| 498 | https://historysoa.com/items/show/498 | The Author, Vol. 15 Issue 01 (October 1904) | <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.+15+Issue+01+%28October+1904%29"><em>The Author</em>, Vol. 15 Issue 01 (October 1904)</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> | 1904-10-01-The-Author-15-1 | | | | | 1–28 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=15">15</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1904-10-01">1904-10-01</a> | | | | | | | 1 | | | 19041001 | The HMuthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
Vou. XV.—No. 1.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
—______e—~< > —__<_-<br />
<br />
NOTICES.<br />
<br />
++<br />
<br />
OR the opinions expressed in papers that are<br />
K signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tur Editor begs to inform members of the<br />
Authors’ Society and other readers of 7he Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
++<br />
<br />
List of Members.<br />
<br />
Tus List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
———+—<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tue Trustees of the Pension Fund met at the<br />
Society’s Offices on the 19th of February, and<br />
having gone carefully into the accounts of the<br />
fund, decided to purchase £250 London and North<br />
Western 3% Debenture Stock. Accordingly, the<br />
investments of the Pension. Fund at present<br />
<br />
VOL. XV.<br />
<br />
OcTroBER 1sT, 1904.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
‘to over 140.<br />
<br />
<br />
<br />
standing in the names of the Trustees are as<br />
follows.<br />
<br />
This is a statement of the actual stock ; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Consols 24 %....-.c2cecesceececeereceeeers £1000 0 0<br />
<br />
<br />
<br />
Wucal Osns 6.6.62 500 0 0<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............+-- 291 19 11<br />
War loan 3) 201 9 38<br />
London and North Western 3 % Deben-<br />
ture Stock 245502 ce 250 0 0<br />
Motel’: 21.02... £2,243 9 2<br />
Subscriptions from April, 1904.<br />
£ s. a.<br />
April18, Dixon, W. Scarth . 0-6 0<br />
April18, Bashford, Harry H. 010 6<br />
April19, Bosanquet, Eustace F. 010 6<br />
April 23, Friswell, Miss Laura Hain 0 5 0<br />
May 6,Shepherd,G.H. . : / 0 db 0<br />
June 24, Rumbold, Sir Horace, Bart.,<br />
G.C.B. : 7 be ©}<br />
July 27, Barnett, P. A. 010 0<br />
<br />
Donations from April, 1904.<br />
<br />
May 16, Wynne, C. Whitworth<br />
June 23, Kirmse, R. . <<br />
June 23, Kirmse, Mrs. R.<br />
<br />
occu<br />
one<br />
coo<br />
<br />
July 21, The Blackmore Memorial<br />
Committee : ; 720 0 0<br />
Aug. 5, Walker, William S. : - 2 0 0<br />
<br />
—_—_____+—»—+ —____<br />
<br />
FROM THE COMMITTEE.<br />
<br />
———— + —<br />
<br />
HE last meeting of the Committee before the<br />
Vacation was held.on Monday, July 11th,<br />
at 89, Old Queen Street.<br />
<br />
Thirteen new members and associates were<br />
elected, carrying the elections for the current year<br />
This number, for the first seven<br />
months of the year, is largely in excess of the<br />
<br />
<br />
2<br />
<br />
number for the same period during the last five or<br />
six years. There is every sign, therefore, that the<br />
Authors’ Society is still continuing to carry on the<br />
good work for which it was founded by Sir Walter<br />
Besant. The Committee, however, desire to<br />
point out—according to the saying that has now<br />
become proverbial, that “every man 18 a debtor to<br />
his profession ”—that, although some authors may<br />
not need the assistance of the Society directly,<br />
because they are men of business themselves, or<br />
because they employ men of business or literary<br />
agents to carry on their work, yet they gain<br />
an indirect benefit from the Society’s action, and<br />
ought therefore to be members.<br />
<br />
The Committee elected Viscount Wolseley and<br />
Sir William Anson to be members of the Council.<br />
It is hardly necessary to mention their qualifica-<br />
tions for membership to this body, Lord Wolseley<br />
as a distinguished writer on military subjects, and<br />
Sir William Anson as one of the most distinguished<br />
educational leaders in England.<br />
<br />
The final form of the address to the Spanish<br />
Academy was settled. Those members of the<br />
Committee present signed the address, which will<br />
be circulated to all the members of the Council of<br />
the Society.<br />
<br />
The Committee of the Blackmore Memorial<br />
Fund, through their Hon. Secretary and Treasurer,<br />
Mr. R. B. Marston, offered in a letter laid before<br />
the Committee to apply the balance of that fund to<br />
the pension scheme of the Society of Authors.<br />
The Committee of the Society expressed their<br />
thanks for the step taken, and the Chairman wrote<br />
a letter to the Committee of the Blackmore<br />
Memorial Fund stating how glad the Society would<br />
be to accept the amount.<br />
<br />
The question of Colonial postage was again<br />
brought forward. Owing to the articles that<br />
have appeared in 7'he Author two members of<br />
Parliament had made enquiries of the Postmaster-<br />
General as to whether it would not be possible to<br />
take some steps in the matter. The answers, the<br />
Committee regret to state, were unsatisfactory.<br />
The Committee, however, instructed the secretary<br />
to enquire whether there would be any possibility<br />
of bringing the question before the next Postal<br />
Congress, and further to write to the Canadian<br />
Authors’ Society in the hope that that body might<br />
be able to bring some pressure to bear.<br />
<br />
There were three cases before the Committee.<br />
After careful consideration the Committee advised<br />
a definite course of action to the members con-<br />
-cerned, and considered that they would be in a<br />
position to give further assistance if the action<br />
suggested did not prove successful.<br />
<br />
Some discussion took place with regard to the<br />
selection and appointment of a United States<br />
agent of the Society.<br />
<br />
THE AUTHOR:<br />
<br />
<br />
<br />
<br />
Cases.<br />
<br />
Since the beginning of the vacation there have<br />
been twenty-nine cases before the Secretary for<br />
settlement. ‘The largest number of these refers<br />
to demands for money. Out of fourteen, eight<br />
terminated satisfactorily. The Secretary obtained<br />
the amounts due to the authors, and the matters<br />
were settled. In three of the remaining cases no<br />
settlement has been made owing to the fact that<br />
in two, the publisher or editor lives in the United<br />
States, and in one the member of the Society is<br />
absent from England: but negotiations are still in<br />
progress. The other cases have only just come to<br />
hand with a renewal of the autumn business, and<br />
there has been no time to obtain a result. The<br />
detention of MSS. has produced eight disputes, in<br />
six cases the MSS. have been sent to the office and<br />
returned to the authors, but one of the remaining<br />
two cannot be taken further owing to the fact<br />
that the magazine has closed its offices, and the<br />
present address of the proprietors or the responsible<br />
parties cannot be discovered. There were four<br />
disputes which dealt with the interpretation of<br />
contracts, all of which have been satisfactorily<br />
settled. Of two questions of account one has<br />
ended satisfactorily, and the other is in the<br />
course of completion. There was one case of<br />
infringement of copyright which only came to the<br />
office a few days ago. It is impossible to state, at<br />
present, what the final result will be.<br />
<br />
——<br />
<br />
July Elections.<br />
<br />
Collins, J. Churton 57, Norfolk Square, W.<br />
<br />
Fraser, W. M. New Killcot Yeal Co.,<br />
Chulsa.<br />
<br />
Stafford Villa, Paignton.<br />
<br />
Sandbach, Cheshire.<br />
<br />
Giles, Miss Edith . :<br />
Hampden-Cook, H., M.A.<br />
<br />
Mills, Miss Rebe . 22, Lancaster Road,<br />
Brighton.<br />
Keeton, A. E. Lyceum Club, 128,<br />
<br />
Piccadilly, W.<br />
Cambridge Lodge, Wat-<br />
ford, Herts.<br />
29, Spruce Hill Road,<br />
Walthamstow, N.E.<br />
<br />
Ray, Rex<br />
Ross, Paul<br />
<br />
Stawell, Mrs. Rodolph . St. Mary’s Court,<br />
Shrewsbury.<br />
Thorp, Walter Limerick.<br />
<br />
Wallis, H. M.<br />
<br />
Ashton Lodge, Reading.<br />
Weddell, George<br />
<br />
The North Cottage,<br />
St. George’s, New-<br />
castle-on-Tyne.<br />
<br />
One member alone desires neither his name no<br />
his address printed. :<br />
<br />
<br />
<br />
<br />
i<br />
<br />
<br />
<br />
THE AUTHOR. 3<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
— +<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply such particulars.)<br />
<br />
ARCHAOLOGY.<br />
<br />
SanD BURIED RuINS OF KHoTAN. By M. A. STEIN.<br />
8% xX 53. 503 pp. Hurst & Blackett.<br />
<br />
ART.<br />
<br />
GREAT Masters. With Descriptive Text. By SrrR MARTIN<br />
Conway. Parts XX., XXII, XXII. Heinemann.<br />
5s, each.<br />
<br />
In OrHyeR PEOPLE’s SHOES. Thirty Humorous Car-<br />
toons. By Tom Browne. 8} X 114. Weekly Yelegraph.<br />
is. ni.<br />
<br />
BIOGRAPHY.<br />
Harry Furniss At Home. Written and Illustrated by<br />
Himself. 93 x 6,271 pp. Unwin. 16s, n.<br />
<br />
BOOKS FOR THE YOUNG.<br />
<br />
THE PRINCE HEREDITARY. A Romance for Boys. By M.<br />
<br />
BRAMSTON. 74 X 5,251 pp. Simpkin. 2s.<br />
ScHOoLBOYS THREE. By W.P. KELLY. 73% X 5, 320 pp.<br />
outledge. 3s. 6d.<br />
<br />
DRAMA.<br />
<br />
Lost ANGEL OF A RUINED PARADISE. A Drama of<br />
Modern Life. By the VERY Kev. P. A. SHEEHAN, D.D.<br />
8 X 54,168 pp. Longmans, 3s. 6d.<br />
<br />
EDUCATIONAL.<br />
<br />
WASHINGTON IRVING'S COMPANIONS OF COLUMBUS.<br />
DEFOERE’s JOURNAL OF THE PLAGUE. RICHARD<br />
HAWKINS’ VOYAGE INTO THE SouTH SEAS. (Blackie’s<br />
English School Texts.) Edited by W. H. D. Rous,<br />
Lirt.D. 64 x 44,128 4+ 1124 128 pp. Blackie. 8d.<br />
each.<br />
<br />
FICTION.<br />
<br />
Tom Dawson. By FLORENCE WARDEN. 388pp. Chatto&<br />
Windus. 6s.<br />
<br />
THE LIFE WE Live. By Geko. R. SIMS.<br />
239 pp. Chatto & Windus. 1s.<br />
<br />
A BACHELOR IN ARCADY. By HALLIWELL SUTCLIFFE.<br />
7% x 6,310 pp. Unwin. 6s.<br />
HADRIAN THE SEVENTH. By FR. ROLFE.<br />
412 pp. Chatto & Windus. 6s.<br />
Tommy & Co. By JEROME K.<br />
302 pp. Hutchinson. 6s.<br />
Lovers AT FAULT. By F. WHISHAW. 7} X 54, 312 pp.<br />
White. 6s.<br />
LINDLEY KAys.<br />
Methuen. 6s.<br />
THE EXTRAORDINARY CONFESSIONS OF DIANA PLEASE.<br />
By BERNARD CAPES. 7} X 5.301 pp. Methuen. 6s.<br />
IDYLLS OF THE SEA. By F. T. BULLEN. (Cheap Edition.)<br />
74 Xx 49, 266 pp. Grant Richards. 1s. n.<br />
<br />
THE CHALLONERS. By E. F, Benson. 7% X 5, 306 pp.<br />
Heinemann. 6s,<br />
<br />
THe MAKING oF A Man. By E. H. LAcon WATSON.<br />
7% Xx 54,293 pp. Brown, Langham, 6s.<br />
<br />
64 X 3%,<br />
<br />
7% x 44,<br />
JEROME. 7} X 44.<br />
<br />
By Barry PAIN. 7# X 3, 405 pp.<br />
<br />
A FooL WITH WOMEN.<br />
295 pp.<br />
<br />
ACCUSED AND<br />
72 X 5, 328 pp.<br />
<br />
THE HERBS OF<br />
<br />
By FRED WHISHAW.<br />
John Long. 6s. .<br />
ACOUSER. 3y ADELINE SERGEANT.<br />
Methuen. 6s.<br />
MEDEA. By<br />
<br />
TEX 5<br />
<br />
THEOPHILA NORTH<br />
<br />
(DoroTHEA HOLLINS). 7 X 43, 121 pp. Elkin<br />
Mathews. 2s. 6d. n.<br />
A WEAVER OF WEBS. By JOHN OXENHAM, 7} X 5}.<br />
<br />
31l pp. Methuen. 6s.<br />
THE HONOURABLE BILL.<br />
394 pp. Arrowsmith. 6s.<br />
Tue REVEREND JACK. By<br />
72 x 54,455 pp. Drane. 6s.<br />
Jupy’s Lovers. By KATHERINE TYNAN.<br />
298 pp. White. 6s.<br />
THE PASSING OF ARTHUR.<br />
72 x 54,220 pp. Nash. 3s. 6d.<br />
DouBLE HARNESS. By ANTHONY<br />
390 pp. Hutchinson. 6s.<br />
<br />
A LADDER OF Sworps. By SIR GILBERT PARKER, M.P.<br />
74 X 5,286 pp. Heinemann. 6s,<br />
<br />
Marcus AND Faustina. By F. Carrer. 72 x 5.<br />
331 pp. J. Long. 6s.<br />
<br />
THrey TWAIN. By Mrs. AUBREY RICHARDSON,<br />
312 pp. Unwin. 6s.<br />
<br />
3y Fox RUSSELL. 7% X 5,<br />
NAUNTON COVERTSIDE.<br />
2 xX OE,<br />
By CosMo HAMILTON.<br />
<br />
Hope. 72% xX 5,<br />
<br />
7% X 5,<br />
<br />
THE SCARLET CLUE. By Si1LAsS HockING. 8 X 54,<br />
434 pp. EF. Warne. 3s. 6d.<br />
THE MARK OF CAIN, By ANDREW LANG. 84 X 54,<br />
<br />
122 pp. Arrowsmith. 6d.<br />
<br />
Nyrra. By Mrs. CAMPBELL PrAgD. T. Fisher Unwin.<br />
6s.<br />
<br />
Fate's Hanpicap. By Emity PEARSON FINNEMORE,<br />
74 X 5. 320 pp. Digby Long & Co. 6s.<br />
<br />
A Game of Love. By GERTRUDE WARDEN. Digby<br />
Long & Co. 6s.<br />
<br />
THe YELLOW Hanp. By ALLEN UpwaArp. Digby<br />
<br />
Long & Co. 6s.<br />
<br />
Rep Cap TALES. By S. R. CROCKETT.<br />
<br />
Harts IN EXILE. By JOHN OXENHAM.<br />
Stoughton. 6s.<br />
<br />
GENEVRA, By C. MARRIOTT. 73 X 5.<br />
68.<br />
<br />
THE GREEN EYE OF GOONA.<br />
73 x 5,310 pp. Nash. 6s.<br />
<br />
A. & C. Black. 6s.<br />
Hodder &<br />
<br />
312 pp. Methuen.<br />
<br />
<br />
<br />
By ARTHUR MORRISON.<br />
<br />
THe HAppy VALLEY. By B. M. Croker. 7} X 5,<br />
312 pp. Methuen. 6s.<br />
<br />
Tue Evin THAT MEN Do. By M. P. SHIBL. 7} X 5,<br />
367 pp. Ward Lock. 6s.<br />
<br />
MEADOWSWEET AND Rug. By Sizas K. Hockine,<br />
<br />
Chapman & Hall. 6s.<br />
By Marie CoreLii. Methuen. 6s.<br />
By W.E. Norris. 7} X 5,305 pp.<br />
<br />
72 X 5, 310 pp.<br />
Gop's Goop MAN.<br />
NIGEL’S VOCATION.<br />
<br />
Methuen. 6s.<br />
THE FLORENTINE CHAIR.<br />
<br />
Lueas. 74 X 5, 224 pp. Appleton. 3s. 6d.<br />
<br />
AN LImpossinLe HusBaAnp. By FLORENCE WARDEN.<br />
<br />
73 x 5,320 pp. J. Long. 6s.<br />
OnE PRETTY MAID AND OTHERS.<br />
<br />
73 x 5,314 pp. J. Long. 6s.<br />
Mrs. BeLFort’s STRATAGEM. By THOMAS CoBB. 7% X 5,<br />
<br />
320 pp. Nash. 65.<br />
<br />
THe QuUEEN’s ADVOCATE. By A. W.<br />
<br />
72 X 5,422 pp. Ward Lock. 6s.<br />
Secret History or To-DAy. By ALLEN UPWARD.<br />
<br />
74 xX 5, 310 pp. Chapman & Hall. 6s.<br />
<br />
Tus Jumprnac Frog. By Mark Twain.<br />
66 pp. Harper. 28, n.<br />
<br />
A Comic Idyll. By St. John<br />
<br />
By MAy CROMMELIN,<br />
<br />
MARCHMONT.<br />
<br />
8} X 54,<br />
<br />
HISTORY.<br />
<br />
Adventures and Perils<br />
By Henry CHARLES MOORE.<br />
Religious Tract Society. 2s.<br />
<br />
TrrouGH FLroop AND FLAME.<br />
of Protestant Heroes.<br />
8 x 54, 319 pp.<br />
<br />
<br />
LITERARY.<br />
<br />
THE MASTERS OF ENGLISH LITERATURE. By STEPHEN<br />
GWYNN. 7 X 43,424 pp. Macmillan. 3s. 6d.<br />
<br />
THE DEVELOPMENT OF MAURICE MABTERLINCK, and<br />
Other Sketches of Foreign Writers. By W. L. COURTNEY.<br />
7 x 44,174 pp. Grant Richards. 3s. 6d. n. a<br />
<br />
ALFRED TENNYSON. By ANDREW LANG (Cheap Edition).<br />
<br />
84 X 5%, 233 pp. Blackwood. 6d. n.<br />
MEDICAL,<br />
Goop DiGEsTION. 160 pp. SOME OF MY RECIPES, WITH<br />
<br />
PRICES AND REASONS. 112 pp. By EUSTACE MILES.<br />
<br />
74 x 49. (The Fitness Series.) Routledge. 1s. each.<br />
NATURAL HISTORY.<br />
BRITISH SALT Water FisHes. By F. G, AFLALO.<br />
10} x 72, 328 pp. Hutchinson. 12s. 6d.<br />
PHILOSOPHY.<br />
Tue ScIENcE of Lire. By Mrs. CRatcin. 7 X 44;<br />
60 pp. Burns & Oates. 2s. n.<br />
POLITICAL.<br />
<br />
Arrica’s NATIONAL REGENERATION. By E. I’, CHIDELL.<br />
Thomas Burleigh. 78 pp. ls.<br />
<br />
THE CANADIAN ANNUAL REVIEW OF PUBLIC AFFAIRS,<br />
1903. By J. CASTELL HopxKins. 595 pp. Toronto : The<br />
Annual Review Publishing Company.<br />
<br />
SCIENCE.<br />
<br />
HypromEcHANIcs: Part I., Hyprosratics. By W. H.<br />
BESANT, Sc.D., F.R.S., Fellow and late Lecturer of<br />
St. John’s College, Cambridge ; and A. S. RamsEy, M.A.,<br />
Fellow cf Magdalen College, Cambridge. G. Bell & Sons.<br />
6s.<br />
<br />
SPORT.<br />
<br />
A HISTORY OF THE ENGLISH TURF. By T. A. Cook, F.S.A,<br />
3 Vols. 123 x 10,741 pp. Virtue. 32. 3s.<br />
<br />
TECHNICAL.<br />
<br />
CoAL CUTTING BY MACHINERY IN AMERICA. By A.S. E.<br />
ACKERMANN, A.C.G.S., A.M.L.C.E. 9% x 74, 182 pp.<br />
68 Illustrations. The Colliery Guardian Co., Ltd.<br />
12s, n.<br />
<br />
HYDRAULICS. With Working Tables. By E. 8. BELLASIS.<br />
Demy 8vo. 160 Diagrams. Rivington. 16s.<br />
<br />
THEOLOGY.<br />
<br />
SERMONS ON SOCIAL SUBJECTS.<br />
<br />
Compiled by the REV.<br />
W. H. Hunt. 7% X 5, 252 pp.<br />
<br />
Skeffington. 5s.<br />
<br />
TRAVEL.<br />
<br />
A Tramp’s Nore Boor. By<br />
73 x 5,312 pp. White. 6s.<br />
FurtTHER INDIA. By HUGH CLIFFORD, C.M.G. Edited<br />
by J.Scotr KETIE, LL.D. 9 x 6,378 pp. Lawrence &<br />
<br />
Bullen. 7s, 6d.<br />
<br />
MorLEY ROBERTS.<br />
<br />
oe ie<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
MONG the autumn books is a story for boys<br />
and girls entitled “ Father M.P.,” by Miss<br />
Theodora Wilson Wilson. Messrs. Nelson &<br />
<br />
