienna, sued the defendants, an old-established<br /> firm of music publishers in London, for damages<br /> for infringement of the copyright in “ Die<br /> Fledermaus”? waltz by Johann Strauss, the<br /> Austrian composer. The waltz, which was<br /> written in 1874, was first published in Austria,<br /> and the plaintiffs became the owners of the<br /> copyright. No steps were taken to secure<br /> copyright in the United Kingdom, and in 1877 .<br /> the defendants published the waltz in London ;<br /> but after a year or two, the sales diminished,<br /> and there was little or no demand for the work,<br /> although the defendants kept a small number<br /> of copies in stock.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 17<br /> <br /> In 1893 a copyright treaty was concluded<br /> between Great Britain and Austria-Hungary,<br /> and under the Order in Council, which came<br /> into operation on May 11, 1894, the plaintiffs<br /> became entitled to the copyright in the waltz<br /> in the United Kingdom. But owing to a<br /> proviso in the Order in Council, the plaintiffs’<br /> copyright was subject to any right or interest<br /> of the defendants, which was “‘ valuable and<br /> subsisting ” in May, 1894.<br /> <br /> In 1912, when “ The Nightbirds ” was pro-<br /> duced at the Lyric Theatre, the waltz was<br /> introduced into the piece, and there was a<br /> new demand for the music. The defendants<br /> accordingly republished the waltz, and it was<br /> contended on their behalf, that they were<br /> entitled to do so, because they had originally<br /> produced it in the United Kingdom, and had<br /> a right or interest which was valuable and<br /> subsisting in May, 1894, and were therefore<br /> protected by the proviso in the Order in<br /> Council.<br /> <br /> On the other hand, it was urged that in May,<br /> 1894, the sale of the waltz by the defendants<br /> was practically dead, and that the defendants’<br /> right or interest in the work had no market<br /> value, and could not be described as “‘ valuable.”<br /> <br /> Mr. Justice Scrutton held that although the<br /> defendants had a right or interest in the waltz<br /> which was “‘ subsisting ”’ in May, 1894, it could<br /> not be regarded as “ valuable,’ because it<br /> would not have been marketable at that time.<br /> The music had become saleable again in<br /> England owing to the production of ‘“ The<br /> Nightbirds’’ in 1912, but the defendants<br /> could not have obtained a price for their right<br /> or interest in the work in May, 1894.<br /> <br /> On these grounds, his Lordship granted an<br /> injunction, and gave judgment for the plain-<br /> tiffs for £5 damages and costs.<br /> <br /> Haroutp Harpy.<br /> <br /> a<br /> <br /> “A. M. BURGHES.”<br /> <br /> a<br /> <br /> N The Author for December, 1912, we<br /> reported the result of the prosecution,<br /> undertaken by the Society, of C. M.<br /> <br /> Burghes, who carried on business ‘under the<br /> style of “ A. M. Burghes ”’ as a literary agent<br /> at 34, Paternoster Row, E.C. C. M. Burghes<br /> was convicted by the jury of obtaining money<br /> by false pretences, but, for some reason which<br /> we did not appreciate, the judge only bound<br /> him over to come up for sentence when called<br /> upon. The result has been unfortunate.<br /> &lt;, M. Burghes continued to carry on business<br /> <br /> at the same address, and, probably in ignorance<br /> of what had happened, various authors<br /> entrusted him with MSS. and, we believe, paid<br /> him fees. In a number of cases the Society<br /> were successful, through their solicitors, in<br /> getting back the MSS., although in no case was<br /> a MS. delivered up until proceedings had been<br /> taken. Now, however, things have taken a<br /> fresh turn. An author (not a member of the<br /> Society) not only sent Burghes certain MSS.,<br /> but paid him sums amounting to £70—as to £50<br /> for payment over to a publisher in fulfilment<br /> of an arrangement Burghes stated he had made,<br /> and as to the remainder for fees. Hearing<br /> nothing further he became alarmed, and<br /> inquiry then revealed the fact that C. M.<br /> Burghes was not to be found at his place of<br /> business and that his address was unknown.<br /> He had not paid over the £50 to the publisher<br /> nor, in fact, had he ever made any arrange-<br /> ment with the publisher under which £50 or<br /> any other sum was payable. The copy letter-<br /> book found at the offices showed no business<br /> letters since June, and Burghes had not for a<br /> considerable time come to the office at all,<br /> though he had sent a messenger for letters, and<br /> had thus, it would seem, obtained possession<br /> of the cheques for £70 which the author had<br /> sent to him. Comment is needless. The<br /> money has gone, and not even the MSS. in this<br /> case can be found. The landlords have dis-<br /> trained for their rent and sold the contents of the<br /> office. The Society’s solicitors, being aware of<br /> the position, arranged with the landlords for<br /> any MSS. in the safe and elsewhere to be kept<br /> back when the premises were emptied, and at<br /> present a considerable number are lying there.<br /> They cannot, of course, be kept indefinitely,<br /> and if any members of the Society have left<br /> MSS. with Burghes they should give particulars<br /> to the secretary without loss of time, so that<br /> inquiry may be made for them. We cannot<br /> but think that if the judge had given effect to<br /> the verdict of the jury at the trial last year by<br /> passing a sentence of imprisonment the sub-<br /> sequent losses would have been avoided.<br /> <br /> <br /> <br /> SCALE FOR ADVERTISEMENTS,<br /> <br /> <br /> <br /> [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br /> Frout Page aes ide = . «24 0 0<br /> Other Pages ae as agi eae see axe sie<br /> Half of a Page ... aay ie wes ie ais wie ee<br /> Quarter of a Page : ow. 016<br /> Eighth of a Page ie ce 0 70<br /> perinuch 0 6 O<br /> <br /> Single Column “Advertisements<br /> Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for<br /> Twelve Insertions.<br /> <br /> 0 0<br /> <br /> 1<br /> 15 6<br /> <br /> All letters respecting Advertisements ,should be addressed to<br /> Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High<br /> Holborn, W.C.<br /> 18 THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> Ase<br /> <br /> L, VERY member has a right toask for and to receive<br /> EK 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’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 /> <br /> 2. Remember that questions connected with copyright<br /> and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <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 /> <br /> 5. The Committee have arranged for the reception of<br /> members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them, (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 7. Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> <br /> 9, The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ope<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —+—&lt; +<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <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 /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <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 /> <br /> (3.) Not to allow a special charge for “ office expenses,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continenta)<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights,<br /> <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 /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld,<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> — es<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> a ee<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> <br /> vetent legal authority.<br /> <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 /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :-— :<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters inte<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. : : 4<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> (b.) Sale of performing right or of a licence te<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 /> <br /> («.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (7.c., 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 (0.) apply<br /> also in this case.<br /> <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 /> <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 /> <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 /> <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 /> <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 /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> s 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 /> <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 /> <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 /> <br /> ———__+—&lt;&gt;_—_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> +<br /> <br /> ere typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to theauthor<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 /> <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 22. 6d. per act.<br /> <br /> 19<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> ee oe ee<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author’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, de<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 /> ——_—__—_+— 0<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> ees<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ee<br /> <br /> STAMPING MUSIC.<br /> <br /> ee<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society’s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> <br /> members, who are thus saved much unnecessary trouble,<br /> <br /> ——$$§$§_— —e_____<br /> THE READING BRANCH.<br /> —1—~o—+ —<br /> EMBERS will greatly assist the Society in this<br /> M branch of its work by jnforming 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 /> —————_ «&gt; ¢<br /> <br /> REMITTANCES.<br /> <br /> oo<br /> <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 /> 20 THE AUTHOR.<br /> <br /> COLLECTION BUREAU.<br /> <br /> — a<br /> <br /> f | \HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> an! amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> vecords.