Son are the publishers.<br />
<br />
“The King’s Coming” is the title of an_his-<br />
torical novel by Florence Wynne. The book relates<br />
to the State entry of their Majesties, the King and<br />
Queen, into Ireland, in 1903, and gives some<br />
historical account of the places visited by their<br />
Majesties and of the present condition of the<br />
country. Skeffington & Co.<br />
<br />
“Rita” is doing a special series of articles<br />
for London Opinion, which are to appear simul-<br />
taneously in the New York Herald. The series—<br />
twelve in all—are entitled ‘“‘ Confidences of a<br />
Beauty Doctor.”<br />
<br />
‘« Rita’s” new novel, “‘ The Silent Woman,” is a<br />
romance of the Peak district of Derbyshire. It<br />
is a story developed somewhat on the lines of<br />
“The Sinner,” one of this author’s most popular<br />
books.<br />
<br />
C. Gasquoine Hartley (Mrs. Walter M. Gallichan)<br />
is publishing two books upon art during the autumn<br />
season. One of the works is “ A Record of Spanish<br />
Painting,” with illustrations, which will be pub-<br />
lished by the Walter Scott Publishing Co. ; and<br />
the other, which will contain reproductions of<br />
pictures, will be issued by Seeley & Co., and is<br />
entitled ‘‘ Pictures in the Tate Gallery.’’ A novel by<br />
the same author, with the title of “ The Weaver's<br />
Shuttle,” will appear shortly. Messrs. Greening &<br />
Co. are the publishers.<br />
<br />
Walter M. Gallichan has been engaged for some<br />
time upon a novel of Welsh character. The scene<br />
of the story is on the south side of the Berwyn<br />
Mountains. “ Fishing and Travelling in Spain,”<br />
by this writer, was published lately by Robinson &<br />
Co., and has been well received by reviewers.<br />
Mr. Gallichan is contributing a monograph upon<br />
“Cheshire ” to Messrs. Methuen’s “ Little Guides”<br />
series.<br />
<br />
Health and Beauty is the title of a magazine<br />
edited by the Rev. J. P. Sandlands. The price of<br />
this work —No. 8 of which appears this month—<br />
is one penny. The August issue contains a<br />
number of articles and paragraphs which cannot<br />
fail to interest all those who are concerned in the<br />
preservation of health, and the destruction of<br />
disease.<br />
<br />
Miss Mary Rowsell has published a new edition<br />
of her work, “ Hymns and Narrative Verses for<br />
Children.” Brown, Langham & Co. (47, Great<br />
Russell Street, W.C.) are the publishers.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 5<br />
<br />
Madame Albanesi’s next novel will run as a<br />
serial in the Queen during January, February and<br />
March of 1905, and will afterwards be published<br />
in book form by Messrs. Methuen & Co. The<br />
American serial rights of the same authoress’s novel<br />
“ Capricious Caroline ”»—which was published in<br />
book form by Messrs. Methuen & Co. in the middle<br />
of September—have been purchased by Ainslie’s<br />
Magazine.<br />
<br />
Mrs. Alfred Baldwin will shortly publish a<br />
volume of stories, “The Pedlar’s Pack,” illustrated<br />
by Mr. Charles Pears, Messrs. R. and C. Chambers<br />
being the publishers. ‘The same authoress will also<br />
publish, through Mr. Elkin Mathews, ‘‘ A Chaplet<br />
of Verse for Children,” illustrated by Mr. John D.<br />
Batten.<br />
<br />
Mr. Michael MacDonagh, who recently wrote<br />
a “Life of Daniel O’Connell,” has written another<br />
Irish historic work entitled ‘‘ The Viceroy’s Post-<br />
bag,” which Mr. John Murray will publish in<br />
October. The work consists of two books, one<br />
dealing with the Union between Treland and Great<br />
Britain, and the other with the insurrection<br />
organised by Robert Emmet, in 1803.<br />
<br />
Messrs. Chapman and Hall are the publishers of<br />
Miss Violet Hunt’s latest novel, “Sooner or Later.”<br />
The book, which is a study of a primitive society<br />
woman and a morbid Bohemian one, is dedicated<br />
to Mr. Henry James.<br />
<br />
“At the Moorings” is the title of a new work<br />
by Miss Rosa Nouchette Carey, which Messrs.<br />
Macmillan & Co. have published in England, and<br />
Messrs. Lippincotts in America.<br />
<br />
Miss Arabella Kenealy’s new novel, “ The<br />
Marriage Yoke,” will be published by Messrs.<br />
Hurst and Blackett, on October 10th.<br />
<br />
Mr. Cutcliffe Hyne is at present engaged on a<br />
series of tales on the Buonaparte period, which will<br />
appear in Pearson’s Magazine here, and in the<br />
States.<br />
<br />
The same author’s new book, “ Atoms of<br />
Empire,” will be published in the United Kingdom<br />
by Messrs. Macmillan, and in New York by the<br />
Macmillan Co. ‘Translations of this work will<br />
appear in France, Germany, and Denmark.<br />
<br />
“The Chronicles of Baba,” with the sub-title as<br />
a “Canine Teetotum,” is a new work edited by<br />
Miss M. Montgomery-Campbell, which Messrs.<br />
Jarrold & Sons are publishing in October. The<br />
price is 3s. 6d. The book will commend itself to<br />
all who desire to encourage kindness to animals.<br />
<br />
The same firm is also publishing, at the price of<br />
1s. 6d., a volume by the same author, entitled<br />
“My very, very Own.” Each chapter in the work<br />
<br />
consists of a ‘straight talk,” in which homely<br />
every-day things are used as parables.<br />
<br />
We understand that Mr. M. H. Speilmann has<br />
been appointed to write the authorised biography<br />
of the late Mr. G. F. Watts. Mr. Spielmann’s<br />
long connection with art and the literature of art<br />
renders him peculiarly fitted for the task.<br />
<br />
Mr. Rider Haggard’s novel, “The Brethren,”<br />
which has been running serially through Cassell’s<br />
Magazine, was published on September 30th by<br />
Messrs. Cassell & Co.<br />
<br />
Messrs. Cassell & Co., we understand, are pro-<br />
ducing a re-issue of “Sports of the World.”<br />
There will be no alteration in the text of the<br />
work from the former issue, which was edited by<br />
Mr. F. G. Aflalo.<br />
<br />
Early in October Messrs. Bell will publish a<br />
poetical drama, entitled “Queen Elizabeth,” by Mr.<br />
W. G. Hole, the author of “Procris,” and of a<br />
volume of “ Poems, Lyrical and Dramatic.” The<br />
play is being published by arrangement with Mrs.<br />
Brown Potter, who has acquired the acting rights.<br />
<br />
Mr. A. Pavitt (“Saxo-Norman’’) has published,<br />
with Stevens & Haynes, of Bell Yard, E.C., a<br />
volume of 402 pages—“ Droit Anglais Usuel, 1904”<br />
—dedicated to the Right Hon. Sir F. H. Jeune,<br />
G.C.B. It sums up, in the French language, the<br />
history and present state of the General Law of<br />
England. The author is assisted by Simon J uquin,<br />
of the Paris Bar. An eminent Judge—M. Le<br />
Poittevin—has written a preface, containing an<br />
eulogy of the Bench of England and our law-abiding<br />
people. Both preface and contents will interest<br />
those of our readers who seek for a simple arrange-<br />
ment of a complicated subject. Price 6s. 6d.<br />
<br />
Raymond Jacberns’ new books for children and<br />
girls this season are “A School Champion”<br />
(Chalmers), “ ‘The Girls of Cromer Hall” (Nelson),<br />
‘A Family Grievance ” (Gardner, Darton), “ Home<br />
Fetters” (S.P.C.K.). A long school story, ‘ The<br />
First Term,” will run serially in Swnshine<br />
Magazine during 1905.<br />
<br />
Mr. T. Werner Laurie is publishing a new novel<br />
entitled, “Playing the nave,” by Florence<br />
Warden, author of “The House on the Marsh.”<br />
The scene is laid in an old English country house<br />
and the adjoining chapel, and the motor car plays<br />
a prominent part.<br />
<br />
“ Fruit and Flowers for the Home’’ is the title<br />
of a work by Mrs. Richmond, which will be<br />
published by Mr. George A. Morton, of Edin-<br />
burgh, in October. The price of the publication<br />
which has been compiled from papers appearing<br />
in “The Queen ”’—is 5s.<br />
<br />
Mr. J. Eveleigh Nash in England, and Messrs.<br />
Page & Co. in the United States, will publish<br />
early in February “ Jezebel’s Husband,” by Mark<br />
Ashton, author of “She Stands Alone,” ‘“ The<br />
Nana’s Talisman,” &c. The book is a Biblical<br />
<br />
<br />
<br />
<br />
6<br />
<br />
yomance, having Judea for a background, the<br />
infamous Jezebel for its central figure, and her<br />
intrigues and ambitions for its motive.<br />
<br />
Messrs. Kegan Paul & Co. announce for October<br />
a new issue (the 15th) of “The Collected Works<br />
of Sir Lewis Morris,” in one volume. The great<br />
success during the past year of their “ Miniature<br />
Edition of the Epic of Hades,” and of the “Selec-<br />
tions” from the writer’s works, published by<br />
Messrs. Routledge, has led to the exhaustion of the<br />
last edition, which has been out of print since July.<br />
In addition to eight new poems of importance, the<br />
new issue will, we believe, contain the writer’s<br />
unpublished drama, “ The Life and Death of the<br />
Emperor Leo, the Arminian,” derived, like his<br />
“Gycia,” from Byzantine history, neither of which<br />
has so far secured representation on the stage. The<br />
issue will include a new portrait by Mr. Henry Giles,<br />
of Carmarthen, the first taken since 1894.<br />
<br />
“ Chance, the Juggler,” by E. C. Heath Hosken<br />
and Coralie Stanton, has just been published by<br />
Messrs. Hutchinson & Co.<br />
<br />
Mr. John Lane has published a new historical<br />
novel of Cornwall, by Canon Thynne. The hero of<br />
it is Sir Bevill Granville, grandson of the famous<br />
Sir Richard.<br />
<br />
Mr. Stanley J. Weyman will produce a book with<br />
the same firm entitled “The Abbess of Vlaye,”<br />
and Mr. Wilfrid Ward is producing a memoir of<br />
Mr. Aubrey de Vere, who was for long a member of<br />
the Society. The memoir is based on. unpublished<br />
diaries and correspondence.<br />
<br />
On August 27th, Mr. Henry Arthur Jones’s<br />
new play “The Chevalier,’ was produced at the<br />
Garrick Theatre, Mr. Arthur Bourchier taking the<br />
réle of “ The Chevalier Mounteagle.” The play<br />
is styled “A New and Original Comedy,” and<br />
Mr. Bourchier, in an admirable character part,<br />
carried out the comedy to perfection.<br />
<br />
Described as a farce in three acts, “ Beauty and<br />
the Barge,” by Mr. W. W. Jacobs and Mr. Louis N.<br />
Parker, was produced at the New Theatre, on<br />
August 30th. The favourable reception which the<br />
play received seems to point to the fact that<br />
Mr. Jacob’s humour, always to the fore in his<br />
books, in skilful hands is just as suited to the<br />
stage.<br />
<br />
There is, no doubt, a long and successful run in<br />
store for the play. The piece was preceded by<br />
a curtain-raiser, entitled “ That Brate Simmons,”<br />
the result of a collaboration between Mr. Arthur<br />
Morrison and Mr. H. C. Sargent.<br />
<br />
At the St. James’s Theatre, on Saturday,<br />
September 3rd, Mr. Alexander produced a play,<br />
entitled “The Garden of Lies,” adapted by Mr.<br />
Sydney Grundy from Mr. Justice Miles Forman’s<br />
story. The: adaptation gives Mr. Alexander an<br />
opportunity of acting on lines always acceptable<br />
<br />
THE AUTHOR.<br />
<br />
to the audience of the St. James’ Theatre. Miss<br />
Lilian Braithwaite could not have played a difficult<br />
part with moré characteristic grace.<br />
<br />
We have to note the production of another play<br />
by a member of the Society. Mr. Zangwill’s<br />
“Merely Mary Ann” was produced, with success,<br />
at the Duke of York’s Theatre, on September 8th.<br />
No doubt everyone who has read Zanewill’s story<br />
will be glad to see the manner in which it has<br />
been adapted for a play. Its simple pathos will<br />
surely make it attractive to the London public.<br />
<br />
The number of new plays produced this autumn<br />
speaks well for the condition of the London<br />
theatres. No small contribution comes from the<br />
pens of members of the Society.<br />
<br />
—_—+—<—e_______<br />
<br />
PARIS NOTES.<br />
<br />
—-——+<br />
<br />
es E Divorce,” by Paul Bourget, is a novel<br />
<br />
which proves once more the sincerity and<br />
<br />
deep conviction of thisauthor. M. Bourget<br />
evidently considers that the divorce law is a retro-<br />
gression rather than a step in advance: “Loi<br />
criminelle, loi meurtriere de la vie familiale et de<br />
la vie religieuse, loi d’anarchie et de désordre, dont<br />
tant de femmes, tentées dans leurs faiblesses,<br />
esperent la liberté et le bonheur, et ou elles se<br />
trouvent, aprés tant d’autres que servitude et<br />
misere!” Beside the chief plot of the story,<br />
there is a side-study which in itself would serve<br />
as a theme for another novel. It is the case of a<br />
young girl who has been brought up to despise<br />
the idea of legalised marriage. Her theories, her<br />
experiences, and their results would work out as<br />
material for a second book,<br />
<br />
In “ Le Divorce,” as in one or two of the recent<br />
books by Paul Bourget, one feels rather that the<br />
characters are being manipulated to fit the theories<br />
of the author, and the results are therefore not<br />
always convincing,<br />
<br />
The second volume of Madame Adam’s memoirs,<br />
“Mes Premiéres Armes politiques et littéraires,’””<br />
is quite as interesting, thouch in another way than<br />
the first volume. In the ‘‘ Roman de mon Enfance<br />
et de ma Jeunesse” we had the impressions and<br />
the ideas of a young provincial girl, while in this<br />
new volume we have the Parisienne, interesting<br />
herself in all that goes on in the French capital.<br />
In art, music, literature, and politics she gives us<br />
her experiences and impressions, and draws for us<br />
in a few lines faithful portraits of some of the<br />
celebrated people she has met. Among these<br />
portraits we find those of Thiers, Gambetta,<br />
Mérimée, Jules Simon, Jules Ferry, Littré, Floquet,<br />
About, Alphonse Karr, Daniel Stern, Girardin,<br />
Hippolyte Carnot, and many others.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. .<br />
<br />
“ Expiatrice,” by M. Ernest Daudet, is an inter-<br />
esting story constructed on a theme which has no<br />
great novelty. Guilberte Simmonet is the daughter<br />
of an unscrupulous man, who has amassed wealth<br />
by taking advantage of less “clever” men. He<br />
is ambitious for his daughter, and endeavours to<br />
arrange a marriage for her with a certain marquis<br />
who is in his power. Gilberte does not fall in<br />
with this arrangement, and the novel has the<br />
“happy ending ” so generally approved.<br />
<br />
“T/Inévitable Amour,” by M. Adolphe Aderer,<br />
is a novel with a certain fascination about it,<br />
although the plot on which the story turns is<br />
distinctly unpleasant and improbable. The strong<br />
point of the book is in the exposition of the<br />
triumph of race. Jean Jacques, the central figure<br />
of the novel, is the natural son of a man who hag<br />
held a high position in the world, and of the<br />
Marquise de Valperga. The father commits<br />
suicide, but the child has been placed with some<br />
peasants in Savoy, and is to be educated in every<br />
way as one of the family. In spite of his sur-<br />
roundings and his education, the boy cannot be<br />
converted into a peasant. Later on Jean Jacques<br />
is employed as estate agent by the Marquise de<br />
Valperga. The dénouement is tragic, and the<br />
whole tone of the book is somewhat melancholy,<br />
but it is admirably written, and the descriptions of<br />
Savoy and Italy are most charming.<br />
<br />
“Lia Déchéance,” by Léon Daudet, is a novel<br />
which paints for us the corrupt side of modern<br />
society. Francois Aubryet is a man of weak will,<br />
who simply lets himself go, drifting from folly to<br />
dishonour, and from dishonour to crime. The<br />
author’s own conclusion is: “’Il n’y a plus de<br />
morale humaine puisqu ’il n’y a plus de morale<br />
divine.”<br />
<br />
“Le véritable Guillaume II.,” by Henri de<br />
Naussane is a study of the character and actions<br />
of the German Emperor.<br />
<br />
In answer to his own question: “Qu’y a-t-il<br />
derriére cette facade,” the author tells us, “Il y a<br />
un homme agréable et primesautier, mais faible et<br />
éneryé. . . C’est un littéraire, un sensitif, un<br />
discoureur. II est a sa place dans un salon; il n’y<br />
est pas sur un tréne. Par ses réves décousus, ses<br />
palinodies et ses cavalcades, ce monarque, par<br />
ailleurs séduisant, a haté le redoutable triomphe<br />
des ‘social-démocrates’ et ébranlé la Confédéra-<br />
tion Germanique au point qu’ on entend craquer<br />
Vedifice.” “Etudes de littérature Canadienne<br />
Frangaise,” by Charles ab. der Halden, is a volume<br />
which has taken many years to write. It is,<br />
perhaps, the most complete work that has been<br />
compiled on the subject.<br />
<br />
“La Co-éducation des Sexes,” by F. Meylan, is<br />
a study of co-education and its results in America.<br />
<br />
“La Colonisation pratique et comparée,” by Paul<br />
<br />
Vibert, is one of the most practical and useful of<br />
books for intending emigrants. Hygienic laws,<br />
altitudes, colonial produce, means of transport are<br />
among the subjects treated. The burning question<br />
of native employment takes up some chapters, and<br />
the volume is of special value as the first French<br />
book treating so practically modern colonial<br />
science.<br />
<br />
A most useful book for collectors and autograph<br />
buyers is the new volume by M. Paul Eudel. ‘Le<br />
Truquage ” is the title, and the author gives some<br />
interesting information with regard to the frauds,<br />
alterations and imitations to be avoided when buy-<br />
ing old books, manuscripts, autographs, &c.<br />
<br />
M. Louis Gonse has published an excellent<br />
work entitled “Chefs d’ceuvre des musées de<br />
France.” Inthe museums of Arles, Aix, Besancon,<br />
Lyons, Evreux and Troyes there are many master-<br />
pieces of art, and by means of some four hundred<br />
engravings M. Gonse is rendering great service in<br />
the publication of so important a work. “Les<br />
successeurs de Donatello, by Pierre de Bouchand, is<br />
a study of Italian sculpture in the second half of<br />
the fifteenth century. “L’Art pour tous” is an<br />
excellent work by Louis Sumet.<br />
<br />
Among recent publications are the following :—<br />
“VInutile Révolte,” by Henry Guerlin; ‘“ Une<br />
Page de Vie,” by Claude Reni ; “ L’Ecarteur,” by<br />
M. Delbousquet ; ‘‘ Les Contes del’ Aigue-Marine,”<br />
by J. Adam; “Ame d’argile,’ by Mme. Marie<br />
Anne de Bovet; “ Zarette,” by Jean Rameau ;<br />
‘“‘ Joie d’aimer,” by the author of Amitic Amou-<br />
reuse ;” “ Le Choix de la Vie,” by Mme Georgette<br />
Leblanc ; “Un Drame en Livonie,” by Jules<br />
Verne ; ‘‘ Pervenche,” by Gyp ; “ Un Vainqueur,”<br />
by Edouard Rod ; “ Dames éphémeres,” by Francois<br />
de Nion ; ‘‘ Le Journal de Sonia.”<br />
<br />
The ‘Académie des Science politiques” has<br />
awarded the Drouyn de Lhuys prize of 3,000<br />
francs for the following works :—“ Politique<br />
Orientale de Napoléon, by M. Edouard Driant ;<br />
“ Histoire des ¢établissements et du commerce<br />
francais dans l'Afrique barbaresque,” by M. Paul<br />
Masson, and “Revue générale de droit Inter-<br />
national.”<br />
<br />
M. A. le Braz has now completed the work on<br />
which he has been engaged for some time, the<br />
“Celtic Theatre.” He has. presented to the<br />
Rennes University twenty-seven Breton manu-<br />
scripts, including ‘‘ Le Mystére de Saint-Laurent,”<br />
“Saint Jean Baptiste,” and other mystery plays.<br />
These manuscripts are of great value, as the only<br />
written literature of Brittany isits theatre. There<br />
are about seventy-three Breton manuscripts in the<br />
“Bibliotheque Nationale,” but they are of much less<br />
value than these which M. Le Braz has handed<br />
over to Rennes.<br />
<br />
A certain sum of the Nobel Prize received by<br />
8 THE AUTHOR.<br />
<br />
M Sully Prudhomme was set aside by him for an<br />
annual prize to young poets. It has this year been<br />
awarded to Mlle. Marthe Dupuy, daughter of a<br />
sculptor of Blois.<br />
<br />
Zola’s manuscripts, ninety-one in all, have been<br />
<br />
handed over to the Bibliotheque Nationale, where<br />
they can be seen at any time. :<br />
M. Antoine proposes to give the following pieces<br />
at his theatre during the winter season: “ Cama-<br />
rade,” by Aderer; “ Esclaves,” by Bernstein ;<br />
“Maison de Juges,” by Gaston Leroux ; « Vieil<br />
Heidelberg,” by Meyer-Forster ; “ Asile de Nuit,”<br />
by Mauret; ‘ Charlotte,” by Thorel; ‘“ Race<br />
supérieure,” by Brugiére; “ Le Miracle de St.<br />
Antoine,” by Meterlinck.<br />
<br />
M. Alfred Capus reads his new play, “ Notre<br />
Jeunesse,” on the 1st of October to the artistes of<br />
the Comédie Francaise.<br />
<br />
M. Henri Bataille has read his piece “ Maman<br />
Colibri” to M. Porel. It is to be put on at the<br />
Vaudeville.<br />
<br />
Among the new plays in preparation are “ Poli-<br />
chinelle,” by Edmond Rostand, a comedy in verse,<br />
in five acts, to be played by Réjane and Coquelin ;<br />
“ Armande Béjart,” by Maurice Donnay, a drama<br />
in verse, in four acts; “Le Coup d’Aile,” by<br />
F. de Curel, a comedy in four acts; “ L’Amour<br />
de Wanda,” by G. de Porto Riche, a drama in five<br />
acts in verse ; “ Monsieur Piéson,” by Alfred Capus,<br />
a piece in four acts destined for the Renaissance<br />
Theatre. M. Brieux is also writing a new play.<br />
<br />
Bjérnson’s new drama treats of the struggles<br />
constantly going on between the young genera-<br />
tion and the one preceding it. Carmen Sylva<br />
is at work on the libretto of an opera entitled<br />
‘Giovanna d’Arco.” Von Reuter is to write the<br />
music. Some of the new works to be produced<br />
this season at the Opéra Comique are “La<br />
Cabrera,” by Gabriel Dupont, who was recently<br />
awarded the Sonzogno prize at Milan, “Les<br />
Chansons de Miarka,” by A. Georges, “ L’Enfant-<br />
<br />
Roi,” by Bruneau, “ Les Armaillé,” by M. Daret.<br />
<br />
Atys HALLARD.<br />
<br />
———— 9<br />
<br />
SPANISH NOTES.<br />
<br />
— ae<br />
<br />
O judge from such Spanish newspapers as<br />
<br />
El Liberal, El Imparcial, and Espana, in<br />
<br />
Madrid, and Za Vanguardia in Barcelona,<br />
<br />
the Peninsula is daily more open to foreign influence<br />
<br />
in literary and educational matters. “ The Simple<br />
<br />
Life ” of the famous moralist, C. Wagner, has just<br />
<br />
been translated into Spanish by the learned Cuban,<br />
<br />
Dr. Gonzalo Arostegui, with a fine prologue by<br />
Don Rafael Montoro.<br />
<br />
The Press is loud in its appreciation of Archer<br />
M. Huntington, the wealthy Yankee who has<br />
lately come into possession of the valuable library<br />
of the Marquis de Ierez de los Caballeros, for he is<br />
about to publish et his own risk cheap editions of<br />
such Spanish writers as Santillana, Jorge Manrique,<br />
Simoneda, Garcilaso, Ercilla, Camoens, and Lope,<br />
which is rightly said to be a work as beneficial to<br />
Spain as Carnegie’s free library bequest was useful<br />
to England. For as these fruits of the early days<br />
of printing in Spain are only existent in editions<br />
too expensive for the general public, the Peninsula<br />
is generally excluded from the enjoyment of these<br />
fine classical works. A leading article in the<br />
Espaiia draws attention to the truth contained in<br />
the opinions published by the Marquis de Palomares<br />
de Duero in 1899, that a foreign education was the<br />
most efficient equipment for a benefactor of his<br />
country. “The famous Spanish Literature was the<br />
outcome of George Tickner’s studies at the German<br />
Universities,” said the Marquis, and “ education in<br />
Spain at the present day would be still more retro-<br />
grade than it is had not such men as Luis Vives and<br />
Montesino studied the methods of other lands.”<br />
“Moreover,” added the writer, ‘would not a<br />
better acquaintance with the military, scientific,<br />
and industrial life of North America have prevented<br />
the fearful fiasco of the Cuban War of 1898?”<br />
This article evoked a few days later a practical<br />
paper called ‘Necessary Comparisons,” which<br />
seeks to stimulate the Spaniards to profit by the<br />
admirable tuition to be gained in Switzerland and<br />
Germany at the moderate prices quoted.<br />
<br />
Benedetto Colarossi makes an eloquent appeal to<br />
his countrymen in La Vanguardia of August 24th<br />
to do their utmost to dispel the ignorance of their<br />
country in the science and philosophy which elevate<br />
the work of the artizan and inspire the citizen<br />
with a true realisation of his rights. Such know-<br />
ledge should, says the writer, not be the mere pro-<br />
perty of universities, but the heritage of the<br />
people. Spain’s sympathy is quickly aroused in<br />
what is going on in the rest of the world, and<br />
when she seems wanting in this quality, it is mainly<br />
due to the lack of her knowledge on the matter in<br />
question.<br />
<br />
For instance, much regret was expressed at<br />
Berlin at the recent International Congress of<br />
Women, to which nineteen different countries sent<br />
the presidents and delegates of their several<br />
councils, and over 4,000 women took tickets, that<br />
Spain and Portugal were the only unrepresented<br />
countries of Europe. But directly Colonel Fignerola.<br />
Ferretti, the well-known author of such books as<br />
“The Choice of an Education,” “ The Education<br />
of a People,” etc., hears from the Countess of<br />
Aberdeen how his country might join such a<br />
great union of all that is philanthropical and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ay<br />
<br />
educational, he soon shows the President of the<br />
International Council that she has found an able<br />
ambassador for the cause. For not only has the<br />
illustrious Queen herself been acquainted with the<br />
idea, but the Colonel has had a proclamation pub-<br />
lished to the ladies of Catalonia, explaining the<br />
opportunity which awaits them to join this vast<br />
Union which, to quote the Empress of Germany,<br />
“affords an incomparable means for women of all<br />
lands to learn to know and appreciate each other<br />
better.”<br />
<br />
As Her Majesty Queen Marie Christina is known<br />
to be deeply interested in all matters relating to the<br />
welfare of her land, hope has been expressed that<br />
she will give form to this noble sentiment by<br />
becoming the patron of a Council in Spain, which<br />
could send its representatives to the next Congress.<br />
<br />
The facts published by Colonel Ferretti in a<br />
recent French review are a cheering picture of his<br />
country’s progress, for we read that, thanks to<br />
H.R.H. the Infanta Eulalia setting the noble<br />
example of taking the chair at the first public<br />
meeting on Education, inaugurated by Madame<br />
Concepcion Gimeno de Flaguer, a great impetus<br />
has been given to the Woman Question in Spain, and<br />
the well known Ibero-American Society of Madrid<br />
has inaugurated the constitution of a committee<br />
of ladies well-known in the literary world, who will<br />
do all they can to forward the higher education of<br />
women. Conspicuous among these workers for<br />
their Spanish sisters is Setiora Carmen de Burgos<br />
Segui, well-known as a contributor to the columns<br />
of the Herald and Diario of Madrid, and she is<br />
striving to forward a scheme for the establishment<br />
of an Agricultural School for girls in Spain. She is<br />
also active in her efforts to reform Article 23 F. of<br />
the Civil Code of her country, which deprives<br />
woman of the right of being her children’s guardian<br />
as she is classed with ‘the incompetent.” In<br />
Arragon and Navarre this point has already been<br />
rectified. Sefiora Dofia Alvarez Fiol, in a recent<br />
powerful magazine article, contends against the old<br />
error of supposing that culture can militate against<br />
the proper fulfilment of a woman’s duties in her<br />
home.<br />
<br />
“El Problema Femenista,” a little book by<br />
Sefiora Concepcion de Flaquer, gives a most erudite<br />
recapitulation of the women of all nations who<br />
have materially aided their husbands in their<br />
scientific work by their intelligent co-operation,<br />
and the research and study shown in the work<br />
make it very valuable as a reference book on the<br />
subject of Woman’s Culture. Sefiora Pardo de<br />
<br />
Bazan, Senora Isabel de Solana, and Senora de<br />
Macia are also among the eighteen distinguished<br />
ladies of the committee.<br />
<br />
To judge from arecent article of Madame Josefa<br />
Pujol to one of the papers of Madrid there seems<br />
<br />
AUTHOR. 9<br />
<br />
to be a very real desire among Spanish women to<br />
emancipate themselves from the slavery of a social<br />
life, which excludes them from the exhilarating<br />
atmosphere of simpler intellectual pleasures.<br />
<br />
Don Emiliano Guillen’s new volume of poems,<br />
“ Risas y Lagrimas” (“* Tears and Smiles’) is a<br />
charming exhibition of the taste and sentiment of<br />
a Spanish writer whose command of the language<br />
is seen in every line of every verse. Don Alejo<br />
Garcia Moreno, in the Appendix XV. of the<br />
“ Anuario de Legislacion Universal,” gives a com-<br />
pendious account of the political and judicial<br />
institutions of {North and South America, so<br />
desire to learn from the experiences of other<br />
countries is evidenced in many quarters.<br />
<br />
Madame Rodriguez de Serra is a_ striking<br />
example of the advance made in Spain in woman’s<br />
work, for this lady, the widow of a well-known<br />
publisher in Madrid, continues her husband’s work<br />
with marked success.<br />
<br />
The question of infant mortality, due so largely<br />
to ignorance, has lately induced many medical<br />
works upon the subject, and perhaps the pamphlet<br />
‘< Modern Herods,” distributed gratuitously among<br />
mothers, may goad women to claim the education<br />
that would obviate the onus of such a title.<br />
<br />
Moreover, the able doctor Tolosa Latour’s book,<br />
called “ La Proteccién de la Infancia en Hspaiia,”<br />
shows that this member of the Royal Academy of<br />
Medicine is anxious for his compatriots to realise<br />
the existence of the laws which have been made for<br />
the protection of this helpless community, and<br />
perhaps the knowledge of these legal obligations<br />
may lead to their enforcement.<br />
<br />
Medical science seems to have made great strides<br />
in Spain, for José Zahonero devotes a whole column<br />
in the Espana to the realistic description of the<br />
great skill exhibited by the prominent surgeon<br />
Cisneros in the successful operation on the throat<br />
of the popular poet Francisco Rodriguez Marin,<br />
whose fortitude and patience during his sufferings<br />
excited the admiration of all present.<br />
<br />
I cannot close these Spanish notes without<br />
referring to the new law which obliges the Sunday<br />
Zest. It was never thought that the order would<br />
be so summarily enforced, but to all objections<br />
Maura returned that no country could advance<br />
unless laws were strictly observed. Of course<br />
this mandate (which militates so forcibly against all<br />
the habits of the Spaniards) which was first brought<br />
into action on 11th September, caused countless<br />
contradictory cases of enforcement and exceptions.<br />
It appears that restaurants are exempt from the<br />
edict, but the barbers, confectioners and other trades<br />
complain bitterly of the restriction, and the Prime<br />
Minister has been besieged with appeals from the<br />
proprietors of the Bull Rings, whose chief day for a<br />
pecuniary harvest has always been the Sunday<br />
10 THE<br />
Of course, say the Spaniards, it would have been<br />
all right if the law had been made subject to a<br />
regulation, and the regulation modified by particular<br />
circumstances, then there would have been nothing<br />
to complain of, but this easy way of eluding the<br />
Government has not so far been permitted.<br />
RACHEL CHALLICE.<br />
<br />
—_——_—_+—>—<br />
<br />
<br />
<br />
LEGAL NOTES.<br />
<br />
——<br />
What’s in a Name ?<br />
<br />
HAVE already discussed the possibility of a<br />
register of all titles given to literary works<br />
such as would enable, or would aim at<br />
<br />
enabling, an author to see before choosing a name<br />
for his book whether such a name had been used<br />
before, and when. Some, however, of the recom-<br />
mendations which have been made in the pages of<br />
The Author upon this subject have gone beyond the<br />
official compiling of a mere list of publications.<br />
Those who put forward these suggestions seem to<br />
have had in their minds the keeping by a govern-<br />
ment department of a register analogous to that in<br />
which patent rights are recorded, or perhaps it<br />
would be better to say a system resembling that<br />
adopted for the registration of trade marks. I<br />
venture to think that in practice any such system<br />
must necessarily be cumbrous, tiresome, and in-<br />
effective, and that on the whole the present want<br />
of system would be found preferable by a large<br />
majority of authors. The plan proposed would, I<br />
presume, have as its object the recording of a title<br />