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> of! ce, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission,<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Amsterdam ‘ ; . A. REYDING.<br /> New York : ‘* WALTER C. JORDAN.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> GENERAL NOTES.<br /> <br /> — to<br /> <br /> Liprary CENSORSHIP.<br /> <br /> WE have pleasure in publishing herewith a<br /> letter addressed by the chairman of the Com-<br /> mittee of Management to the editor. The<br /> contents of the letter set out the reason for<br /> its publication. The members of the Society<br /> are entitled to know the action that is being<br /> taken by the Committee of Management. The<br /> chairman, in consequence, has put forward<br /> this statement for the perusal of all members.<br /> Why the committee have not thought fit to<br /> write to the papers and join in the public<br /> controversy is here fully explained.<br /> <br /> To the Editor, “‘ The Author.”<br /> <br /> Dear Sitr,—As I understand that various<br /> letters have been received by the secretary of<br /> the Society with regard to the attitude of the<br /> ‘Committee of Management on the question of<br /> library censorship, I think it well, as chairman<br /> -of the Society, to give the members the follow-<br /> ing information :—<br /> <br /> The library censorship, as at present con-<br /> ‘ducted, has on several occasions in past years<br /> been very seriously considered, not only by<br /> the Committee of Management of the Society,<br /> <br /> but also by sub-committees especially ap-<br /> pointed for that purpose.<br /> <br /> The Committee of Management feel that it<br /> is not a question of this book or that book,<br /> written by this author or that author, but that<br /> the question involved is an important question<br /> of principle which stands above all books and<br /> all authors.<br /> <br /> The reason why the Committee of Manage-<br /> ment have not on this or on former occasions<br /> written letters to the papers, is because they<br /> appreciate that, in a matter of this kind, letters<br /> to the papers are of little permanent value,<br /> though such letters may draw attention to<br /> some particular book and regain for it a cir-<br /> culation to which it was no doubt entitled, but<br /> which it had lost by the action of the libraries.<br /> <br /> The practical issue is the only issue with<br /> which the Committee of the Society intend to<br /> deal. In every case in time past they have<br /> asked the authors concerned to make any<br /> proposals or suggestions that might seem good<br /> to them, and such proposals as have been<br /> made have received consideration. In the<br /> same way at the present time any proposals<br /> put forward by the authors concerned, or any<br /> suggestions made by any member with a view<br /> to bringing about a practical issue, will be<br /> most carefully and gratefully considered.<br /> <br /> I understand from the secretary that he<br /> suggests that there shall be a small permanent<br /> council of authors, publishers, librarians and<br /> booksellers, which should sit once or twice a<br /> year to consider any important questions<br /> which may arise in this connection. If the<br /> Committee of Management could organise<br /> such a council, the question of library censor-<br /> ship would no doubt then be adequately dealt<br /> with, and it is possible that the combination of<br /> the four bodies referred to might find a solution<br /> which would be satisfactory to all parties.<br /> <br /> Because the Committee have not entered<br /> the arena of newspaper discussion, it does not<br /> mean that they have not the whole matter<br /> very much at heart.<br /> <br /> Yours, etc.<br /> (Signed) HeEskeTH Pricnarp,<br /> Chairman of the Committee of Management.<br /> <br /> AUTHORS AND EDITORS.<br /> <br /> In the article under the same title, printed<br /> in this month’s issue, in the last paragraph but<br /> one, it is pointed out that many authors have<br /> a fear (in many cases well founded) that if they<br /> make a demand for money, their future con-<br /> tributions to a paper may be set aside. This<br /> remark was made apropos of contributions<br /> <br /> j<br /> ;<br /> i<br /> i<br /> ‘<br /> i<br /> j<br /> ;<br /> 4<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> a<br /> <br /> ro LESSEE ES.<br /> <br /> THE AUTHOR. 21<br /> <br /> which have been accepted and not published.<br /> The ordinary editor and the ordinary author<br /> would hardly think that the same fear would<br /> be justified in the case of a MS. which had<br /> actually been published, but in support of the<br /> contention the following example is quoted :<br /> <br /> A member of the Society sent some verses to<br /> a paper called The Literary Monthly. The<br /> poem was accepted, and printed in the July<br /> issue of that paper. During the month the<br /> author wrote to inquire the terms on which<br /> contributors were paid, and the editor replied<br /> stating that all contributions were paid for in<br /> the month in which they appeared. As the<br /> author did not receive the amount in accord-<br /> ance with this statement, a letter was written<br /> to the editor, drawing attention to the fact<br /> that payment had not been made, and saying<br /> a remittance would be esteemed a favour. To<br /> this no reply was received, and ultimately the<br /> author wrote pressing for payment, and that<br /> unless a cheque was received within seven days,<br /> the matter would have to go into the hands of<br /> the Society of Authors. In answer to that<br /> letter the contributor obtained a reply, dated<br /> September 1—that is a month after the time<br /> when the editor said he would pay for contri-<br /> butions—which ran as follows :—<br /> <br /> “The editor encloses cheque for , for<br /> poem published in July issue. No further<br /> contributions will be received from Hes<br /> <br /> The fair deduction to make from this letter<br /> is that because the author refused to wait<br /> longer than the time mentioned by the editor<br /> himself for the payment of contributions, and<br /> because, in consequence, the author threatened<br /> to put the matter into the hands of the Society,<br /> the editor refused to take any further contri-<br /> butions. It is quite clear that the refusal did<br /> not arise from the fact that the author’s work<br /> was not sufficiently good, otherwise the first<br /> poem would not have been printed, It would<br /> be interesting to know whether the editor has<br /> got any other explanation that he would like<br /> to put forward.<br /> <br /> INTERNATIONAL CONGRESS OF PUBLISHERS.<br /> <br /> AN interesting paper was read by Mr.<br /> William Heinemann before the International<br /> Congress, of Publishers at Budapest. It<br /> dealt with the danger to the maintenance of<br /> the published price of books arising out of<br /> excessive discounts to the retail trade which<br /> were frequently offered by certain publishers<br /> as an inducement to the bookseller to stock<br /> their publications to the exclusion of the works<br /> of their competitors. The matter, as Mr.<br /> <br /> Heinemann stated, concerns authors equally<br /> with publishers, for it is clear that, in the end,<br /> if the retailer is given an excessive discount,<br /> the royalties paid to the author will be reduced<br /> in proportion. Obviously, if one publishing<br /> house yields to the pressure of the bookseller,<br /> others will, in sheer self-defence, be bound to<br /> follow, with the inevitable result that the<br /> author will lose what the bookseller gains.<br /> The only possible action is for the Publishers’<br /> Association to bind themselves to take joint<br /> action on the lines taken by the United States<br /> publishers. What sometimes happens when<br /> the publisher goes to the bookseller is best<br /> told in Mr. Heinemann’s own words :—<br /> <br /> ** Who of us has not been told that Mr. X.<br /> gives better terms than we do, and that unless<br /> equal terms are conceded the bookseller in<br /> question must give preference to Mr. X.’s<br /> books ?. Who of us has never yielded to such<br /> pressure ? Who of us has never found such<br /> a statement inaccurate? And who of us,<br /> having yielded to untruthful representation,<br /> has not afterwards heard the same argument<br /> used against the very rival who was described<br /> as so much more liberal than ourselves ? Such<br /> demands may go on ad infinitum: demands<br /> which seem to me, even if they are honestly<br /> made, contemptuous towards ourselves and<br /> our goods.”<br /> <br /> Reverting, however, to the position of the<br /> author in this matter, we should like to<br /> drawt he attention of authors to the prac-<br /> tice of one of the publishing houses and to<br /> its form of contract. This house provides<br /> in its contract with the author for the pay-<br /> ment of a certain royalty on the published<br /> price. So far, so good. But in a subsequent<br /> clause it also provides for the payment of a<br /> reduced percentage on those sales at less than<br /> half the published price, and a still further<br /> reduced percentage on sales at a quarter of the<br /> published price. Moreover, the percentage is<br /> paid, not on the published price, but on the<br /> nett returns. As we have shown in a previous<br /> issue of The Author, it often happens that it<br /> pays the publisher better to give a large dis-<br /> count to the bookseller, paying less to the<br /> author, than to keep the price to the book-<br /> seller up to the normal standard, paying the<br /> author the agreed royalty on the published<br /> price.<br /> <br /> Here there is a conerete case demonstrating<br /> that the special terms allowed to booksellers<br /> result in very material loss to the author.<br /> Even if an increased sale results, the author<br /> gains nothing under these conditions by the<br /> increase. And, as we have already stated, we<br /> 22<br /> <br /> do not think, in the last resort, authors gene-<br /> rally would gain by these improved terms to<br /> the retailers. While it is improbable that<br /> their royalties would be reduced in_ the<br /> manner favoured by the publisher referred to,<br /> it is certain that their royalties would tend<br /> to be reduced on the published price, and the<br /> whole book trade would be upset and finally<br /> ruined.