as the property of an author, so that its presence<br />
upon the register would be proof of his sole right<br />
to it, and would enable him to sue for any infringe-<br />
ment or imitation of it. No person: who used a<br />
title not on the register would be able to dispute<br />
the right of the author who claimed the same<br />
titleand had duly registered it, and no unregistered<br />
claim to use a title would be recognised at all.<br />
Two similar titles would not be registered, and a<br />
fee would be charged for registration, which it is<br />
suggested need be but a trifling one.<br />
<br />
In considering the possibility of such a scheme<br />
we are almost necessarily driven to remember<br />
that the registration of trade marks is subject to<br />
necessary rules, and to conclude that some rules<br />
at all events would have to be devised to limit the<br />
registrable quality of the various titles, which the<br />
originality, or want of originality, of authors might<br />
lead them to adopt. The registration of trade<br />
marks is not accorded asa matter of course to any-<br />
one who puts forward a sentence or word not<br />
already on the register; devices used as trade<br />
<br />
AUTHOR.<br />
<br />
marks and other matters not akin to the titles of<br />
books I leave out of the discussion. If anyone<br />
who has invented a soap or a pill wishes to protect<br />
his trade, and distinguish his goods by applying to<br />
them a mark consisting of a word or sentence, he<br />
will find that the Patent Office will closely<br />
scrutinise the phrase that he chooses. Some<br />
names he will not be able to register at all, and in<br />
some cases he will have to disclaim any exclusive<br />
right to certain elements in the combination of<br />
words that he desires to make his own. He will<br />
not be able to register, for example, as a trade<br />
mark such names as the ‘“ Putney Pill” or the<br />
“ Superlative Soap,” for names of places and words<br />
denoting quality are not to be used as trade marks<br />
under regulations designed to prevent the setting up<br />
of monopolies in fragments of the English language<br />
that others might naturally wish to use. The<br />
title which the author would desire to register for<br />
his book would in many instances be a word or<br />
phrase in common use, and the sanctioning of a<br />
monopoly of such a phrase as applied to a book<br />
might be a serious matter for all authors. At<br />
present a writer can be prevented from selling his<br />
book under a name which would lead it to be<br />
confused with a book already published by his<br />
brother author to the injury of the latter, but I<br />
have endeavoured to show that no such right of<br />
protection exists when the first book is ‘dead and<br />
buried.” The proposed registration, I suppose,<br />
would give to the registered title a longer life than<br />
this, and would be for the period of copyright or<br />
for some other stated time, otherwise but little<br />
change would be effected. The register would<br />
exist ; persons choosing a title would consult it,<br />
and it would give certain rights as already sug-<br />
gested, but it is hardly imaginable that it could<br />
be kept up-to-date by the constant removal of<br />
books not in circulation. However, all I am con-<br />
cerned in showing for the moment is that the<br />
registration of titles of books and other literary<br />
works could not reasonably be expected without<br />
restrictive regulations. Otherwise the first person<br />
who managed to get inscribed in the register such<br />
names as “ The History of England,” “ The Life<br />
of Queen Victoria” or ‘Hymns for Children,”<br />
would be able to prevent anyone else from using<br />
them. It may be said, however, ‘‘ Yes, but these<br />
are old titles, and the registrable title would be the<br />
original invention of the author, or at all events<br />
the first application of the phrase as the name of a<br />
book.” In such circumstances I should pity the<br />
author. He would register a title, try to prevent<br />
its use by another, and be met by a motion to<br />
remove his own from the register on the ground<br />
that someone fifty years ago had used it for a<br />
similar purpose. It must be remembered that the<br />
grant of letters patent and the registration of a<br />
<br />
<br />
<br />
<br />
Jose<br />
<br />
<br />
<br />
Eanes<br />
<br />
<br />
<br />
THE AUTHOR. : 11<br />
<br />
trade mark are alike in implying no guarantee<br />
that the invention is a proper subject of a patent,<br />
or that the trade mark is registrable. The patent<br />
rights may be revoked, and the trade mark may<br />
be removed from the register at any time if a rival<br />
trader shows that the privileges accorded are not<br />
properly possessed by the person registering. It<br />
therefore almost necessarily follows that were the<br />
legislature to enable the book-titles to be registered<br />
for protection purposes, the registration would be<br />
upon similar lines. That is to say, as long as the<br />
rules were complied with in the opinion of the<br />
appointed officials registration would take place,<br />
but upon the question being raised in a court of<br />
law, the question whether the registration was<br />
proper might be raised and. discussed, and possibly<br />
“taken to the House of Lords.”<br />
<br />
It is, however, more than likely that registration<br />
at all involving the compliance with rather com-<br />
plicated and not very intelligible rules would be<br />
found very irksome by authors desiring to procure<br />
registration for themselves, and that the fees that<br />
would have to be paid would constitute another<br />
drawback. The precise amount of the fees now<br />
payable on the registration of a trade mark |<br />
forget, but they considerably exceed any that have<br />
been suggested in The Author for registering<br />
names of books. Fees are necessary because a<br />
certain number of qualified clerks and officials<br />
would have to be maintained to examine the pro-<br />
posed titles in order to see that they conformed to<br />
the rules, and the legislature is not likely to<br />
institute a register entirely at the public expense.<br />
I have had some little personal experience of the<br />
registration of trade marks, and although in my<br />
own case I managed to comply with the regula-<br />
tions eventually, it was certainly a matter needing<br />
some care and study, and it is one usually entrusted<br />
to a solicitor or other agent who has to be paid for<br />
his trouble. It may be said that the literary agent<br />
or the publisher would see to all this for the author,<br />
but presumably he would not do it for nothing, and<br />
the person who eventually would bear the cost would<br />
be the person who wrote the book. As it is, the<br />
author or the literary agent or the publisher can<br />
to a great extent obtain safety by combining an<br />
effort of memory with the consulting of a<br />
“ Reference Catalogue of Current Literature,” and<br />
I am personally of the opinion that no more is<br />
really necessary in most cases from a legal point<br />
of view. I have ventured to question in a<br />
previous article whether any considerable number<br />
of the attempts to hinder the publication of books<br />
could be sustained in the Courts, and to suggest<br />
that a firm attitude adopted by the writer and<br />
publisher attached would usually result in success<br />
for them. I have endeavoured also to show<br />
that even by a register such as that proposed<br />
<br />
they would not be fully protected. At the<br />
same time, it is, I admit, very inconvenient<br />
on the eve of publishing a literary work to find<br />
that the name is claimed by another. Many<br />
authors have suffered from it, but, on the other<br />
hand, probably many have not, and it is a matter<br />
for consideration that an ingenious title bearing<br />
upon it the stamp of originality, and devised,<br />
perhaps, with a little extra care and inventiveness,<br />
may carry two advantages. It may insure the<br />
author against any claim that it has been used by<br />
another, and may also captivate the ear of the<br />
public. A good title is said to go a long way<br />
towards attracting readers to a book, not only<br />
because they take a fancy to it, but because they<br />
find it easy to remember. Therefore, besides the<br />
precautions which will show an author that his<br />
title is a new one, the exercise of his literary<br />
ability will provide him with further protection.<br />
In much of this I may find others who disagree<br />
with me, and who have a far better right than<br />
myself to pronounce an opinion. I venture, how-<br />
ever, to assert rather emphatically that the institu-<br />
tion of protection for book-titles by means of an<br />
official register would be found a cumbrous and<br />
inconvenient remedy, worse in many ways than the<br />
evil which it would aim at curing, and I feel even<br />
more certain that it would be found difficult also<br />
to get Parliament to pass the Act without which the<br />
official institution of such a register can hardly be<br />
possible. Perhaps, however, some of those who<br />
disagree with me will draft a bill which can be<br />
inserted in 7'he Author, so that members of the<br />
Society can see if it is likely to be practicable and<br />
also useful to them. After that, its introduction<br />
by a private member interested in literature should<br />
not be difficult to obtain.<br />
E. A. ARMSTRONG.<br />
<br />
A LETTER IN ANSWER TO ONE OF<br />
MANY CORRESPONDENTS.<br />
<br />
+ —<br />
<br />
Dear Srr,— Your somewhat difficult letter has<br />
just come to hand, and although I feel that I<br />
ought not to spend so much time as a compre-<br />
hensive answer will take me to write, or expect<br />
that you will appreciate what I have to say, still<br />
it will ease my mind, so here goes.<br />
<br />
Oh! first of all, I beg to return your MS. I<br />
am not an editor, and I hope I know better than<br />
to presume upon the friendly relations I have with<br />
several editors to offer them your work in the hope<br />
that they will accept it for my sake. I know that<br />
you say you only want me to read it and comment<br />
upon it; but I am also certain taat you want me<br />
<br />
<br />
12<br />
<br />
<br />
<br />
to place it for you, and I should like you to know<br />
that no one can do that better than you can. As<br />
to criticising your work, well, your request,<br />
assuming as it does that I am fully competent to<br />
do what you ask, is very flattering to me, but I<br />
must respectfully decline. Some years ago I made<br />
two or three rather determined foes by acceding to<br />
their requests in this direction, and I have come<br />
to the conclusion that life is all too short even for<br />
the making of friends. The gratuitous making of<br />
enemies savours of lunacy. Please do not think<br />
me unsympathetic or callous, for I assure you Tam<br />
neither.<br />
<br />
Now, as to your next point, “the impossibility<br />
of any outsider getting any story or article, how-<br />
ever good, placed nowadays, owing to the cliques<br />
and rings which abound.” I feel really grieved<br />
that you should credit this old and often disproved<br />
libel. Just think fora moment. The magazine<br />
and newspaper arena to-day is the scene of a<br />
tremendous struggle to get in front, and no man<br />
who has laboriously climbed into an editorial chair<br />
can afford to print rubbish (unless it is saleable<br />
rubbish), even though written by his nearest and<br />
dearest friends. The reputation of a magazine for<br />
good readable matter, interesting stuff, is much<br />
more ephemeral than the reputation of a tradesman<br />
for vending a good article, and by consequence less<br />
liable to be played tricks with without serious loss.<br />
The editors are ever on the alert to discover in the<br />
midst of the heaps of rubbish shot upon them the<br />
occasional nugget of gold, and when they do<br />
unearth one their elation is, as old 8. P. would<br />
say, pretty to see. Of course well-known names<br />
will and do recur in popular magazines, but surely<br />
you would not take that for a sign of extreme<br />
favouritism at the expense of all newcomers. A<br />
good editor knows. what will sell his magazine,<br />
and his first duty is to his publishers or proprietors.<br />
He may, and often does, reject matter that he is<br />
greatly taken with, but he knows it is utterly<br />
unsuited to his public. Sometimes he can and<br />
does insert an article or a story quite unusual for<br />
his magazine in the hope of thereby educating his<br />
readers, but the experiment is a very risky one.<br />
What he does often do and rarely receives any<br />
recognition for is to write long and helpful letters<br />
to rejected contributors, full of matured advice<br />
and most valuable hints. Sometimes these are<br />
received as they should be, and the editor gets<br />
praised for being so kind, but N.B., it is usually<br />
after he is dead.<br />
<br />
So far I have only dealt with the articles you<br />
have been good enough to send me; I must now<br />
come to the book. And my first remark must be,<br />
that you yourself have handicapped your work by<br />
bad writing and spelling. Had it been typed or<br />
well written it would have had 50 per cent. more<br />
<br />
THE AUTHOR.<br />
<br />
chances of being read, but the spelling (please<br />
forgive me for plain speaking) destroys any chance<br />
it might have had of being either read or considered.<br />
IT hold that an educated man ought to be ashamed<br />
to write badly, but I cannot realise the possibility<br />
of any literary aspirant being unable to spell.<br />
But I will suppose that your MS. was neat, legible,<br />
well spelt ; without some advice it would have been<br />
a miracle if you had gone to the right publisher<br />
with it. You would have needed such expert<br />
advice as the Author’s Society are willing to give,<br />
or which is given for a small fee in some of our<br />
monthly journals. Otherwise you might easily<br />
have fallen into the hands of a certain type of<br />
publisher who will publish anything so long as he<br />
can see a certain profit out of the author. And<br />
had you done so, and your book become a success,<br />
you would have had the bitterness of knowing that<br />
your publisher had taken all the profits, leaving<br />
you hungrily, but unsatisfactorily, following after<br />
fame. Whereas, had you gone to a reputable<br />
firm, they would doubtless have driven a hard<br />
bargain with you, but they would at least have<br />
dealt honestly by you. And if your book had<br />
proved a success they would have given you good<br />
terms for another.<br />
<br />
But you say, with more force than courtesy,<br />
“ Publishers’ readers are such asses, must be, or<br />
they never could pass the stuff they do for publi-<br />
cation.” Excuse me, your remark is absurd upon<br />
the face of it. I must refer you to what I said<br />
about the magazine editor, Not what he likes,<br />
but what will sell is the motive spring of the<br />
reader’s action. He, if any man does, realises that<br />
a publishing business is not a philanthropic insti-<br />
tution, and that he has no right, whatever his<br />
personal proclivities may be, to advise his employer<br />
to print books that will not sell. He may and<br />
often does advise that gentleman to print rubbish<br />
from which his very soul revolts, but his experience<br />
tells him that it will sell by tens of thousands<br />
where his pet book would not reach one. You<br />
will doubtless retort that this is a sordid view to<br />
take of the matter. I shrug my shoulders and say<br />
that is no concern of mine. I merely state facts.<br />
If you do not need money and have a message<br />
for the world you feel you must deliver, you can<br />
always do so: it is merely a matter of cost: to you.<br />
<br />
In conclusion, pray do not be longer misled by<br />
the notion that there is a conspiracy to bar you<br />
out from literary circles. Don’t believe that all<br />
the authors, whose names recurring in magazines<br />
and newspapers give you so much pain, are rolling<br />
in wealth and are determined to keep you from a<br />
share of it. And do please in future communica-<br />
tions enclose stamps for reply and return of MSS.<br />
<br />
Yours most sincerely, _<br />
Frank T, BULLEN,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
INTERNATIONAL PRESS CON-<br />
GRESS AT YIENNA.<br />
<br />
—<br />
<br />
NINTH<br />
<br />
HE International movement of the Press has<br />
made great strides since the idea of a<br />
Central Bureau was brought forward at the<br />
<br />