<br /> <br /> We notice that at the same Congress a<br /> reference was made to the question of copy-<br /> right and cinematographs, and that pub-<br /> lishers were advised to provide for cinemato-<br /> graph rights in their agreements with authors ;<br /> further, that an association of authors and<br /> publishers should be founded to protect these<br /> rights from infringement.<br /> <br /> In the absence of more definite information<br /> on this matter we defer detailed criticism of<br /> the proposal till a later issue. We would,<br /> however, counsel all authors to keep very<br /> close control of the cinematograph rights of<br /> their stories, as these rights are likely soon to<br /> become valuable, and there is no more reason<br /> why they should be given to the publisher<br /> than that the dramatic rights should be given<br /> to him. The publisher’s work should begin<br /> and end with the publication of the author’s<br /> MS. in book form.<br /> <br /> THE NEW POET LAUREATE.<br /> <br /> -\INCE the last issue of The Author appeared<br /> the much-discussed vacancy in the office<br /> of Poet Laureate has been filled up.<br /> <br /> The appointment of Dr. Robert Bridges<br /> took the general public by surprise. His<br /> name had, indeed, been mentioned in the<br /> literary press as that of a possible candidate,<br /> and the July number of the Quarterly Review<br /> contained a warm recommendation of his<br /> claims, from the pen of Mr. John Bailey.<br /> But to the man-in-the-street he was unknown,<br /> and probably the ordinary comment on his<br /> appointment was, “I’ve never read a line<br /> of him!” Now publicity has been given<br /> to the facts that Dr. Bridges is sixty-nine<br /> years old, was educated at Eton and Corpus<br /> College, Oxford, has been a practising physician<br /> and has produced a body of poetry which<br /> includes plays and masques, metrical experi-<br /> ments, lyrics, and even a few hymns, which<br /> appear in the “ English Hymnal.”<br /> <br /> If, however, the man-in-the-street has only<br /> just been helped to the discovery of Dr. Bridges,<br /> <br /> THE AUTHOR.<br /> <br /> among his fellow-poets he has long been<br /> honoured. He may certainly be called “a<br /> poet’s poet.” It is remarkable that the<br /> contributors to the volume entitled “‘ Georgian<br /> Poetry, 1911—12,” unanimously inscribed<br /> it with the name of Robert Bridges.<br /> Mr. Asquith’s selection of a Laureate, there-<br /> fore, may certainly claim the approval of an<br /> influential band of artists ; for the ‘* Georgian<br /> poets’ included more than one who was<br /> looked on as a possible Laureate himself, and<br /> not one who had not done something worthy<br /> of note.<br /> <br /> Before the appointment there was an agita-<br /> tion, on the part of a few revolutionary folk,<br /> that the Poet Laureateship should be abolished<br /> as obsolete and meaningless. In resisting this<br /> demand and choosing for the office a man with<br /> whom the public was practically unacquainted<br /> the Premier has taken an interesting step.<br /> <br /> ————— &lt;&gt; —____—_<br /> <br /> AUTHORS AND AGENTS.<br /> <br /> — +<br /> I.—FrEES AND ACCOUNTS.<br /> <br /> ISPUTES between authors and their<br /> agents are constantly coming before<br /> the secretary of the Society. These<br /> <br /> disputes are of many different kinds, but<br /> attention should be called to one serious<br /> difficulty which is of frequent occurrence.<br /> After an agent has placed a work, either a<br /> dramatic piece with a manager, or a novel with<br /> a publisher, all that remains to be done in the<br /> future is to see that the accounts are regularly<br /> rendered, to check them when they are re-<br /> ceived to see that they agree with the former<br /> accounts and are in accordance with the<br /> agreement which has been fixed up between<br /> the author and the party of the other part.<br /> <br /> For this he draws 10 per cent. on the moneys |<br /> <br /> received under the contract during the life |<br /> <br /> of the author and fifty years afterwards. |<br /> <br /> As, however, he is entitled under the form of<br /> agreement on which he usually insists, from<br /> which it is impossible for the author or drama-<br /> tist to get free, to this 10 per cent. as soon as<br /> he has placed the work, he often takes but little<br /> trouble with the rest of his duties. In many<br /> cases where the publisher delays sending in<br /> the accounts, the agent does not push the<br /> publisher for an immediate delivery, but makes<br /> one or other excuse to the author. If he was<br /> too exacting with the publishers, he might<br /> prejudice his position so far as placing other<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ~ for the author.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> contracts is concerned. It seems unfair that<br /> the author should suffer because of this, as<br /> the agent is, after all, the agent of the author<br /> and not the agent of the publisher, though<br /> from some of the agreements that are made,<br /> the opposite deduction might be possible.<br /> <br /> But when the accounts do come in the agent<br /> has still no need to trouble. His 10 per cent.<br /> is safe. So, as it would appear, he sends<br /> them on to the author without any comment<br /> whatever, whether they are right or wrong,<br /> whether they are in accordance with the<br /> agreement or opposed to it. Sometimes, in<br /> fact, the agent sends on copies of his own<br /> accounts without allowing the author to vouch<br /> them by the sight of the accounts which have<br /> been forwarded to him by the publisher or<br /> manager.<br /> <br /> It would have been unnecessary to draw<br /> attention to these points if many and serious<br /> difficulties had not arisen owing to the fact<br /> that an author by his own insight has dis-<br /> covered lapses and mistakes in the accounts<br /> which ought to have been checked by the<br /> agent. If the author has continuously to<br /> watch the agent’s accounts to see that they<br /> are rendered on the proper dates, to see when<br /> they are rendered they are in accordance with<br /> the agreement, he might as well not employ an<br /> agent at all.<br /> <br /> It seems, therefore, that there ought to be<br /> two distinct transactions and two distinct fees<br /> _in order that an agent’s position might be<br /> | clear and unsullied ; to confuse the placing of<br /> the work with the collection of monies may be<br /> a good business for the agent but disastrous<br /> The agent should receive:<br /> (1) a certain fee for placing the work, and he<br /> should be paid this fee by say, a slightly raised<br /> percentage on the returns until the fee is<br /> reached ; (2) after the fee has been covered,<br /> he should receive a continuing percentage so<br /> long as the author gives him the authority to<br /> collect the money under the contract. For<br /> this his percentage should not exceed 5 per<br /> cent. ; but the second part, that is the authority<br /> for collection of monies, should be able to be<br /> terminated immediately by the author if<br /> he found the agent was careless with the<br /> accounts or indifferent to his interests, playing<br /> for the hand of the publisher rather than for<br /> the hand of the author. It should not be<br /> possible for an agent to benefit by an action<br /> which would be likely to prejudice the author<br /> for whom he is working.<br /> <br /> If some such arrangement as the one sug-<br /> gested could be come to, then the agent would<br /> not be taking 10 per cent. during the whole term<br /> <br /> 23<br /> <br /> of copyright for merely placing the play or<br /> making a contract for the production of a<br /> book. Such terms are clearly extravagant ;<br /> but if he continued, with the author’s authority,<br /> to collect the moneys, and in collecting the<br /> monies, to check the accounts carefully, he<br /> would be, no doubt, saving the author from<br /> a great deal of trouble and would be entitled<br /> to his percentage so long as the author felt<br /> it was worth paying for the protection.<br /> <br /> At the present the agent, once secure in his<br /> 10 per cent., is inclined to neglect his future<br /> duties.<br /> <br /> II.—WuoseE SERVANT.<br /> <br /> Tue author’s agent is constantly appearing<br /> under a new character and in a new part.<br /> We have had reason to complain that on<br /> some occasions he acts as principal, on some<br /> occasions for editors and on some occasions<br /> for publishers when he ought to act solely for<br /> those from whom he takes his percentage.<br /> <br /> It is as well to draw attention to the<br /> difficulties that may arise from this complex<br /> action. First, when the agent acts as<br /> principal. When he does so even in the purest<br /> good faith he is taking away from the author<br /> that very advice and assistance for which he<br /> is being paid and causing the author a great<br /> deal of extra trouble. But it has been known<br /> that the agent has acted as principal without<br /> letting the author know either that he is the<br /> purchaser, or, if not the purchaser directly,<br /> is interested in the purchase. Again, an<br /> agent who is interested as principal will natu-<br /> rally be more interested in pushing forward<br /> those works in which he has sunk his capital<br /> than those on which he merely gets a percen-<br /> tage. This position is unfair to the other<br /> authors who employ him. There are still<br /> worse possibilities, but as they seldom occur<br /> it is perhaps unnecessary to mention them.<br /> <br /> Secondly, when the agent acts for editors.<br /> Editors sometimes come to agents and ask<br /> them if they can supply a story by a certain<br /> author. If the author is not on the agent’s<br /> books it not infrequently happens that the<br /> agent does not say so, but tries to draw the<br /> author into his net by holding before him<br /> tempting offers.<br /> <br /> This occurs more frequently when the agent<br /> himself goes round to editors and asks them<br /> whether they want a story from Mr. or<br /> Mr. If the answer is in the affirmative<br /> the author is pestered with letters and worried<br /> <br /> <br /> <br /> <br /> 24<br /> <br /> till he finally yields, often to find that the con-<br /> tract cannot be obtained.<br /> <br /> Thirdly, when the agent acts for publishers.<br /> There are certain agents who act for publishers<br /> in selling those rights beyond the book rights<br /> which the latter have taken from the author.<br /> No wonder it pays the agent in settling a<br /> contract to allow the author to give away his<br /> minor rights to the publisher if the publisher<br /> immediately hands them back to the agent to<br /> place. In addition to making it easier for the<br /> agent to settle with the publisher it enables<br /> him to obtain a double fee. Again, there are<br /> agents who appear to give certain publishers<br /> the first refusal of the good work that comes<br /> to their hands and in other ways to hamper<br /> the freedom of the author.<br /> <br /> The following example appears to represent<br /> the very latest development. An author offers<br /> a book to a publisher. The publisher inquires<br /> when making a proposal for the acceptance<br /> whether the author is employing a certain<br /> agent whom he names. Resenting somewhat<br /> the inquiry, the author replies that if an agent<br /> were necessary the choice would be with<br /> himself. The publisher then informs the<br /> author that in that case he will be unable to<br /> handle the book.<br /> <br /> It is an interesting question whether the<br /> publisher receives any consideration for his<br /> sturdy championship. But one point is certain<br /> —that such a position increases the author’s<br /> servitude to the agent.<br /> <br /> There are no doubt good agents and bad<br /> agents, but no agent is good for all his authors<br /> if he is employed by many and does not limit<br /> his scope. Such an agent is bound to bring<br /> his authors into competition and to assist one<br /> at the expense of another. This has been<br /> clearly pointed out by another hand in these<br /> columns, but while in many cases an agent’s<br /> livelihood depends upon his not being an ideal<br /> agent, authors should be strongly warned<br /> against many of the practices indulged in<br /> which tend to make an agent a bad agent.<br /> <br /> <br /> <br /> BOOK PUBLISHING IN THE U.S.A.<br /> <br /> ——_—— +<br /> <br /> E have received a letter from a well-<br /> known American author dealing with<br /> <br /> ; some points put forward in an article<br /> in the June number on “ Book Publishing in<br /> the United States,” and we have much pleasure<br /> in putting forward his views. We regret<br /> that it was impossible to insert it in the July<br /> <br /> THE AUTHOR.<br /> <br /> issue, and in consequence have had to hold<br /> it over to the autumn.<br /> <br /> He rather smiles at Mr. Brett falling back<br /> on the old excuse ‘‘ that all the fault is due to<br /> <br /> the rapacity of those derned authors ... .!”<br /> and continues :—<br /> <br /> “Mr. Brett points out that too many books are being<br /> published and too few being sold; that the methods of<br /> distribution employed by publishers are crude and anti-<br /> quated, and that no improvement in conditions is possible<br /> without improvement in those methods. And _ then,<br /> appalled by his candour in confessing his incapacity for the<br /> job he holds, and in deadly fear lest he be drawn into<br /> adding something incriminating or degrading on the<br /> subject of over-production, he lights hastily across the<br /> street, and slams the unhappy author over the head for<br /> wanting to make money enough to pay for his typewriter’s<br /> ribbons—both kinds ! ”’<br /> <br /> And he goes on to explain that the real fault<br /> is with the publishers and not the authors, and<br /> we think that these remarks may well apply<br /> to the same conditions at present standing in<br /> the English market. He says :—<br /> <br /> “The public never kicks about paying $1.50 or thereabout<br /> for a novel it thinks it really wants to read, but it is getting<br /> awtully sick of being fed with novels (and works of general<br /> literature—at a higher price, usually) which it has been<br /> misled into purchasing by the imprint of a respectable<br /> publishing concern, a flashy make-up, or the appetite for<br /> something to read coupled with sheer human inability to<br /> discriminate between one book and another of the thou-<br /> sands that are annually shoved under its poor nose.<br /> And this is so because the publisher, in his wild anxiety to<br /> miss no bets, publishes three or four times as many books<br /> as he ought to, simply on the off-chance that one or two of<br /> them may pick up and prove winners; and then he<br /> advertises them all (if he does advertise at all) in terms of<br /> the most glowing praise, overprints in order that he may<br /> fill the bookseller’s show-windows with “ displays,” and<br /> make a respectable showing in quantity alongside the<br /> output of other publishers on the bookseller’s shelves ;<br /> thereby confusing the public until it can’t tell one book<br /> from another, and stops buying through weariness of the<br /> lottery.<br /> <br /> ‘* Several years ago Mr. Brett’s concern boasted that it<br /> was publishing 365 books in the calendar year. Two years<br /> ago (circa) another old-time firm announced (but not<br /> publicly) that they had finished with being conservative<br /> and were hereafter going to publish a great many books<br /> per annum, regardless of merit, with small first editions<br /> and no advertising to speak of, simply in order not to miss<br /> any winners that might chance their way in disguise. Not<br /> that this was any new thing; Appleton’s had been doing<br /> the same thing for years, to their own profit, but unhappily<br /> for authors, and to the confusion of the public. At the<br /> same time Doubleday, Page &amp; Co. were fomenting a<br /> project, through the medium of the future ambassador to<br /> England, to induce publishers to band together and agree<br /> to publish fewer books, under the slogan ‘ Fewer books and<br /> better!’ They even gave a luncheon to boost the project—<br /> and the next season came forward with a list of fiction<br /> longer than any they had ever fathered previously !<br /> <br /> “The point of this business (of publishing a great many<br /> books of small editions and with scanty advertising) is<br /> as follows: The publisher doesn’t do it altogether because he<br /> is afraid of losing a winner, but because it really pays him.<br /> It works out this way: the average publisher puts out<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> upwards of twenty or thirty books every- spring and<br /> autumn—I mean novels. He spends as little as he can—<br /> naturally—on their make-up, advertises the titles, along<br /> with a dozen others, only meagrely, and prints a first<br /> edition of each that seldom exceeds 1,500 copies. Of this<br /> edition he is almost sure of disposing among the several<br /> thousand booksellers of the United States. He has a<br /> mighty poor book salesman if he can’t induce each book-<br /> seller to take a chance on at least one copy. All of which<br /> nets the publisher a modest profit on each book, and a<br /> comfortable one on the season’s output, with the minimum<br /> of risk. And there is always the chance that one book out<br /> of his score or so per season will on its own merits forge<br /> ahead, make a hit with the public, and by word of mouth<br /> advertising—one reader passing it on to another—create<br /> a demand which will warrant the publisher in spending a<br /> little more money giving it individual advertising, to push<br /> it into the best-selling list. If this doesn’t happen, he<br /> hopes it will next season; and meantime he hasn’t lost<br /> anything—the authors are the only losers in this game.”<br /> <br /> Thestatement contained in this last paragraph<br /> is very interesting as it demonstrates so clearly<br /> that what is happening in America has been<br /> going on for a long time in the English market,<br /> owing to the curse of the publishers demanding<br /> in their contracts a series of books, and authors<br /> being foolish enough to bind themselves to the<br /> publishers for a series. The publisher puts<br /> the book on the market. He does not take<br /> much trouble in the matter except to push it<br /> through sufficiently to cover his expenses and<br /> to bring him in a profit ; he then lets the book<br /> drop because he knows he is quite safe as the<br /> author is bound to him for several more books.<br /> If, as suggested by our correspondent, the book<br /> looks like going, then he takes it up as a winner<br /> and gives it individual advertising and turns<br /> round and says to the author: ‘ Look what<br /> I have done for you!” The fault is a very<br /> serious one ; whether the publishers will make<br /> any effort to remedy it, or whether the authors<br /> will take any united action by refusing to bind<br /> themselves in this absurd manner remains to<br /> be seen.<br /> <br /> Our correspondent<br /> follows :—<br /> <br /> “The truth of the matter is that two-thirds of us<br /> haven&#039;t any right to be writing at all—we do it so poorly—<br /> and would long since have turned, in warranted discourage-<br /> ment, our abilities to some more profitable field of endea-<br /> vour, if it were not for the rapacity of the publisher who<br /> leads us on to believe we have some excuse for sticking to<br /> the game simply that he may make his insignificant<br /> profit per book and so swell his handsome profit per<br /> annum.”<br /> <br /> He seems to sum up the position so far by<br /> saying :—<br /> <br /> “The solution is not cheaper books. Brett had only<br /> to investigate the conditions here and in France and<br /> Germany to find that out ; assuming that he was ingenuous<br /> in making the suggestion on the basis of conditions in those<br /> countries as he understood them. The real solution is<br /> <br /> that of Doubleday, Page &amp; Co., ‘ Fewer books and better,<br /> and a revolution in the method of attacking the public.’ ”<br /> <br /> then continues as<br /> <br /> 25<br /> <br /> He then gives an example of a certain pub-<br /> lisher in Chicago who devotes himself exclu-<br /> sively to selling the books of one man and with<br /> unexampled success, both for the author and for<br /> the company. American publishers, he says,<br /> know of this thing, but they seem unable to<br /> profit by the lesson it teaches, that even a<br /> second-rate book at $1.50 can be unloaded by<br /> the hundreds of thousands by concentration<br /> and the employment of available, if new to the<br /> publishing trade, avenues of distribution.