Conference of the Institution of Journalists in<br />
London in 1894 by M. Heinzmann Savino, of Ant-<br />
werp. Then, the idea of uniting pressmen, excitable<br />
Latins, calm Scandinavians, stolid Germans, and<br />
Britons, under one head seemed quixotic, but a<br />
president was found at the first International<br />
Congress in Antwerp in 1895, Herr Wilhelm<br />
Singer, of Vienna, and this ninth Congress under<br />
his diplomatic, suave, yet firm rule, has proved<br />
how journalists of fourteen nationalities can work<br />
together and enunciate and frame codes and pro-<br />
positions for the elevation of journalistic work<br />
throughout the world. Some hundred journalists<br />
assembled in Vienna, and the debates were well<br />
attended. The English delegation was elected<br />
from members of the British Association of<br />
International Journalists, Mr. D. A. Sims being the<br />
representative on the Central Bureau, Mr. Arthur<br />
Spurgeon acting as chairman of the delegation,<br />
and the writer as hon. secretary. The Congress<br />
was opened by an expressive and valuable paper<br />
by Herr Singer on “The Dignity of the Press,”<br />
dealing with the suggestion to create professional<br />
tribunals to deal with Press offences: as one of<br />
the speakers neatly put it, “ Punish ourselves and<br />
the State will not punish us.” English journalists<br />
think they have no restrictions, but are not<br />
restrictions being placed more and more on<br />
correspondents because of such incidents as those<br />
that occurred at the Queen’s funeral, and in the<br />
matter of censorship in war, largely because a<br />
certain type of journalist ignores all rules of<br />
decency of behaviour. The press tribunals will con-<br />
sist of Local and National Courts and an Inter-<br />
national Court. The International Court would<br />
deal with such cases as have arisen in war, when<br />
nations have been libelled, or when Sovereigns<br />
have been vilified, or when the Yellow Press of<br />
one country abuses the press of another country.<br />
The National and Local Courts would deal with<br />
cases such as the Institute of Journalists already<br />
deals with in Great Britain. The twenty-nine<br />
articles of the statutes of the tribunal were<br />
accepted by the Congress, and the Central Bureau<br />
now has to establish the courts. As M. Singer so<br />
“ably concluded his paper, “To have interna-<br />
tionalised the honour of our profession is nu small<br />
affair.” In speaking upon the subject Mr.<br />
Arthur Spurgeon accepted the idea, although he<br />
could not say if the English journalist would<br />
establish courts ; but he was sure that all English-<br />
<br />
13<br />
<br />
men would heartily accept any action to raise<br />
the standing of journalists and to create a<br />
better feeling between those of various nations.<br />
The subject of the “carte d’indentie,” ze.,<br />
literally a press passport, whereby a journalist<br />
in foreign lands on duty will receive assistance<br />
from the pressmen of those lands, M. Taunay<br />
introduced, and M. Caponi spoke vigorously<br />
against it; but M. Taunay stated many of these<br />
cards were already used by members, and had<br />
proved of great value. Mr. Burlumi, of the<br />
Foreign Press Association, London, proved how<br />
helpful the card had been to him when he had lost<br />
his passport in Turkey, and in conclusion moved a<br />
resolution, ‘ That the foreign correspondents in all<br />
lands should receive the same facilities as home<br />
correspondents,” whieh was adopted. The ques-<br />
tion of reduction of telegraphs and postal tariffs<br />
was discussed, and the concessions given by<br />
various countries announced, and a point was<br />
gained on this day in that the British and<br />
Northern groups carried a resolution that reports<br />
already printed should not be read at the Congress,<br />
only the summing up.<br />
<br />
At the sitting on Wednesday Mr. Spurgeon pre-<br />
sided, and during the debates Mr. Burlumi brought<br />
forward the proposition ‘that attacks on persons<br />
whose position forbade a reply (7.e., monarchs, etc.),<br />
or against the whole press of a country constituted<br />
a professional crime,” and it was recognised as neces-<br />
sary that this should be embodied in the statutes of<br />
the Press Courts. The subject of literary and artistic<br />
copyright was reported upon by Dr. Osterrieth, of<br />
Berlin, and during an interesting debate the<br />
English secretary argued for copyright for literary<br />
style in news paragraphs or articles, as he had done<br />
in London, Antwerp, and Bordeaux. One of the<br />
most exciting and polyglotic debates was on Herr<br />
Rothlisberger’s report on the conditions of copy-<br />
right. He argued that the deposition of copies<br />
and other formalities should be abolished. This<br />
the English delegates warmly opposed, and they<br />
were supported by the German and American and<br />
Northern nations, who held that deposition of copies<br />
of publications was necessary for proof of copy-<br />
right. M. Lucas, of Portugal, eventually proposed<br />
two amendments modifying Herr Rothlisberger’s<br />
propositions. His suggestion that simply giving<br />
the name of printer or publisher should suffice for<br />
a claim of copyright was negatived, but the principle<br />
that the copyright belonged to the author accepted.<br />
Of course, the question of deposition of copies for<br />
censorship, etc., did not affect the English delegates.<br />
An amusing incident in this‘ debate proved how<br />
easily a wrong vote might arise in so polyglotic an<br />
assembly. The English secretary pointed out that<br />
M. Lucas’s two amendments were being put in<br />
reverse order, No. 1 as No. 2, No. 2 as No. 1, the<br />
<br />
<br />
14<br />
<br />
chairman, Herr Christophersoen, of Christiania,<br />
corrected the error amidst laughter. At Thurs-<br />
day’s meeting Mr. A. Spurgeon read his paper on<br />
«The Personal Note in Journalism,” and, with M.<br />
Heinzman Savino in the chair, had a good hearing.<br />
His urging that paid-for matter should be kept out<br />
of editorial columns was said to hit some foreign<br />
journals hard, and the English members knew of<br />
cases in England of advertisements appearing as<br />
news. The Congress then considered the next<br />
place of meeting, invitations coming from Venice<br />
and from Liege by M. Heinzmann Savino, but as<br />
it would be the tenth year of the Congress<br />
initiated by M. Savino the Congress voted for<br />
Liege, the Venice invitation being deferred to<br />
1906, New York also inviting the Congress for<br />
that year. At the close of the meeting an inter-<br />
esting ceremony took place, the presentation to<br />
M. Singer of a silver jardiniére filled with choice<br />
flowers. The President’s reception was so over-<br />
whelming and the speeches so full of cordiality that<br />
he was quite overcome, and the three ringing cheers<br />
given by the English and Americans overcame all<br />
other applause and secured absolute silence at<br />
their finish, but M. Singer was unable for tears to<br />
say a word in reply. The English section after-<br />
wards presented to the Vienna Press, through Dr.<br />
Horrowitz, their Syndicws, a handsome silver<br />
writing and smoking set, and especially thanked<br />
Dr. Pistor, of the Vienna Chamber of Commerce,<br />
for his kindly aid.<br />
<br />
I have said nought of the really astounding series<br />
of receptions and entertainments in Vienna, brilliant<br />
receptions by the Prime Minister and the Foreign<br />
Minister, and a welcomein the imposing town hall by<br />
Burgermeister Lueger, that the Glasgow delegate,<br />
Mr. Walter MacLean, declared beat Glasgow ! The<br />
Emperor, who had expressed all good wishes for the<br />
Congress, commanded a gala reception at the Opera,<br />
and the theatres also gave special performances. At<br />
the end came three days of absolutely “ living in<br />
opera,” first at the Semmering Hotel, amidst the<br />
Alps ; then at Ischl, where the peasants danced and<br />
sang and held a wedding in national costume ;<br />
lastly, when in the dim twilight two shiploads of<br />
Congressites sailed across the lake to Gmunden,<br />
between fires on the banks and salvoes of rockets.<br />
In the middle of the lake they were met by a small<br />
launch lit by lanterns, and in absolute silence the<br />
Chief of the Province, there on the still waters,<br />
under the shadow of the great Alps, welcomed the<br />
journalists from, all lands. Gmunden was a blaze<br />
of decorations, and from there in early morning<br />
we sailed across the lovely lake, and on to St.<br />
Wolfgang, ascending the precipitous Schafberg,<br />
some 6,000 feet amidst the snow, to revel in the<br />
panorama of lakes and mountains. Then on to<br />
Salzburg for a final banquet, although there had<br />
<br />
THE AUTHOR.<br />
<br />
been banquets and bouquets everywhere and at all<br />
times. At Salzburg the Internationalites said<br />
adieu in all tongues, but always with an auf<br />
wiedersehen. Surely many corners had been rubbed<br />
off and much good done by the meeting.<br />
<br />
James Baker, F.R.G.S.<br />
<br />
—_—————_+——+—__—__<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
—— +<br />
(Literary, Dramatic, AND MUSICAL.)<br />
SEPTEMBER, 1904.<br />
<br />
THE BOOKMAN.<br />
Coleridge. By Thomas Seccombe and Canon Rawnsley.<br />
<br />
THE CONTEMPORARY REVIEW.<br />
Theodor Herzl. By Sidney Whitman.<br />
The Nature of Literature. By Vernon Lee.<br />
Some Recent Books. By “ A Reader.”’<br />
<br />
THE FORTNIGHTLY REVIEW.<br />
A Note on Mysticism. By Prof. Oliver Elton.<br />
Thomas Campbell. By Arthur Symons.<br />
Geo. Frederick Watts. By Wm. Knight.<br />
Honoré De Balzac. By Mary F. Sandars.<br />
Translation from the Fioretti of St. Francis d’ Assisi.<br />
By James Rhoades.<br />
<br />
THE INDEPENDENT REVIEW<br />
“From High Mountains” (from Nietzsche).<br />
by H. O. Meredith.<br />
The Author of Erewhon.<br />
Italian Novels of To-day.<br />
<br />
Translated<br />
<br />
By D. MacCarthy.<br />
By Laura Gropallo.<br />
<br />
LONGMAN’S MAGAZINE.<br />
Is the Orator Born or Made? By Michael MacDonagh.<br />
<br />
THE MONTH.<br />
The Veil of the Temple. By the Rev. Sydney F. Smith.<br />
<br />
THE MonTHLY REVIEW.<br />
Capt. Marryat as a Novelist. By the Earl of Iddesleigh.<br />
The Popular Poetry of Spain. By Pepita de San Carlos.<br />
Thackeray at Cambridge. By the late Rev. Whitwell<br />
Elwin.<br />
THE NATIONAL REVIEW.<br />
Is Humour Declining? By Miss Ella Macmahon.<br />
<br />
[THE PALL MALL MAGAZINE,<br />
Literary Geography: ‘The Country of Carlyle.” By<br />
William Sharp.<br />
TEMPLE BAR.<br />
<br />
Mrs. Thrale. By Mrs. M. L. Croft.<br />
<br />
THE WORLD'S WORK.<br />
The Work of the Book World.<br />
<br />
XIX. CENTURY AND AFTER.<br />
Colly Cibbers’ “ Apology” By H. B, Irving.<br />
There are no articles dealing with Literary, Dramatic, or<br />
Musical subjects in Cornhill (Macmillan’s).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 15<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—<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 />
<br />
This is sometimes satisfactory, if @ proper price can be<br />
obtained, But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. 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 Continental<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 isnow<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 />
IV. 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 />
tothe 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 />
a<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
———— 9 —<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2, It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
eross 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 inadyance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (/.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 (2.) 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 is<br />
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. ‘hey 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 />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<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 />
Oo<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
me<br />
<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 />
<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 />
16<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into part. cular consideration<br />
the warnings stated above.<br />
<br />
6h 0<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion, All this<br />
<br />
without any cost to the member.<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. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no 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 />
6. The Committee have now arranged for the reception<br />
of 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 read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. 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 />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. 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 />
10. The subscription to the Society is £4 4s. per<br />
annum, or £10 10s for life membership.<br />
<br />
THE AUTHOR.<br />
<br />
THE READING BRANCH.<br />
<br />
——— + —<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<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 />
<br />
a Ban ee ae<br />
<br />
NOTICES.<br />
<br />
4<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, 8.W., and should reach the Editor not later than<br />
the 21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
i<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—+—<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only. :<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, H.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
RR<br />
<br />
Seen<br />
<br />
<br />
<br />
THE AUTHOR. Li<br />
<br />
AUTHORITIES.<br />
<br />
—_—+.-—<br />
<br />
T is with much pleasure that we have to<br />
<br />
chronicle a donation of £20 to the Pension<br />
<br />
Fund of the Society from the R. D. Blackmore<br />
<br />
Memorial Committee, the amount being the sur-<br />
<br />
plus in the hands of that Committee after paying<br />
<br />
all the expenses of the memorial in Exeter<br />
Cathedral.<br />
<br />
We feel sure that no object would be more likely<br />
to commend itself to him whose memory the Com-<br />
mittee desired to perpetuate than the one selected.<br />
Mr. Blackmore was for many years a member of<br />
the Society.<br />
<br />
We are requested also by the Secretary of the<br />
fund to state that the alteration of the word “ with”<br />
into “and” in the first line of the inscription on<br />
the memorial tablet in Exeter Cathedral has been<br />
completed by the sculptor in such a way that the<br />
memorial has not been in the least disfigured.<br />
Members of the Society will call to mind that<br />
“Exeter English” was discussed in some corre-<br />
spondence in 7'ke Author before the Vacation. We<br />
are glad to hear that this has been set right.<br />
<br />
Tue Library of Congress in the United States<br />
has forwarded to the offices of the Society of<br />
Authors a short circular, giving particulars of the<br />
work done by the Copyright Office during the past<br />
year ending with June 30th.<br />
<br />
It appears that the amount of fees received in<br />
the offices has steadily increased since 1897, and<br />
has now reached the large total of 72,629 dollars.<br />
These figures show the enormous increase in<br />
literary work which is going on in the United<br />
States, as well as the large use which other countries<br />
are making of the United States Copyright Act.<br />
The largest number of entries received at the office<br />
on one day was on January 2nd, 1904, when 4,031<br />
titles were registered. Under Class A, Sub-sec-<br />
tion (A), which refers to books (volumes) and<br />
pamphlets, 12,000 have been deposited during the<br />
past year. The office now seems to be in excellent<br />
working order. The business is kept well up to<br />
date, though some days, owing to extensive regis-<br />
tration, acknowledgments have to be delayed a<br />
little. The mail-matter dealt with in the office<br />
reaches the following extraordinary figures: the<br />
number of letters and parcels received totals 80,000,<br />
and the number of parcels and letters dispatched,<br />
129,000.<br />
<br />
We must congratulate the Librarian of Congress,<br />
Mr. Herbert Putnam, and the Registrar of Copy-<br />
rights, Mr. Thorvald Solberg, on the manner in<br />
<br />
which they have dealt with their enormous<br />
business.<br />
<br />
In addition to the work of the office, Mr. Put-<br />