<br /> <br /> And he finally sums up by repeating what he<br /> has already stated, that the cheap book is<br /> not what is wanted in America any more than<br /> it is wanted in England or in France, and that<br /> after a time it is impossible to unload the<br /> numbers of cheap books which it is necessary<br /> should be unloaded in order to make a profit<br /> for the publisher, for the author and for the<br /> bookseller. And he points out by example,<br /> that those American publishers who have<br /> already endeavoured to make a success of the<br /> cheap book have produced nothing but<br /> failure. Perhaps it is as well to add that he<br /> ends up his letter in the following words:<br /> <br /> «These tumultuous thoughts are now beginning to sub-<br /> side and it is nearly time for me to break off and chew<br /> three Pepsin and Bismuth tablets and drink a bucket of<br /> hot water and sit down at the luncheon table and hat&gt; a<br /> piece of dry toast, but if any of the stuff is useful, I allow<br /> you to make free use of it.”<br /> <br /> We have quoted his letter at some length<br /> as the writer is not merely a person who writes<br /> and then, leaving the work, places it in the<br /> hands of an agent, but he writes as one in<br /> authority with full knowledge of the trade n<br /> the United States and the capacities of th»<br /> publishers to endeavour, though unsuccess-<br /> fully, to meet the real demands of the public.<br /> <br /> ——_—_1+—&gt; +___<br /> <br /> ARTISTS AND THEIR CRITICS.<br /> <br /> —_—<br /> <br /> FTER the correspondence which took<br /> place last summer in the Morning Post<br /> and other newspapers, or, indeed, with-<br /> <br /> out reference to it, it is not necessary to prove<br /> laboriously that artists at the present time, or a<br /> large proportion of them, are discontented with<br /> the conditions of art criticism, or rather with<br /> the criticism which is produced under those<br /> conditions, and that, on the other hand, a<br /> certain number of art critics are profoundly<br /> contemptuous with regard to the productions<br /> of the artists who thus express their discon-<br /> tent. The term artists is here used to include<br /> all who earn, or try to earn, a living by painting,<br /> 26<br /> <br /> sculpture, engraving and other similar arts,<br /> without any attempt to define an “ artist,”<br /> or to draw invidious distinctions between those<br /> whose art is of the highest order, and those not<br /> so gifted—mere academicians, perhaps, who<br /> are just what they are, with no hope or perhaps<br /> ambition for better things. It is not proposed<br /> to discuss here the basic essence of art, or<br /> whatever it may be, which should inspire the<br /> artist before he is worthy of the name. It is<br /> enough to say that if reviewers are sometimes<br /> not altogether beloved by the reviewed, the<br /> art critic, or art journalist, as some one has<br /> recently labelled him, has even fewer admirers<br /> in proportion to his enemies among those to<br /> whom (according to some of them) he should<br /> be guide, philosopher and _ friend. Why is<br /> this ? - Is it possible to point out a reason—<br /> an easier task than to suggest a remedy ?<br /> <br /> It is a feature of art criticism, or art jour-<br /> nalism, distinguishing it from book criticism,<br /> that it is in very few hands. Dramatic<br /> criticism, to some extent, resembles it in this,<br /> but is produced under different conditions,<br /> to which reference may be made hereafter.<br /> Book criticism on most newspapers is entrusted<br /> to a variety of reviewers. The author in a<br /> particular instance may believe that his work<br /> has been foredoomed by the selection of a<br /> critic known to be hostile to the opinions likely<br /> to be found in it, or may ascribe a lack of<br /> appreciation of his virile style to the prejudices<br /> of the editor’s, or proprietor’s, lady relatives<br /> and friends. This, however, should be in<br /> exceptional instances. On the whole, books<br /> are distributed with a desire to discriminate<br /> among persons believed to be suited by taste<br /> and capacity to the task of reviewing them.<br /> The same person would not be likely to review<br /> for a leading daily or weekly paper a work on<br /> military history, a novel written to prove<br /> marriage superfluous, and a volume of rhymes<br /> for the nursery. On most newspapers, how-<br /> ever, in which art criticism is published, there<br /> is but one art critic. On some there is not<br /> quite so much—there is only part of one. The<br /> same gentleman, or, possibly, lady, ‘‘ does the<br /> art notices ”’ for two or possibly more papers,<br /> and it may be insisted upon, though it should<br /> hardly be necessary to labour the point.<br /> that the fact of several criticisms of the same<br /> work being written by one critic, whether in<br /> art or literature, tends to create the idea that<br /> there is a consensus of well-informed opinion<br /> with regard to that work. That is to say, if<br /> the critic writes to the same intent in two or<br /> more papers he gives an impression of un-<br /> animity that does not exist. . If he writes quite<br /> <br /> THE AUTHOR.<br /> <br /> differently in two or more articles, he must<br /> almost necessarily be insincere in some of his<br /> observations.<br /> <br /> Apart, however, from this multiplication of<br /> one man’s opinion, the fact of there being but<br /> one art critic on a newspaper, and conse-<br /> quently a very limited number of critics<br /> writing on art topics, must have its effect.<br /> It is not intended to discuss here whether such<br /> a system is necessary, or desirable, or con-<br /> venient, or conducive to consistent criticism.<br /> It may be all of these, but at the same time it<br /> may be responsible for much of the discontent<br /> with art criticism certainly felt by many who,<br /> whether it would be right to apply to them the<br /> term “artist” in a laudatory sense or not, are<br /> trying to make a living by art, and in the<br /> popular meaning of the word are artists. The<br /> art critic may be an acknowledged authority<br /> on old masters, and he may be very much<br /> more interested in them than in any modern<br /> work. He may be warmly in sympathy with<br /> the methods of our senior Royal Academicians,<br /> or may have grasped and clasped to his<br /> bosom the inner inwardness of Post-Impres-<br /> sionism. The exhibitions of the Royal Water<br /> Colour Society may be his ideal of what such<br /> exhibitions should be, or he may find nothing<br /> really to please him outside the new English<br /> Art Club. Anyhow, he has got to have a<br /> pretty catholic taste if he can assimilate them<br /> all with enjoyment, and the cards for press<br /> views that are showered upon him from the<br /> editorial office will take him to more than<br /> these. Bond Street and Regent Street, Pall<br /> Mall, Piccadilly and the by-streets of St. James’s<br /> are full of one-man shows, and the exhibitions<br /> of minor clubs and societies. It is not sug-<br /> gested that all are worthy of praise, or, indeed,<br /> of notice at all. It is, however, submitted<br /> that the works shown differ quite as widely<br /> among themselves—in their aims, and in their<br /> claims to public attention—as do the works<br /> put upon the market by publishers, and that<br /> to hand over all varieties for comment to one<br /> critic is not very different from sending all<br /> varieties of books to one reviewer.<br /> <br /> The practice, no doubt, is due in part to<br /> convenience, and in part to different concep-<br /> tions of the functions of an art critic and those<br /> of a literary critic—or should they be called<br /> an art journalist and a book journalist? As<br /> a rule, it is apparently thought that the book<br /> journalist should be able and willing to accord<br /> praise or blame to a book judged by the stan-<br /> dard of books of its class; but that the art<br /> journalist should judge all art productions by<br /> canons of art formulated by him and others<br /> <br /> <br /> <br /> <br /> <br /> <br /> no<br /> 16<br /> rid<br /> uq<br /> od<br /> te<br /> ue<br /> dé<br /> ud<br /> on<br /> ue<br /> 3<br /> 1 d<br /> <br /> slg<br /> <br /> sd<br /> ad.<br /> sd<br /> 0%<br /> og<br /> dd<br /> oe<br /> ak<br /> dd<br /> 03<br /> ry<br /> Or<br /> si<br /> Te<br /> ad<br /> 96<br /> 1h<br /> as |<br /> BL<br /> ie<br /> te<br /> Te<br /> fe<br /> lye<br /> te<br /> tw<br /> yi |<br /> ad<br /> he<br /> 1G<br /> a<br /> <br /> A<br /> <br /> ob<br /> <br /> through the assiduous study and appreciation<br /> of masterpieces. He may judge everything<br /> that is submitted to him for criticism in the<br /> public press according to standards which he<br /> honestly believes are of universal application,<br /> and may accord nothing but contempt,<br /> outspoken or silent, to everything. which falls<br /> Short of them. He is quite entitled to do so,<br /> but at the same time men and women who make<br /> no extravagant pretence of -conforming to<br /> such lofty standards, but who are merely<br /> trying to earn a living, perhaps. successfully<br /> by selling pictures to persons who are quite<br /> pleased to buy them, may think it a little<br /> hard that: their admirers should be informed<br /> that they are incompetent and futile charla-<br /> tans. An artist of this class may say with<br /> some show of reason that he does not pretend<br /> to be a Rembrandt or a Turner, not to mention<br /> the names of members of the newest art<br /> societies of to-day, and that all he asks for<br /> is to be judged according to the standard of<br /> those with whom he obviously enters into<br /> competition. Of course, he may be quite<br /> wrong in this, but the point is worth putting<br /> forward on his behalf. Dramatic criticism<br /> has been referred to, and, no doubt, there is<br /> on most papers one dramatic critic, Just as<br /> there is one art critic. Something, however,<br /> Seems to temper the wind in the matter of<br /> dramatic ciiticism ; perhaps the comparative<br /> importance of dramatic advertising, or the<br /> fact that first nights clash and that thus very<br /> often a variety of criticism and an allocation<br /> of plays to the persons most likely to be in<br /> Sympathy with them are brought about. At<br /> any rate, one of the causes of the ill-feeling<br /> which exists between a large body of artists<br /> and a large proportion of the gentlemen<br /> writing (often very ably) modern art criticism<br /> has been suggested. One of its results has<br /> been that recently an important society of<br /> artists sent out no invitations to art critics for<br /> one of its exhibitions, and another did not<br /> assign the usual special day for the press view.<br /> Recent outbursts of acrimonious correspon-<br /> dence in newspapers have already been<br /> referred to. Of course, a good deal may be<br /> <br /> ‘“e said in favour of art criticism being conducted<br /> on from the point of view of the loftiest ideals in<br /> “™% art, but would it not be equally right to say<br /> <br /> <br /> <br /> <br /> <br /> no right to complain of critics who more or less<br /> <br /> the same with regard to literature? It may<br /> be said that a great many persons are trying<br /> to make a living by art who had much better<br /> be otherwise employed, and that these have<br /> <br /> plainly tell them so. But might not the same<br /> <br /> be said of many who live, or. try to live, by<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 27<br /> <br /> literature, if similar principles of criticism<br /> were applied to their works under a similar<br /> system ?<br /> <br /> Se ase<br /> <br /> AUTHORS AND FREE LIBRARIES.<br /> <br /> a<br /> <br /> N UCH advance has been made of late<br /> in the matter of protecting authors’<br /> copyright. But that is not the same<br /> thing as protecting the rights of authors. At<br /> least one other form of much-needed protection<br /> seems to have been overlooked: protection<br /> from free libraries. Perhaps a case in point<br /> will make this clearer.<br /> <br /> A work of fiction was published in April of<br /> the current year. It was in the free library of<br /> a certain manufacturing. town within a month<br /> of publication. Enquiries elicited the fact<br /> that the library copy was in eager demand,<br /> though the book was not selling in that par-<br /> ticular town. It is easy to see that a librarian<br /> promotes his own popularity by promptly<br /> securing the newest fiction for free circulation,<br /> but is such action fair to the writer? I sub-<br /> mit that it is neither fair to author nor pub-<br /> lisher. The money which pays for the books<br /> in free libraries, is public money, raised by<br /> local taxation. This differentiates the case of<br /> the free lending library from that of private<br /> lending. Now as things are, there is nothing<br /> to prevent an enterprising free librarian, by<br /> the clever use of a few copies of a book, and a<br /> shortened time limit, from absolutely barring<br /> the sale of that particular book in his particular<br /> area. This is not as it ought to be.<br /> <br /> A rule in force in the library of the British<br /> Museum bars access to fiction within a certain<br /> space of time after publication. A similar<br /> rule should be legally in force in every free<br /> library ; and the time limit should be so fixed,<br /> that a book should be kept out of free circula-<br /> tion for two years after publication. A book<br /> is printed to sell. Supposing the author is so<br /> full of the lofty aim of setting right a perverted<br /> universe, as to be quite indifferent to remunera-<br /> tion for his labours! Is it reasonable to expect<br /> a publisher to take that point of view? I<br /> think not. Unlike the plutocratic author, the<br /> publisher has to eke out a precarious livelihood<br /> by selling books. When he can no longer sell<br /> books, he has finished with publishing. I<br /> believe I could demonstrate—given time<br /> that a book which cannot be published, had<br /> better not be written.<br /> <br /> This is a question of the public sense of<br /> <br /> <br /> <br /> <br /> 28<br /> <br /> <br /> <br /> justice—concerted action on the part of<br /> authors and publishers, and a small measure<br /> passed through Parliament. Planting trees<br /> on your own sand heap is a noble and soul-<br /> lifting amusement. But the law does not<br /> support you when you plant trees to shut out<br /> the light from your neighbour’s window. It<br /> is a fine thing to supply the free citizen with<br /> taxed literature; but to do that, the dis-<br /> bursers of public money have first to take<br /> scisin of the regular meals which might other-<br /> wise fall to the lot of a number of authors.<br /> This legal gap in that fine old mandate “ Thou<br /> shalt not steal ” ought to be filled up.<br /> <br /> C. KE. S.<br /> ——————_-—~&gt;— &gt; —____<br /> <br /> A ROMANCE OF WORDS.*<br /> <br /> ——»—+ —.<br /> <br /> HETHER highly gratifying instances<br /> of the rapid sale of works of real<br /> merit are common is a question that<br /> <br /> it might be dangerous to put before a body of<br /> authors. The reply would be only too likely<br /> to be some equivalent of the parliamentary<br /> circumlocution “The answer is in the nega-<br /> tive.” Indeed, it is difficult in the present<br /> days not to be troubled with many misgivings<br /> respecting the relations of popularity and real<br /> value in the case of a book. All the more<br /> cheering, therefore, is the prompt welcome<br /> which has been given to Mr. Weekley’s<br /> “Romance of Words.” Published first in<br /> March, it reappeared in a second edition in<br /> May, a most welcome indication of a sound<br /> taste for work of substantial value, and of a<br /> distinctly cultivated kind. The author has<br /> been at great pains to make his treatment of<br /> his subject appeal to those to whom it may be<br /> new, and has been in this respect completely<br /> successful, but he has, at the same time, had<br /> the courage to treat his subject as it ought to<br /> be treated, and we may say frankly that new<br /> hope for the English reader has been inspired<br /> into us by the revelation that a book about<br /> words (of strictly philological value) can so<br /> readily find itself a market. The experienced<br /> philologist will not expect to mect here any-<br /> thing that is new to him. What are to him<br /> familiar words, familiar ‘‘ laws,” and familiar<br /> phenomena occur on every page; but he will<br /> be none the less delighted to think that an<br /> author has had the courage, and the ability,<br /> so to handle the history of words as to make“it<br /> <br /> <br /> <br /> * «The Romance of Words,” London. Murray.<br /> <br /> THE AUTHOR.<br /> <br /> popular. To all who are not philologists the<br /> book will prove full of novelties, and must<br /> be recommended as one of the very best of<br /> its kind. The various phenomena of word-<br /> wanderings, word-manufacture, and so forth,<br /> are explained in ‘several chapters, amongst<br /> which by no means the least interesting will<br /> be found to be the chapters on “ Semanties,”’<br /> though the name may seem a strange one, and<br /> that on Family names. The introduction of<br /> a chapter on semantics is particularly laudable,<br /> as the subject is of primary importance, and<br /> in all teaching of languages generally over-<br /> looked. In conclusion, amongst the many<br /> merits of the book, must be mentioned this<br /> one, that it lends itself readily to perusal in<br /> odd moments, whilst no one can scan a page<br /> <br /> of it without becoming better acquainted with<br /> his own language.<br /> <br /> ————p---~«e<br /> <br /> <br /> <br /> BOOK-PRICES CURRENT,*<br /> <br /> ——<br /> <br /> Ne T., II. and III. of Book-Prices<br /> 7 | Current for 1913 are lying before us.<br /> It is unnecessary to say that the pub-<br /> lication maintains its high level of accuracy<br /> and interest ; but most necessary to add that<br /> no notice of the publication can convey an<br /> adequate idea of the amount of valuable<br /> information and the mass of interesting<br /> matter to be discovered in these volumes.<br /> Our practice has been always to select for<br /> notice some of the more striking “lots,”<br /> or such as seem most likely to be of more<br /> immediate interest to authors; but this<br /> amounts to merely skimming over the surface<br /> of the subject, and looking out for what may<br /> be of general interest, whilst the publication<br /> is one that appeals essentially to individual<br /> tastes. The book lover is very seldom bent<br /> upon hearing of what is popular alone; he has<br /> his own tastes and his own interests, often of a<br /> very special and uncommon kind, and it is<br /> these that he will find gratified if he will<br /> for himself peruse the pages of Book-Prices<br /> Current, where the enormous diversity of the<br /> entries provides matter of the greatest interest<br /> for every serious bookman whatsoever his<br /> speciality may be.<br /> Numbers IL., II. and III. for 1913 contain<br /> records of the book sales for October 8, 1912,<br /> <br /> <br /> <br /> * A bi-monthly record of the prices at which books<br /> have been sold at auction. Vol. XXVII. » London:<br /> Elliot Stock. 1913.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> of<br /> <br /> <br /> <br /> THE AUTHOR. 29<br /> <br /> to March 13, 1913. At the sale of a selection<br /> from the libraries of Mr. S. R. Crockett and<br /> Mr. G. E. Cower (Sotheby), first editions of<br /> Borrow’s works fetched prices running as high<br /> as £125 (‘The Zincali”’). In the same sale<br /> was offered Lewis’ ‘“‘ Tales of Wonder,” 1801,<br /> containing the first poems published by Sir<br /> Walter Scott (12s.). Lady Napier’s library,<br /> sold on November 11, 12, 18 (Sotheby), con-<br /> tained, among a number of interesting lots,<br /> twenty-eight different works (art books and<br /> others) by Stirling Maxwell, among which were<br /> many privately printed or presentation copies.<br /> In a miscellaneous sale (Sotheby, November 20,<br /> 21) “ Poliphili Hypnerotomachia,” 1499, sold<br /> for £111. A few days later the same salesman<br /> sold the “* Kelmscott Chawcer,’’ 1896, for £61.