nam and Mr. Solberg have issued useful pamphlets<br />
on the United States Copyright Act.<br />
<br />
In the September number of Zhe Book Monthly<br />
there is a very interesting interview with Mr.<br />
A. M.S. Methuen. The subject is headed, “ On<br />
being Publisher.”<br />
<br />
Mr. Methuen does not seem to have any serious<br />
objection to the author’s agent. He seems to<br />
consider that it is often easier and safer to deal<br />
with a business man who knows the actual value<br />
of a book, and the conditions of publishing, than<br />
with an author who may be ignorant of both. He<br />
says: “In five minutes it is possible to settle a<br />
matter with an agent, while five hours, or five days,<br />
or even five weeks, may not suffice to settle it with<br />
the author himself.” Mr. Methuen also takes an<br />
optimistic view of the bookselling trade of to-day,<br />
and thinks that nett books give the bookseller a<br />
fair profit. He is not so optimistic about his own<br />
trade.<br />
<br />
The fact that Messrs. Methuen have risen in<br />
fifteen years to be one of the foremost publishing<br />
houses in England would seem to argue that there<br />
is still money to be made in publishing, or that the<br />
partners of Messrs. Methuen & Co, are gentlemen<br />
of exceptional skill, tact, and business capacity. We<br />
think, from our experience, that there has been a<br />
healthy combination of the two.<br />
<br />
We have been reading with much pleasure the<br />
second report of the Committee of Management of<br />
The Advanced Historical Teaching Fund.<br />
<br />
We see among the members of the Committee<br />
three members of the Society of Authors—the<br />
Right Honourable James Bryce, Mr. G. W.<br />
Prothero, and Mr. Sidney Webb. ‘The other mem-<br />
bers are Mr. W. A. S. Hewins, Dr. A. W. Ward,<br />
and Mr. H. R. Tedder.<br />
<br />
This Committee is sufficient to confirm in the<br />
public mind the importance of the subject with<br />
which it has been endeavouring to deal, the en-<br />
couragement of the scientific training of historical<br />
students. 'The Committee hopes not only to place<br />
on a permanent basis the classes already in exis-<br />
tence, but gradually to create an Advanced School<br />
of History of the most complete kind. It states<br />
in its report “that it is a post-graduate school<br />
that it desires to found—a school for students<br />
who have mastered the elements : such a school as<br />
<br />
<br />
18<br />
<br />
does not at present exist at any University in<br />
Great Britain, and the want of which is a blot on<br />
our academic system.”<br />
<br />
Tun French Société des Gens de Lettres have<br />
elected a new committee, which has chosen M.<br />
Marcel Prevost as president. M. Prevost has<br />
given a most interesting lecture on the lapse of<br />
copyright a certain number of years after the<br />
death of the author. In the course of his lecture<br />
M. Prevost pointed out shrewdly that literature is<br />
the only property which the authorities in power<br />
in all countries permit to be confiscated sooner<br />
or later, whilst all other forms of property are<br />
respected.<br />
<br />
a a<br />
<br />
AN ORIENTALIST.<br />
<br />
—1~<—+<br />
<br />
IS desk in the British Museum Library was<br />
| | always piled with innumerable books, and<br />
in a chasm or cation between were papers<br />
dreadfully mingled, so that none would dare to<br />
touch them lest a worse fate should befall. He<br />
came to work in the morning and left late at night.<br />
But in the intervals of his toil he walked about<br />
briskly, either chatting with the officials or with<br />
his friends. Occasionally he went into the open,<br />
and when beyond the gates lighted his pipe and<br />
took a contemplative walk. But he was cheerful<br />
and of a social disposition, disliking loneliness.<br />
The companionship of the Hastern languages had<br />
not reduced him to apathy; he seemed to suck a<br />
lively life even out of Sanskrit. And nothing in<br />
the way of labour appalled him.<br />
<br />
He dressed in an ancient but tight-fitting frock<br />
coat. His hat was of the high species, and he wore<br />
it with an air of assertion, as one who knew his<br />
own value. In the gleam of his eye was know-<br />
ledge : he almost reeked of a particular wisdom.<br />
Yet he had by no means the air of one who<br />
despises the present or even the future, and only<br />
in his more metaphysical moods did he appear to<br />
regard Time as a mere category of the under-<br />
standing. For he ate and drank as a live man, not<br />
as a ghost. His favourite drink was Scotch<br />
whiskey. He smoked strong tobacco.<br />
<br />
Though his work was in the past and among<br />
books, he had the air of an explorer who commands<br />
workmen. He had assistants in the library who<br />
dug according to his directions. Each day it<br />
seemed as if he would at last unearth some buried<br />
city. At times excitement touched him visibly :<br />
<br />
THE AUTHOR.<br />
<br />
his chest swelled, his hat was worn a little on the<br />
side. But next day the city was perhaps only a<br />
solitary tomb ; he had to be content with fragments.<br />
Yet he never lost hope.<br />
<br />
His antipathy was for those who knew nothing<br />
deeply : for those who were content with an encyclo-<br />
peedia. He would rather expose the writers of<br />
stupendous monographs. Any pretence or assump-<br />
tion touched his nerves with a needle. He could<br />
not understand how any should be content with<br />
less than all. If he had been asked to write a<br />
story of the East, he would have answered grimly<br />
that he did not yet know enough. In time, in<br />
time perhaps. And he would have smoked many<br />
pipes on this reminder of the gaps in his know-<br />
ledge. He went for full certainty.<br />
<br />
What was a fact to him ? Something proved in<br />
all ways. He was not content that a thing was or<br />
seemed to be. He must deduce it @ priori as well.<br />
But deduction without verification made him snort<br />
with a logical contempt ; and mere invention in a<br />
wild romance pleased him better than a super-<br />
structure on an unwise foundation.<br />
<br />
To take liberties with the Truth, as he conceived<br />
it, was immoral. He bit his pipe angrily when he<br />
spoke of some men’s books. But it was more than<br />
immoral. To him the pursuit of absolute know-<br />
ledge was a religion. He grew bitter at times<br />
when he relaxed his severer mind and let the con-<br />
sideration of certain Western writers anger him.<br />
When he dined in a little eating-house not far<br />
from the Museum he talked with his friends and<br />
spoke freely. I heard him utter this sentence with<br />
a strange incredible vehemence: “Sir, sir! Rider<br />
Haggard is an impious man. He trifles with<br />
knowledge in the abstract !”<br />
<br />
And in his mind he executed the writer whom<br />
he denounced. He bisected him in the shape of a<br />
potato, and consumed the divided portions as<br />
though the man was done for. In the act and his<br />
mental attitude were all the elements of the magic<br />
that destroys from afar off. I perceived him in<br />
imagination melting a wax romancist at a terrible<br />
fire, or planting pins in the effigy of a careless<br />
commentator. :<br />
<br />
He rose and went back to his work in silence.<br />
But as I followed I saw that the aspect of the<br />
great museum mollified him ; the lines of his face<br />
softened ; he walked soberly through the pigeons<br />
in the path, And when the glass doors swung<br />
behind us he was himself again. He cocked his<br />
hat on one side and went briskly towards the<br />
<br />
East.<br />
M. R.<br />
<br />
<> 6<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 19<br />
<br />
INTELLECTUAL RIGHTS.*<br />
<br />
—<br />
<br />
HE nineteenth century will be regarded by<br />
posterity as an epoch of the highest impor-<br />
tance in the advance of civilisation. That<br />
<br />
century represents a splendid epic of ‘human genius,<br />
evidenced in the revelation of the truths of science,<br />
in the translation of the eternal esthetic ideal into<br />
perceptible forms of marble, colour, sound, and<br />
speech, in the elaboration in legal shape of the<br />
institutions of the modern state, and in the impulse<br />
towards those principles of liberty and justice that<br />
bind nations together in a conception of moral and<br />
economical solidarity. The great workers of that<br />
century, its marvellous industries, its commercial<br />
enterprises that have united different peoples with<br />
one another, its scientific inventions, its master-<br />
pieces of art, and its mechanical appliances will<br />
inspire future history with an idea of that immense<br />
capital of thought, of sensation, and of production<br />
which satisfies human aspirations, from the most<br />
exalted desires of the intellect to the most refined<br />
appetites of sense, from the grandest, impulse to<br />
the most playful caprice. This entirely modern<br />
efflorescence of intellectual and indastrial civilisa-<br />
tion finds its historical expression, more than<br />
anywhere else, in the efficacious protection and<br />
repressive lines of action which modern law alone<br />
has elaborated and cast into form to guarantee, to<br />
safeguard, and to discipline in social shape the<br />
rights of the author and inventor. That protection<br />
of what is called artistic and industrial property<br />
may be justly regarded as a conquest made by the<br />
civil enactments of this latter age, and is destined<br />
to advance with the development of a wider<br />
universal consciousness of legal rights, to yet<br />
farther and more complete guarantees, and to<br />
extend to the broad horizon of a systematic inter-<br />
national evolution of all rights of this description.<br />
<br />
It is only by the certainty that legal protection<br />
will be afforded to the fruits of his intellectual<br />
labours, or of his economic productions (within<br />
the limits imposed by the rights of society) that<br />
author or inventor is stimulated to produce his<br />
works, the results of long meditated, laborious and<br />
often expensive studies, investigations, and experi-<br />
ences, which shall ultimately (in consequence of<br />
the security of the recompense) augment also the<br />
collective patrimony both of universal cultivation<br />
and of national glory.<br />
<br />
The evident trath of this fact will justify the<br />
omission of lengthy historical proofs of the above<br />
<br />
<br />
<br />
* This translation of a monograph, ‘‘ Le Legge per la<br />
tutela dells Proprieta artistica ed industriale”’ (‘The Laws<br />
for the Protection of Artistic and Industrial Property aN<br />
which appeared in our valuable contemporary, “T Diritti<br />
@’ Autore,” is here published by the kind consent of the<br />
author, Signor Alfredo Andreotti.<br />
<br />
statement, and will render sufficient a simply<br />
general mention of the actual evolution of intel-<br />
lectual property. The real rights of authors, as<br />
they are at present understood, had, strictly speak-<br />
ing, no protection before the French Revolution.<br />
Previous historical indications of them can be<br />
adduced only as evidences of an intuition of the<br />
possibility of legal enactments on this head, but<br />
not as proofs of their having had any distant<br />
historical origin.<br />
<br />
At first the debasement of labour, the system ot<br />
slavery that flourished in antiquity, the want of the<br />
printing press, and the predominance of a military<br />
spirit with its thirst for conquest, and afterwards.<br />
the medieval iron regime of corporations of arts<br />
and trades (against which a struggle had to be<br />
maintained for ages) were such that they rendered<br />
impossible not alone legislation, but even develop-<br />
ment of any social intuition and consciousness<br />
of intellectual property such as could ultimately<br />
be defined by any real or lucid legal expression, or<br />
could attain to the sanction of positive enactments.<br />
And it is in consequence of the absence of any pro-<br />
tection of this kind that we meet with the historical<br />
phenomenon of the “ patron,” an invention which,<br />
though exposed to the peril of favouritism, aimed<br />
at a moral and economical recognitton of intellectual<br />
activity.<br />
<br />
Even when the great reform prepared by Colbert<br />
and Turgot in France was able to destroy the<br />
monopolies and privileges of the corporations of<br />
arts and crafts, the Constitutional Assembly, under<br />
the influence of a reaction, proclaimed a principle<br />
that was too absolute, and not actually true, under<br />
the name of “intellectual property,” a property<br />
that was the most sacred of all, and claimed rights,<br />
trodden under foot for ages, affirmed by the<br />
formula “the creating personality.”<br />
<br />
Let it be said therefore again that it is the<br />
boast of our age alone that it has perceived the legal<br />
status of the right which belongs to the individual<br />
who produces something by the efforts of his own<br />
intelligence. At last, first principles of a concept<br />
capable of being continually and perpetually per-<br />
fected have been defined. From these first prin-<br />
ciples, beginning from the recognition of the<br />
material advantages to be derived from a man’s<br />
intellectual work (the most tangible aspect of the<br />
rights of the author and inventor), we advance<br />
onwards through further legal elaborations, until<br />
we reach a claim for penal enactments to protect<br />
the author’s moral rights, that is, reach a regard<br />
for the integrity of what the creative intelligence<br />
has produced and individualised. ‘These are all<br />
modern developments, and completely overshadow<br />
any such historical prototypes as might be adduced<br />
in the shape of privileges and patents of the kind<br />
granted, for example, in England by the sovereign.<br />
<br />
<br />
20<br />
<br />
They mark an acknowledgment of the author’s<br />
rights as rights belonging to the man, a human<br />
right of a universal character extending beyond<br />
the boundaries of individual states, and binding<br />
them together in a brotherhood of international<br />
protection of an intellectual patrimony. _ These<br />
provisions in fact aim at harmonising the legitimate<br />
expectations of the author or inventor with the<br />
just claims of society’s rights in all such works as<br />
either by their origin or their destination belong<br />
to the universal social patrimony of thought and<br />
civilisation.<br />
<br />
Before proceeding to a judicial examination of<br />
such ‘civil property,” to use the language of<br />
Lucchini,* I think that it will be best to explain<br />
briefly the general aspect of the matter in its<br />
relation to the rights of society. This is an enquiry<br />
that is necessary to justify the existing legal system<br />
as administered by the penal magistrate ; and that<br />
is the aim of the present monograph.<br />
<br />
The creative activity of human thought (whether<br />
occupied in scientific discovery of the laws of<br />
nature or those of society, or employed in<br />
giving reality and actual form to some esthetic<br />
conception, or engaged in some invention or<br />
observation that, by perfecting an industrial art,<br />
may increase its applicability to human needs) in<br />
every case operates through the instrumentality of<br />
the intellect whose exceptional and most intense<br />
form is human genius.<br />
<br />
Geniuses are the privileged children of nature.<br />
She provides them with perfect organs and a<br />
nervous sensibility capable of affording them<br />
sensations so exquisite and so precise that they can<br />
be afterwards transformed into intellectual master-<br />
pieces, or into scientific discoveries and industrial<br />
inventions.<br />
<br />
But if geniuses are few, there are happily many<br />
men of abilities who possess observant minds and<br />
a great impressionability. The former quality is<br />
fitted for scientific discovery, and the latter for<br />
artistic creation. It is by the constant and un-<br />
wearied activity of observation and impression-<br />
ability that advance is effected, constantly rising to<br />
new victories of invention, of intelligence, and of<br />
industry, by means of which human society pursues<br />
its way towards truth and social happiness. These<br />
new creations when set forth in the midst of the<br />
collective life (by a book, a machine, a picture, a<br />
piece of sculpture, or a poem) produce new customs,<br />
new ideas, and new social relations, again contain-<br />