<br /> The library of Mr. H. J. Adams, of Enfield<br /> (Sotheby, December 2, 3, 4), exhibited a highly<br /> interesting collection of works on_ natural<br /> history. On December 16 Christie sold a first<br /> edition of Charlotte Bronté’s ‘‘ Jane Eyre ”’ for<br /> £27. Another particularly interesting collec-<br /> tion of books was that of Mr. H. Clutton<br /> (Puttick, December 17). It comprised a<br /> number of first and rare editions of Dickens,<br /> and the first English translation of ‘ Don<br /> Quixote,” by Thomas Shelton; the latter<br /> fetched £300. In a “Miscellaneous Collec-<br /> tion” sold by Sotheby on December 20, were<br /> included the rare second edition of ‘‘ Othello,”<br /> 1630 (£85), and Lord Byron’s “ Fugitive<br /> Pieces,” 1806. Of this work only three other<br /> copies (one of them imperfect) are known, and<br /> the present copy must have been one of the<br /> earliest printed, for it contains words that have<br /> been altered in the others; it sold for £445.<br /> This high price was exceeded by that paid for<br /> the first edition of Walton’s ‘‘ Compleat<br /> Angler,” 1635 (£500). Original drawings by<br /> various artists for ‘‘ Nicholas Nickleby,”<br /> “Old Curiosity Shop,” “‘ Our Mutual Friend,”<br /> were sold by Puttick (January 23, 24, 1913) for<br /> prices ranging from £4 15s. to £21. On<br /> February 13 the same firm sold other original<br /> drawings for the ‘“ Household Edition” of<br /> “Old Curiosity Shop,” ‘‘ Our Mutual Friend,”<br /> and “ Little Dorrit,’ at prices ranging from<br /> £1 7s. 6d. to £9 10s. On February 11 and the<br /> following days the very remarkable library of<br /> Mr. M. G. Dunn was sold (Sotheby), consisting<br /> of 684 lots of early manuscripts, incunabula,<br /> and old bindings. Here we can only regret<br /> that space does not permit of our quoting many<br /> of the entries at full length. On February 24<br /> Messrs. Sotheby sold a large collection of books<br /> illustrating British and foreign military cos-<br /> tumes formed by Mr. S. M. Milne. The collec-<br /> <br /> tion sold for £2,759 14s. 6d. Another collection<br /> abounding in interesting books was a miscel-<br /> laneous collection sold by Messrs. Sotheby,<br /> March 5, 6, 7. Among them is the very<br /> noticeable entry, ‘‘ Erasmus Alphabetum<br /> Hebraicum et Grecum. Gaza (Theodore) de<br /> lingue Greece institutione liber secundus<br /> Erasmo Roterodami interprete,”’ 1518; a<br /> work that is apparently hitherto unknown.<br /> From the prices paid at various sales it is<br /> evident that among the works of recent authors<br /> first editions of books by Kate Greenaway,<br /> Andrew Lang, R. L. Stevenson, and Oscar<br /> Wilde, are much sought for and command high<br /> prices. The owners of such works should<br /> treasure them, as they are certainly valuable.<br /> Here, however, it may be added that Book-<br /> Prices Current is the only work from which<br /> any man can learn which of his books are<br /> valuable and which are not, and what is the<br /> actual value of those which are precious.<br /> Prices vary capriciously, and reliance can be<br /> placed only on this record, which is carefully<br /> brought up to date.<br /> <br /> ———__+-—.—_ ——_<br /> <br /> THE STAGE CENSOR.*<br /> <br /> a<br /> <br /> &quot; ESSRS. FOWELL AND PALMER have<br /> 7 produced a book which is at once<br /> <br /> entertaining and instructive. With<br /> the entertaining side of it we are not concerned<br /> here. Of the instructive side we shall attempt<br /> to give an idea by sketching, after the picture<br /> drawn by our authors, the origin of the Stage<br /> Censor. (Although the book is called simply<br /> “Censorship in England,” it deals only with<br /> the stage censorship.) We shall not follow<br /> the story down to the present day, but stop<br /> short when the historical merges into the<br /> modern and controversial.<br /> <br /> The Censor of Plays is a descendant of the<br /> old Lords of Misrule, who figured prominently<br /> in the Christmas festivities of medizeval times,<br /> both at Court and in the houses of the nobility.<br /> The earliest reference which can be traced to<br /> such a personage under the title of ‘** Master<br /> of the Revels ” isin a document of Edward III.,<br /> dated 1347. Such a title did not at first imply<br /> permanence of office. In an account written<br /> in Elizabeth’s reign we read as follows: ‘* The<br /> Office of the Revels, as it shoulde seeme by<br /> reporte, hath in tymes past bene in that order<br /> that the prince beinge disposed to pastyme<br /> woulde at one tyme appoynte one persone, at<br /> <br /> <br /> <br /> * “Censorship in England,” by Frank Fowell and Frank<br /> Palmer. London: Frank Palmer.<br /> 30<br /> <br /> sometyme an other, suche as for creditte,<br /> pleasaunte witte, and habilitye in learnynge<br /> he thought meete to be the master of the<br /> Revelles for that tyme, to sett fourthe suche<br /> devises as might be most agreable to the<br /> princes expectacion.”’ Since, however, people<br /> as eminent as the Earl of Essex acted as<br /> superintendent of the revels, we may, as<br /> Messrs. Fowell and Palmer say, be sure that<br /> it was not long before a minor, and possibly<br /> permanent, official was appointed by the<br /> superintendent, ‘‘ bothe to his own ease and<br /> the prince’s good service’; and, as the work<br /> of the office increased, several subordinate<br /> posts were created. The love of the Court<br /> for masquing provided the Master and his<br /> assistants with a good deal of drudgery, for<br /> ““masks, dresses, stuffs, and ornaments had<br /> to be obtained, architects, builders, carpenters,<br /> tailors, and embroiderers to be engaged, and<br /> the actual performances chosen and_ piloted<br /> to an acceptable conclusion.”” So far we can<br /> scarcely discern the germ of the censor.<br /> With the appointment in 1544 of Sir Thomas<br /> Cawarden as Master, the office became more<br /> important. Cawarden was appointed for life,<br /> his patent styling him Magister Iocorum<br /> Revelorum et Mascorum-omnium et singularium<br /> nostrorum vulgariter nuncupatorum Revells and<br /> Masks. His jurisdiction did not extend<br /> beyond the Court, though he tried to stretch<br /> his powers, and the terms of the patent (which<br /> were adopted as a model) were interpreted by<br /> one of his successors, Sir Henry Herbert,<br /> Master from 1623 to 1642 and from 1660 to<br /> 1663, as giving him a licensing authority over<br /> shows and performances generally. Both under<br /> Mary and under Elizabeth proclamations had<br /> been issued against the too great freedom of<br /> the stage, but the Revels office had not been<br /> specially associated with such action. The<br /> Masters exercised their selective and censorial<br /> rights with regard to entertainments pre-<br /> sented to the Sovereign. In 1574, however,<br /> a definite extension of authority was made<br /> necessary, when Elizabeth granted a patent<br /> to the Earl of Leicester’s players to act in all<br /> towns of the realm without molestation from<br /> the local magistrates. As a check on possible<br /> abuse of this privilege, the players were to have<br /> their plays “ seen and allowed ”’ by the Master<br /> of the Revels. Tilney, who became Master in<br /> 1579, seems to have given similar licences to<br /> other companies, but thereby brought himself<br /> into conflict with the Lord Mayor of London,<br /> who claimed, and indeed exercised, a censorial<br /> power within the City limits. So arose “a<br /> struggle between the Court and the representa-<br /> <br /> THE AUTHOR. :<br /> <br /> tives of the people for the control of the<br /> popular stage.”<br /> <br /> In this struggle the Court prevailed. A<br /> commission was appointed in 1589, the Arch-<br /> bishop of Canterbury and the Lord Mayor<br /> -being asked to nominate a representative each<br /> to act with Tilney. Before these three all<br /> companies of players were compelled to come<br /> and submit their books. The result was to<br /> make Tilney Licenser of Plays, his two co-<br /> adjutors soon ceasing to take an active share<br /> in the work. His successor, Sir George Buck,<br /> continued the process of magnifying the office,<br /> beginning tentatively to issue licences for the<br /> printing of plays in 1606. But it was Sir<br /> Henry Herbert who saw the real possibilities<br /> of the job. Acquiring the Mastership by<br /> purchase in 1623, he determined to interpret<br /> the vague wording of the Cawarden patent to<br /> the utmost personal advantage. He began to<br /> claim the right to license every form of public<br /> show or performance, including ‘‘ two droma-<br /> daries,” ‘‘a show of pictures in wax,” “a<br /> musical organ with divers motions in it,” ete.,<br /> etc. He raised the fee for reading a play, once<br /> only 7s. per play, to £1 and sometimes £2.<br /> That this was a reading, not a licensing, fee is<br /> shown by an entry made by Herbert himself<br /> in his diary : ‘‘ Received from Kirke for a new<br /> play which I burnte for the ribaldry and offence<br /> that was in it, £2.” He revived Buck’s plan<br /> for printing licences ; and in every way grasped<br /> at what money could be made out of authors<br /> and actors, so that previously to the Civil War<br /> his income as Master was £4,000 a year. He<br /> bought the office, we may add, for £150 a year.<br /> <br /> After the Restoration, Herbert only<br /> nominally resumed his old position. The<br /> practical control of the stage passed by Royal<br /> warrant to Sir William Davenant and Tom<br /> Killigrew. Herbert fought against this usurpa-<br /> tion, as it seemed to him, for a time, but finally<br /> compounded with Killigrew and in 1663<br /> abandoned his office to deputies of no import-<br /> ance. When he died, ten years later, Killigrew<br /> became Master of the Revels—‘ though it is<br /> doubtful if his authority was in any way<br /> increased by the appointment ’’—and_ con-<br /> tinued in the post till his own death in 1683,<br /> exercising his duties with extraordinary laxity.<br /> His son Charles succeeded him, and under<br /> William and Mary was obliged to be a very<br /> different kind of Censor. It was the era of<br /> Jeremy Collier’s “Short View of the Profane-<br /> ness and Immorality of the English Stage”;<br /> and the rake Tom Killigrew’s son “ assisted<br /> the reforming movement with embarrassing<br /> <br /> energy,’ indeed with oppressive austerity.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 31<br /> <br /> On his death in 1725 he was succeeded by<br /> Charles Henry Lee, who “during nineteen<br /> years exercised such authority as was not<br /> opposed, and received such fees as were<br /> willingly paid.” The tendency was for the<br /> authority 1 in connection with the general con-<br /> trol of the theatre to revert to the Lord<br /> Chamberlain (who was all along the real power<br /> behind the Censor), and the Revels Office was<br /> discredited. The last Master seems to have<br /> been Lee’s successor, Solomon Dayrolle; but<br /> in 1737 the ancient jurisdiction of the office<br /> was transferred to a legally appointed Stage<br /> Licenser—who, by the Theatres Act of 2<br /> George II., was ““the Lord Chamberlain of<br /> the King’s household for the time being.”<br /> <br /> The Duke of Grafton was Lord nee<br /> at the time, and he, in February, 1738,<br /> appointed W illiam Chetwynd as eae of<br /> the Stage, with a salary of £400 a year, and<br /> with a ‘deputy to assist him at £200 a year.<br /> And so, through Larpent, Colman, Charles<br /> Kemble, J. M. Kemble, Donne, Piggott, and<br /> G. A. Redford, we arrive to-day at the<br /> censorship of Charles Brookfield.<br /> <br /> <br /> <br /> +8<br /> ++<br /> <br /> CORRESPONDENCE.<br /> <br /> — +<br /> AUTHORS AND AGENTS.<br /> I.<br /> <br /> Dear Mr. WEtts,—I write to say that after<br /> thirty years of authorship, I find myself in<br /> agreement with you, rather than with Mr.<br /> Bennett, on the subject of the likely agent.<br /> <br /> I have never employed but one, once, and I<br /> think I could show that I have not lost by<br /> doing my business myself.<br /> <br /> The essential informity of the position of the<br /> agent as the representative of the author, is<br /> admirably shown in the paragraph of your<br /> Jetter in The Author, beginning, ‘“ Also let me<br /> assure the beginner.”<br /> <br /> It is the beginner who does not (perhaps may<br /> not) see that it is the necessity “ for keeping<br /> in’’ with the publishers, which makes the<br /> agent indifferent as to whose 19 per cent. he<br /> takes, except when the capital sum is going to<br /> be a large one, and then it is the beginner who<br /> suffers. If an author could have an agent<br /> entirely to himself, the situation would be<br /> quite different.<br /> <br /> My experience (on the whole) has been, that<br /> the agent is apt to become the servant of the<br /> other man, though he is paid by you—and that<br /> he is not generally of much use to you until<br /> you can do without him.<br /> <br /> At the same time I was well served by my<br /> one agent in my single transaction, and have<br /> on two occasions been truly well served by a<br /> dramatic agent.<br /> <br /> With kind regards,<br /> Hau Carne.<br /> <br /> P.S.—I can, however, very easily talk of<br /> circumstances in which an intermediary may<br /> do better for a man than he can do for himself.<br /> But the handing of yourself over, body and<br /> bones, in all the literary affairs of life, seems<br /> to me, with all respects for Mr. B.’s opinion, a<br /> childish absurdity.<br /> <br /> [We have much pleasure, with Mr. Hall<br /> Caine’s consent, in printing the above letter,<br /> in continuance of the correspondence that<br /> appeared in the July issue.—Ep1rTor. |<br /> <br /> at<br /> <br /> IL,<br /> <br /> Sir,—Since the stars of the first magnitude<br /> in the literary firmament have had their say,<br /> the views of one that is scarcely visible may<br /> be of interest.<br /> <br /> Before I was so fortunate as to get into the<br /> hands of one of the leading, if not the leading,<br /> agents, I did my own business, and was<br /> hundreds of pounds out of pocket thereby ;<br /> indeed, I have paid somewhat heavily to buy<br /> back rights I should never have signed away.<br /> Since that time, my income has trebled, and<br /> all business worries have been lifted from my<br /> shoulders.<br /> <br /> And this is the experience of most authors I<br /> have spoken with who are in the hands of good<br /> agents.<br /> <br /> Quite as a matter of curiosity, it would be<br /> interesting to know which of Mr. Wells’ books<br /> was mishandled by an agent and valuable<br /> rights parted with.<br /> <br /> Yours, etc.,<br /> <br /> Horace W. C. NEwrtme.<br /> <br /> <br /> <br /> UNREVIEWED Books.<br /> <br /> Dear S1r,—Mr. Herbert Jenkins takes up<br /> the cudgels so valiantly for ‘ distressed<br /> literary editors”? that one would almost<br /> imagine him more at home in the editorial<br /> office of a popular daily than on the turf—as<br /> his closing paragraph implies! I do not think<br /> that literary editors have so hy been very<br /> mercilessly attacked in The Author, but<br /> perhaps Mr. Jenkins feels himself vulnerable<br /> in this matter and has haunting visions of piles<br /> of neglected and unreviewed books—for I<br /> prefer to look upon him as a littérateur (in spite<br /> 32<br /> <br /> of his letter) and not as a “‘ bookie”! But, to<br /> be serious, I don’t think his letter throws much<br /> light on the vexed question, and I consider a<br /> great deal of what he says is beside the mark<br /> altogether. I like to think that literary<br /> editors are guided by principles of sanity,<br /> commonsense, and justice, and Mr. Jenkins’<br /> remarks anent such incline one to infer that<br /> those he alludes to are hardly qualified for their<br /> responsible posts. But there are literary<br /> editors and literary editors, and the class<br /> that would be demoralised, and sit agape<br /> when confronted with problematical ‘‘ Golden<br /> Agates ’? by obscure authors, are outside the<br /> ale.<br /> <br /> Editors have their rules, customs, and prece-<br /> dents, but the question is whether some of<br /> these cannot be improved upon. But so many<br /> aspects of the subject of reviews of books have<br /> been already dealt with in The Author that I<br /> suppose it leaves nothing fresh to Mr. Jenkins<br /> to suggest, or he would point out a satisfactory<br /> solution. I do not see why literary editors<br /> should be singled out from among all members<br /> of the human race for special care and con-<br /> sideration; if they do their work conscientiously<br /> and methodically, why in the name of all that’s<br /> wonderful cannot they deal seriatim, day by<br /> day, in a businesslike spirit, with their share<br /> of the 18,000 books—a matter that comes<br /> within their province? If the staff, or the<br /> auciliary staff, is not adequate, the sooner<br /> things are readjusted the better. Surely, if<br /> 13,000 books are published, a publisher has to<br /> deal annually with a very large percentage of<br /> a much bigger number of MSS. ? and publishers<br /> either publish, or return unavailable manu-<br /> scripts at their own expense. The “ sorting out<br /> of ten thousand lots of stamps ”’ is too trivial<br /> a point to dwell on, though it suggests straining<br /> at a gnat and swallowing a camel !—for,<br /> somebody’s conscience is elastic over the<br /> volumes which have been perverted to some<br /> mythical, though no doubt praiseworthy,<br /> purpose ! It is refreshing to be told that books<br /> sent in are acknowledged under the heading of<br /> “Books Received,” but Mr. Jenkins should<br /> not take ‘‘ Reviews” too seriously, and<br /> imagine that in all cases they are inspired ;<br /> neither should he confound a few inches of<br /> space in a periodical with the winning post at<br /> Epsom! for there are other tests, and if a<br /> book is temporarily disqualified by non-<br /> recognition in a certain number, or section of<br /> august journals, it may yet win in the race of<br /> Time. :<br /> <br /> Yours faithfully,<br /> F. R. M. Furspon.<br /> <br /> THE AUTHOR.<br /> <br /> Epirors AND THEIR CONTRIBUTORS.<br /> <br /> Str,—Is there no unwritten law, no code of<br /> manners for editors with regard to their<br /> treatment of manuscripts? Have they no<br /> rules for, no authority over the menials to<br /> whom they entrust the task of returning the<br /> work they cannot or will not use? These<br /> emphatic queries have been engendered in me<br /> by receiving in a torn, soiled, or disfigured<br /> condition many a manuscript I had sent out<br /> in an immaculate state. Sometimes when<br /> the manuscript is too thick, it escapes the<br /> maltreatment of being folded in new places,<br /> but almost invariably when a thin new<br /> manuscript of one or two pages, all crisp and<br /> clean, is submitted, it is returned (when not<br /> accepted) in a crumpled condition and folded,<br /> with malice prepense, into a new shape. This<br /> occurs even when envelopes of the proper size<br /> are enclosed. What diabolical wantonness<br /> actuates the office factotum needlessly to<br /> fold an innocent manuscript into new and tell-<br /> tale creases—thus ruining or debasing the<br /> copy for use elsewhere—is beyond me.<br /> <br /> Perhaps an author’s black list might do<br /> something towards enforcing the rules of the<br /> game ?<br /> <br /> Editors have a certain right to refuse to<br /> consider or read manuscripts, but in the light of<br /> modern journalism and fair play they have no<br /> right to damage, destroy, or confiscate the<br /> property of others.<br /> <br /> Another rank abuse which cries aloud for<br /> regulation is the interminable length of time<br /> a manuscript is sometimes retained before<br /> publication. One of my own was held over<br /> for more than six years. Then there are the<br /> pericdicals which keep the author waiting for<br /> weeks and months after publication ere they<br /> deign to send him payment.<br /> <br /> Lance-HEab.<br /> EEG<br /> REVIEWS IN FRANCE.<br /> <br /> Srr,—If any authors who read this care to<br /> receive notices of their books in La Nouvelle<br /> Revue, will they ask their publishers to send a<br /> review copy to the Editor, Monsieur Paul<br /> Louis Hervier, 23, Rue de Beaumont, Bourges.<br /> (Cher), France? He takes a great interest in<br /> English literature, and gives interesting and<br /> painstaking reviews. He cannot give space<br /> to novels, but welcomes all other kind of books.<br /> La Nouvelle Revue is one of the best known<br /> reviews in France.<br /> <br /> Yours truly,<br /> <br /> Paris, MauprE ANNESLEY.<br /> <br /> September 16.	https://historysoa.com/files/original/5/532/1913-10-01-The-Author-24-1.pdf	publications, The Author