ing within themselves fresh opportunities of<br />
expansion, of intercommunication, of suggestion,<br />
and of assimilation. Thus is formed, in the<br />
<br />
<br />
<br />
* “Commento alla legge 19 Settembre, 1882, sui diritti<br />
spettanti agli autori.” Riy. pen,, vol. 1, sez 1, “ Legislazione<br />
speciale Italiana,” p. 3.<br />
<br />
THE AUTHOR.<br />
<br />
course of the successive generations, an intellectual<br />
patrimony, at once the boast of nations and their<br />
care; a treasure the more jealously guarded the<br />
more the need of cultivation is felt, and the more<br />
deeply the sense and respect of civilisation is<br />
rooted.<br />
<br />
But if creation is the act of an individual, it<br />
must not be forgotten that it is also a collective and<br />
social act. The phenomena of sensibility and of<br />
the penetrative attitude are wholly subjective.<br />
But the matter of the conception is outside the<br />
ego. We perceive it in consequence of the environ-<br />
ment in which we live, in which our psychological<br />
activity is developed ; and we feel it through the<br />
influence of the environment.<br />
<br />
Creative thought resembles the prism. The<br />
prism refracts things external to its facets,<br />
Thought through the energies of an internal<br />
psychological process elaborates and transforms a<br />
reality ; but it creates only the form, the vesture in<br />
which something, that exists in the concrete reality<br />
of nature, or of the world of human society, is<br />
presented by the poet in verse, by the painter in a<br />
balance of colour, by the sculptor in a harmony of<br />
lines, by the musician in a combination of sounds,<br />
But all these only lend a form to something,<br />
involved in them, that exists outside the creator’s<br />
ego, and is perceived by him with a more or<br />
less sensitive response of personal impressionability<br />
and in consequence of more or less intellectual<br />
study. But every author in the process of his<br />
creative act reproduces the things that experience,<br />
psychic force, and collective culture have accumu-<br />
lated in the course of ages. Hven the most<br />
speculative mental act or formula, if subjected to<br />
rigorous analytic criticism, will be found to be an<br />
association of ideas already forming a part of the<br />
social intellectual patrimony. And hence intellec-<br />
tual production has a special character of its own,<br />
that distinguishes it clearly from a thing that is<br />
the product of ordinary industrial activity ; but it<br />
is still the foundation of proprietary rights in<br />
intellectual creations. The individual and social<br />
factors interpenetrate each other in a continuous<br />
action and reaction in such a manner as to differen-<br />
tiate widely (even from the legislative point of view)<br />
common proprietorship from that which authors<br />
and inventors have in the products of their<br />
intelligence.<br />
<br />
In consequence the expression “ literary, artistic,<br />
and industrial property” is accepted by the<br />
jurist only out of respect to an historical tradi-<br />
tion, or, as Manzoni said, in a figurative sense,<br />
not in one that corresponds to an exact scientific<br />
concept. All writers on the subject are agreed on<br />
this point. True jus domini demands as an<br />
essential condition an absolute and exclusive sub-<br />
jection of the thing to the will of the human being,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
whilst, as Klostermann has observed,* “ The intel-<br />
ligent products do not exist in space, and conse-<br />
quently are not susceptible of being exclusively<br />
possessed by appropriation.” Or, as Vidari writes,t<br />
with exact logical rigour, “ This expression either<br />
refers to the right of publication (or of reproduction),<br />
and that only and solely because it is not a right<br />
of proprietorship, but a patrimonial right of a par-<br />
ticular sort, or refers to the thing by means of which<br />
thought is expressed, and then, though the right is<br />
here certain and indisputable, that has nothing to<br />
do with the present discussion ; or else it refers to<br />
thought, and nothing is more false than the assertion<br />
that thought is susceptible of proprietorship.” }<br />
Hence the productions of the intelligence form a<br />
part of the patrimony of their authors by a special<br />
right which presents analogies with, but is not<br />
identical with, and must not be confounded with,<br />
the right of proprietorship. This is the more<br />
true because this sum total of the rights of the<br />
author and of the inventor (in consequence of<br />
their origin and of their special destination in a<br />
social state of existence) ought to be protected by<br />
civil and penal sanctions that correspond with the<br />
actual necessities of those rights of society, which<br />
overshadow, if they do not absorb, the personality<br />
of the producer. For it is the social right that<br />
invests, interpenetrates, and integrates the genesis<br />
and finality of the productions of human intelli-<br />
gence, in which the whole human species (in con-<br />
sequence of its collective collaboration) has, so to<br />
say, a right of participation, of enjoyment, and of<br />
usufruct. And this effective influence of the whole<br />
race (which amounts to a limitation of the individual<br />
rights of the author) increases directly with that<br />
progress and civilisation which define by legal<br />
processes the protection of what is improperly<br />
called literary, artistic, and industrial property.<br />
In these enactments legislators are bound to recon-<br />
cile the just claims of the human personality (when<br />
this is individualised in the productive activity<br />
that wins new conquests for science, art, and in-<br />
vention) with the just counterclaims of the social<br />
element that always co-operates more or less evi-<br />
dently or forcibly in the production of every intel-<br />
lectual work, affording it the support of the multi-<br />
plex co-efficients of environment, of culture, of<br />
<br />
<br />
<br />
* Schonberg, ‘‘ Manual of Political Economy ;” Kloster-<br />
mann, “Protection of the Rights of Authors,’ part iii., xx.,<br />
p. 460. Turin, 1887.<br />
<br />
+ ‘Corso di Diritto Commerciale,’ 4th ed., Milan, 1895,<br />
Vol. III., p. 158,<br />
<br />
{ Manzoni, in his letter addressed to Professor Boceardo,<br />
« Intorno ad una questione di cosi detta proprieta litteraria,”<br />
(respecting a question of so-called literary property),<br />
acutely observed, “This metaphor, like all metaphors,<br />
becomes a sophism when it is used as an argument; a<br />
sophism that consists in concluding a perfect identity from<br />
a partial resemblance,”<br />
<br />
21<br />
<br />
public opinion, and of social mental attitude. For<br />
it may, in fact, be truly said that on arriving at a<br />
final analysis, everything that human intelligence<br />
produces proves to be rather a collective than an<br />
individual product.<br />
<br />
Thought and sentiment have their existence from<br />
social life. Every genius is nourished by this<br />
social life, and without its fertilising influence<br />
either becomes sterile or, transgressing the bounds<br />
of healthy and normal sensation, loses itself and<br />
perishes in unwholesome abstractions. And if the<br />
mould, the matrix, of this immense material which<br />
the human intelligence elaborates and transforms<br />
into the shape of a book, a work of art, an industrial<br />
invention or a scientific application, is, and ought<br />
always to remain individual and inalienable from<br />
the author of the work, and, as so being, should be<br />
protected by efficacious and even repressive enact-<br />
ments against any violation; nevertheless, the<br />
destination and the collaboration of the work are,<br />
and should be inalienable from the social patrimony,<br />
and as so being should have legal representation<br />
in positive enactments.<br />
<br />
As the renovation of the blood in the individual<br />
organism secures the constant continuation of the<br />
physical functions, so in civil life, and in its con-<br />
tinuous progress towards a higher evolution of<br />
civilisation, the continuous interchange of ideas,<br />
of artistic impressions, and of industrial inven-<br />
tions, is the fulcrum on which the dynamic force of<br />
social activity reposes. This is what supplies the<br />
author with the original material which is to be<br />
elaborated by his intelligent thought through a long<br />
series of speculations, intuitions, and suggestive<br />
experiences, until it is finally transformed into an<br />
intellectual work, and comes in turn to take its<br />
place and to be absorbed, and to expand in the<br />
evolutions of the collective life, there again to<br />
encounter new modifications and to play new parts.<br />
In consequence of this the creative idea, quickened<br />
by the continuous social interplay, generates a<br />
stimulant to further inventions and productions,<br />
never exhausting itself, inasmuch as this is the<br />
natural law that governs social development and<br />
human progress.<br />
<br />
The new century, which has inherited from its<br />
predecessor the most difficult legal and social<br />
problems, will assuredly bring its contributions to<br />
the solution of this great problem, which Picard<br />
has happily expressed in the words ‘intellectual<br />
rights.” The claims of the rights of intelligence<br />
stand side by side with the just claims of the rights<br />
of labour. Socially they are equally important,<br />
and equally entitled to legislative protection, The<br />
“ working man” himself should regard with confi-<br />
dence and sympathy the struggle of the human<br />
intellect to attain the full recognition of its moral<br />
and legislative importance. Intellectual activity<br />
22<br />
<br />
by inspiring the community acts as a creative force,<br />
and the indispensable collaborator of the man of<br />
science and of the artist is the labourer, who<br />
assists in a mechanical manner to give the<br />
intellectual work a concrete and marketable form.<br />
In this wedding together of the creative intelligence<br />
and of the labouring hand that (in the book,<br />
sculpture or building) renders the idea effectual,<br />
there is a perennial symbol of the natural harmony<br />
between thought and matter, between ideal and<br />
physical energies. The destiny of communal<br />
civilisation lies in the sovereign alliance of these<br />
forces. Rights of both kinds, trodden under foot<br />
for ages, are now pressing for legislative support,<br />
and with an awakened social consciousness move<br />
_ confidently towards the victory of the future.<br />
Rights of both kinds, in their supreme appeal,<br />
transcend national bounds. They make their<br />
voices heard throughout the universe in an appeal<br />
to the workers of all nations; the voice of the<br />
artist that cries, “I have created!” and the voice<br />
of the labourer that responds, “I have toiled !”<br />
Society, in the highest expression of its collective<br />
voice, should reply firmly and solemnly, “And I<br />
by law guarantee you the fruits of your labours.”<br />
The noblest duty of the jurist will be ever that<br />
of giving expression to the conscience that is<br />
moved by the most sacred of rights, the rights of<br />
labour and thought.<br />
ALFREDO ANDREOTTI.<br />
<br />
—___—_.<br />
<br />
OCCURRENCES.<br />
<br />
———+—_<br />
<br />
I.<br />
arene like poetry, must occur; to make<br />
it maliciously is highly offensive. It is a<br />
pun upon the idea; it is the garlic of<br />
literature, and a very little of it goes a long way.<br />
Il.<br />
That which yesterday we called “ personality,”<br />
we now perceive to be “stupidity.” The theo-<br />
logians used to call it “ original sin.”<br />
<br />
III.<br />
<br />
Success—V'ailure : what do these words mean ?<br />
Probably nothing. The success of a man who is<br />
doing his own things, if he deigns to use the word<br />
at all, consists in getting his things done. There<br />
his success begins and ends. The reception of his<br />
deed or work is no concern of his: that is the<br />
world’s failure or success.<br />
<br />
IV.<br />
<br />
Browning, sitting down daily after breakfast to<br />
write so many lines, believing that he was bound<br />
to do so, and that it was worth doing! That is a<br />
<br />
THE AUTHOR.<br />
<br />
pitiful spectacle : what a grotesque illusion duty<br />
can become! Browning is a proper target for<br />
criticism, for the wickedest criticism: he was not<br />
writing for a livelihood. Think of it! He had<br />
an independent income, and yet he wrote, wrote,<br />
wrote—what ? “Sordello,” “ Fifine at the Fair,”<br />
‘Prince Hohenstiel-Schwangau.” And he hypno-<br />
tised a portion of the British public into the idea<br />
that there was something in it, until in despair<br />
they formed a society with apparatus for cracking<br />
these nuts—to find them all empty.<br />
<br />
Vy.<br />
<br />
“ How can I become intelligent ?”<br />
‘“‘Tdon’t know. I think you have to be reduced<br />
to pu p, to protoplasm.”<br />
<br />
VI.<br />
<br />
Poetry should be “simple, sensuous,” &c.—<br />
Milton’s phraseology. I forget the third term,<br />
nor does it matter. These epithets describe super-<br />
ficial qualities. Poetry should be intelligent,<br />
material, profound.<br />
<br />
VII.<br />
<br />
The great drama in English history is tragic<br />
and twofold, namely, the failure of Henry VIII.’s<br />
ambition to be Emperor, and the failure of<br />
Wolsey’s ambition to be Pope. There is a might-<br />
have-been worth considering! What a Europe<br />
they would have made of it, the two most inde-<br />
pendent minds, the two most absolute people in<br />
the world! The only tragic drama comparable to<br />
it—not so great, but yet a great one—is the failure<br />
of Cesar Borgia to make the Popedom hereditary.<br />
<br />
VIII.<br />
The secret of dissimulation is never to blame<br />
what you really dislike ; because what we really<br />
dislike is always that of which we are most guilty.<br />
<br />
IX.<br />
<br />
It is the gross mental libertine who is seduced<br />
by all manner of theories and ideas ; a chaste mind<br />
marries and becomes—paterfamilias! Is that the<br />
alternative in intellectual matters : a debauchee, or<br />
a domestic animal ?<br />
<br />
XxX.<br />
<br />
Is it true that success is rooted in meanness ?<br />
Is it true that one must be very mean and hateful<br />
in one’s private relations if one is to succeed<br />
publicly ? Carlyle, Dickens, Byron, Shakespeare,<br />
all hateful as husbands. How sweet and beautiful<br />
and strong Walter Scott was! Was he? Glad-<br />
stone thought him a hard-hearted fellow.<br />
<br />
XI.<br />
<br />
Intelligence and goodwill would soon bring<br />
the world to an end. Great are stupidity ‘and<br />
malignity.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
XE.<br />
<br />
Movements are hateful things. Whenever two<br />
or more people make common cause they become<br />
rabble, entirely automatic, at the mercy of any<br />
passer who drops a penny in the slot. I have<br />
observed at close quarters a religious revival, and<br />
a Midlothian campaign, and know how hateful<br />
movements are.<br />
<br />
XII.<br />
<br />
How often it is the eunuch who writes frenzied<br />
hymns of love, the rachitic neuropath who addresses<br />
a pean to energy, the anemic dwarf who brags of<br />
his divinity.<br />
<br />
XIV.<br />
<br />
Most men begin as impersonality, but they are<br />
generally too feeble for it, the sea is so deep, the<br />
tempest so enduring: they buoy themselves up<br />
with life-belts, acquire personality by identifying<br />
themselves with some set of opinions, some creed,<br />
or social prejudice.<br />
<br />
XV.<br />
<br />
There is a profound antithesis between Literature<br />
and Religion : it closes behind ; but is continually<br />
opening up in front. They wanted to burn Mar-<br />
lowe ; now they have his bust in Canterbury. The<br />
literature of the past is Bible, the literature of<br />
to-day is Blasphemy—blasphemy that will become<br />
in its turn Bible. Literature is beyond the scope<br />
of schoolmen and clerics, and its criticism should<br />
lie in the hands of men who realise that the<br />
Anglican Church is only a minor branch of Chris-<br />
tianity, and that Christianity is only one among<br />
other religions.<br />
<br />
XVI.<br />
<br />
I have noticed that the moment one states a<br />
fact, the ink is promptly slung, “‘ Satirist ! cynic!”<br />
I have no objections: satire is pure fact ; cynicism<br />
is pure fact.<br />
<br />
JoHN DAVIDSON.<br />
<br />
——__—__+—_>_+__———__-<br />
<br />
TEMPERAMENT.<br />
<br />
—_—+—<br />
<br />
ROBABLY to a greater extent than anyone<br />
imagines is the world governed by tempera-<br />
ment. The religion which a nation embraces<br />
<br />
is due to the temperam:nt of that nation. Every<br />
man is dyed through and through by his tempera-<br />
ment. It imprints itself upon all his actions,<br />
determines them, shapes them, to the same extent<br />
that the form of a mould governs the metal which<br />
is run into it.<br />
<br />
There can be no kudos gained by the man of<br />
philosophical temperament in the mere fact that he<br />
is philosophical. It is no cumulative part of<br />
righteousness on the part of the woman possessed<br />
<br />
23<br />
<br />
of an unselfish temperament that all her actions<br />
are unselfish. Certain temperaments are a sie<br />
qua non, they mean success and are success for the<br />
fortunate possessors thereof.<br />
<br />
A soldier requires a certain temperament in<br />
order that he may become a successful leader of<br />
men. It is then born in him. He may develop<br />
into a French or into a Hunter. Quite another<br />
temperament is necessary for a parish priest.<br />
Another again for the man of business. So long<br />
as the right man finds himself fitted with the<br />
right cap, he has a chance of success.<br />
<br />
There is one temperament which stands out<br />
from the rest more or less and of which we often<br />
hear ; it is known as the artistic temperament.<br />
People are said to be “cursed”—sometimes to<br />
be “ blessed ’—in the possession of this tempera-<br />
ment. ‘hat is to say, it isa magnificent gift in<br />
the hands of the man who possesses besides it<br />
genius and opportunity, but a stumbling-block in<br />
the path of him whose talents are but mediocre and<br />
who must do battle for the sake of daily bread.<br />
Or again for her, who, without due consideration,<br />
finds herself at the head of a family, rubbed at<br />
every turn by conventionalities and ties which a<br />
narrow circle forces her to respect. It is well<br />
known and yet little understood, this artistic<br />
temperament. Very small are the allowances<br />
which are made for the men and women whose<br />
melancholy and precious heritage it is, by the prac-<br />
tical and strenuous individual of somewhat limited<br />
vision.<br />
<br />
That temperament governs men’s lives is no-<br />
where better illustrated than in the case of the<br />
christian scientist. Hus beliefs are the outcome<br />
of his temperament. The tenets of christian<br />
science happen to be such which meet with his<br />
necessities and provide him with a sanction for his<br />
conduct. But had he been endowed with a<br />
different temperament, it is doubtful, if not<br />
improbable, that he would have become a convert<br />
to a religion with which he has just happened to<br />
be in sympathy.<br />
<br />
That temperament has to account for many of<br />
life’s difficulties, mistakes and failures, lies in the<br />
fact that it seldom fits in with environment. That<br />
is to say for example, that circumstances having<br />
prevented the man who is born with the tempera-<br />
ment which would have assisted him to become a<br />
good soldier from going into the Army, he becomes<br />
a clergyman or a schoolmaster, with his heart in<br />
neither, and the remark is frequently made about<br />
him—“ that man was never intended for the<br />
church ”—*“ he has missed his vocation.”<br />
<br />
Temperaments are manifold: there is the<br />
sanguine temperament and the morbid tempera-<br />
ment, far as the poles apart. That morbid<br />
temperament embitters many a woman’s life, and<br />
<br />
<br />
24<br />
<br />
from childhood to old age she sees life through an<br />
introspective, melancholy medium which colours<br />
both her thought and action.<br />
<br />
It affects her whole life.<br />
from it.<br />
<br />
Such reflections force the inference that tempera-<br />
ment must have a large share in creating and<br />
destroying individual success and happiness.<br />
<br />
His temperament is generally his handicap to<br />
every starter in the race of life. It would often<br />
scem to give him small chance of success. Take a<br />
man of nervous, excitable temperament, thrust by<br />
money and position into standing for his county<br />
in the next election. With the labourer upon<br />
whose vote his seat depends he is entirely out of<br />
touch. He loses that seat, where a man of a more<br />
practical and solid turn of mind would have won.<br />
Yet had his lines fallen to him in a town and<br />
among an artisan class, instead of a labouring<br />
class, the chances are that his brilliance would<br />
have met with understanding and appreciation, and<br />
gained him a victory.<br />
<br />
There is said to be an eternal conflict between<br />
duty and passion. Equally there may be said to<br />
be an eternal conflict between temperament and<br />
circumstance—so seldom does the square peg find<br />
itself in the square hole, so illogical would the<br />
plans of men’s lives appear to be. Indeed, life<br />
would seem to bristle with polarites and contradic-<br />
tions, extremes which never meet, wants which are<br />
insatiable. Call to mind some individual of<br />
roving disposition, with no cat-like affection for<br />
home, of tireless energy, to whom “roughing it ”<br />
is not an evil but even possesses a certain amount<br />
of fascination, an individual born to influence<br />
masses rather than units, to range far afield and<br />
deal with life not limited by hedges and walls, nor<br />
controlled by county councils, nor hampered with<br />
social conventions—take such a man, a man of<br />
the pioneer temperament, a born pioneer, never<br />
more necessary to national prosperity than to-day<br />
—and how often is he not found obliged to live a<br />
life the exact opposite of the one for which his<br />
temperament fits him? And the worst of it is,<br />
that possessed of such a temperament an irksome<br />
life ends in a failure, and a failure because of his<br />
temperament—he is galled; he is shorn; he is<br />
spoiled.<br />
<br />
What has not temperament to answer for? So<br />
many human failures, so few human successes.<br />
Again and again we blame a man’s bringing-up,<br />
and we blame a man’s circumstances when we<br />
review the grievous mistake which his life would<br />
appear to have been. We even blame what we are<br />
pleased to call “himself ””"—it was his own fault,<br />
we repeat: whereas if instead we laid the onus<br />
upon the temperament with which it had pleased<br />
nature to burden him, it might not be the sole<br />
<br />
She never gets away<br />
<br />
THE AUTHOR.<br />
<br />
reason of his pitiful failure, but it would partly<br />
account for his non-success.<br />
<br />
It calls aloud for recognition, in these days of<br />
large demands upon nervous vitality—this question<br />
of temperament, the fact that the history of the<br />
present moment resolves itself again and again<br />
into the temperament of a nation, the temperament<br />
of an individual.<br />
<br />
It is almost a truism to assert that every book<br />
which is written bears the stamp of the tempera-<br />
ment of its author. Copy lies ready to hand on<br />
every side all the world over, and from a vast field<br />
each writer makes his own selection. That selection<br />
depends upon many things, one of which is his<br />
own temperament. And having, according to<br />
the dictates of that temperament, culled certain<br />
material for a plot out of the great garden at hand,<br />
the author proceeds to treat that plot, tincturing<br />
it through and through in the essence, once more,<br />
of his own temperament. It may not come out in<br />
each character, in the hero or the heroine, it is in<br />
the general tone of the book, a little in its con-<br />
ception, a little in its details, that the temperament<br />
of the author is to be found, stalking through<br />
the pages.<br />
<br />
From the welcome given to such books as “ The<br />
Virginian,” of which it was said, You ought to read<br />
that—an absolutely healthy book, much as though<br />
a rara avis had been discovered, it is to be inferred<br />
that the novels of the present day are not always,<br />
so to speak, sanitary. Should there be justice in<br />
such an accusation, temperament must share the<br />
blame.<br />
<br />
IsaBEL SAVORY.<br />
<br />
ee<br />
ON MAGIC MIRRORS—A QUERY.<br />
BLE SE<br />
<br />
WAS diving into an old “ Encyclopedia Brit-<br />
annica” this morning. The. volume I took<br />
down from the library shelf has well turned<br />
<br />
its eighty-first birthday ; its complexion has become<br />
just a little mellow, and it has a fine old-fashioned<br />
manner of speech. It is inclined to be more moral<br />
and didactic than is the fashion now, and it is<br />
pleasantly discursive. It lingers (in the article on<br />
“Dreams ”) to beg the reader to “ guard against<br />
hopes and fears which may detach him from his<br />
proper concerns, and unfit him for the duties of life,”<br />
and to warn him solemnly against the evils atten-<br />
dant on “a disordered body, and a polluted and<br />
disturbed mind.”<br />
<br />
“From recollecting our dreams we may learn to<br />
correct the improprieties of our conduct,” says my<br />
old friend, and the long-tailed S’s seem to lend<br />
added dignity to the Johnsonian decision of his<br />
statement. One dares not be so pert as to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 25<br />
<br />
contradict. He is fond of referring with gentle<br />
patronage to “the simplicity of the vulgar.” I<br />
cannot believe that he would approve his descen-<br />
dant’s way of bidding for popularity in the columns<br />
of the daily papers ; but in spite, nay rather because,<br />
of his little prejudices he is most excellent and<br />
human (as well as learned) company.<br />
<br />
When I set out to consult this kind and well-<br />
informed guide on one subject he buttonholes me,<br />
so that I find myself caught by the immense amount<br />
he has to say on another. It was not “ Dreams ”<br />
but dioptrics that I had intended to inquire about,<br />
and there is something arresting in the enthusiasm<br />
with which he dilates on “ The Magic Lantern.”<br />
This very remarkable machine ” which is beheld<br />
with “ pleasing admiration ” and astonishment.<br />
<br />
Now the modern magic lantern has sadly lost<br />
its magic; it has become thoroughly instructive.<br />
It has taken to throwing carefully accurate photo-<br />
graphs on a sheet in order to illustrate popular<br />
lectures on astronomy, architecture, botany,<br />
geology and what not. It has become the humble<br />
handmaid of the exact sciences, and no longer<br />
attempts to ‘‘ Produce the appearance of a phantom<br />
on a pedestal in the middle of a table,” nor beau-<br />
tiful coloured figures on a cloud of smoke, which<br />
are “so conspicuous” that the foolish spectator<br />
(who evidently partakes of the simplicity of the<br />
vulgar) “thinks he may grasp them with the<br />
hand.”<br />
<br />
I own to aslight longing to try to produce that<br />
phantom ! (the directions are temptingly explicit),<br />
but I suppose Pepper exploited him once and for<br />
all, and a spectre ceases to be interesting when you<br />
know how he is evolved.<br />
<br />
Yet still the discourse holds me. Long, long<br />
ago people loved “passing pictures.” Britomart<br />
saw her knight in a mirror. The magic mirrors<br />
of the magicians are a distinct feature, not only of<br />
medizeval but of far more ancient lore. Only the<br />
other day I heard of a lucky person who picked up<br />
an old Venetian mirror at a sale in Italy, which<br />
accomplishes a feat the secret of which baffles<br />
modern dioptricians.<br />
<br />
When you walk towards this wonderful old glass,<br />
and stretch out your hand towards it, another hand<br />
seems to come right ont of the frame to meet yours !<br />
I wish I had some acquaintance with the possessor<br />
of that wizard’s trick! I wonder if he is ever<br />
seized with a foolish desire to take his mirror out<br />
of its setting, and see how the thing is done 2<br />
<br />
And this brings me to the question I want to<br />
ask. Could not these reflected effects of light and<br />
colour which we get from magic lanterns, and of<br />
which charlatanism has often made profit, be also<br />
used to help in the reading of poetry or the telling<br />
of tales ?<br />
<br />
Of course, I know that the white sheet with its<br />
<br />
round disk of light plays a part still in children’s<br />
parties. It provides a well loved and delightful<br />
entertainment ; but surely we might do better than<br />
that !<br />
<br />
In my mind’s eye I see, not a sheet with a hard<br />
round disk, on which is thrown more or less inade-<br />
quate representations of the beautiful old fairy<br />
stories, but something far more mysterious and<br />
suggestive. A mirror set in a frame. Pictures<br />
that appear and fade like the pictures in “ Aunt<br />
Margaret’s Mirror,” that fateful mirror into which<br />
Lady Forester and her sister peeped with such<br />
tragic result.<br />
<br />
I should like to see such a mirror in a private<br />
room, where the hostess can read or chant the<br />
poems that she loves to guests who have paid no<br />
pennies! Our entertainments are apt to be a<br />
trifle too impersonal and “shoppy” at present;<br />
that is why I want the pictures to be the accom-<br />
paniments to especially chosen poems. But then<br />
they would have to be especially painted, and I<br />
fear that that might cost a small fortune! But<br />
just imagine what a charming refreshment for<br />
people who love both colour and poetry ! Would<br />
you not, some of you, like to see the reflection of<br />
Neckan singing to his harp of gold? and of the<br />
flowering staff of the hard-hearted priest ? or of<br />
but no! if I once begin to make a list of all the<br />
images I should like to call up, this silly paper will<br />
never be finished.<br />
<br />
As for the smoke pictures, they are to be partially<br />
evolved from an article familiar enough in my<br />
encyclopaedia’s youth, but rarer now! You get<br />
them out of a chafing dish. I should so very much<br />
like to see them tried ona lawn on a hot summet’s<br />
night. You have to provide a curiously-made box,<br />
and put your chafing dish, filled with glowing<br />
coals, inside it. Then you fling incense on the<br />
coals, and you throw your lovely pictures on the<br />
column of smoke which “ rises in a cloud from the<br />
aperture of the box.” My instructor says, “ It is<br />
remarkable in this representation that the motion<br />
of the smoke does not at all change the figures.”<br />
I (who know nothing whatever about dioptrics)<br />
am struck with wonder that such should be the<br />
case, but I am glad it is so !<br />
<br />
The host would have to know the poems by<br />
heart at that gathering, for no disturbing light<br />
can be allowed by which to read. Perhaps each<br />
guest should bring a pinch of imagination, which<br />
would help as much as the handful of incense, but<br />
the dullest can produce imagination on asummer’s<br />
night out of doors ; and what, oh what an ideal<br />
party that might be! If any one is inspired to<br />
attempt it next summer, I will send him all the<br />
directions for making the box, if only he will please<br />
invite me to sit on the grass and see the smoke<br />
pictures rise up.<br />
<br />
<br />
<br />
<br />
26<br />
<br />
Seriously, however, I fear that that enchanting<br />
bonfire is a little beyond the reach of the amateur’s<br />
accomplishment, though I still feel that my magic<br />
mirror could and should be managed.<br />
<br />
If one had a deep frame surrounding a polished<br />
dark surface, like enamelled wood, for example, or<br />
if one had a tight-stretched transparent surface<br />
within the frame, and if the inside measure were<br />
the exact size of the disk of light thrown by the<br />
lantern, could it be done? And, in the latter<br />
case, could the lantern be behind, not in front of<br />
the frame, so that the pictures showed through ?<br />
It is not for trickery but for beauty that one<br />
would like to press into service these visions writ<br />
in smoke and water and light. It would be so<br />
charming to have a magic mirror that should not<br />
pretend to foretell the mercifully veiled future<br />
nor be the slave of superstition and charlatanism,<br />
but should reflect the white magic of poetry, of<br />
pure fancies and beautiful images.<br />
<br />
I wonder now if any one who reads this has any<br />
knowledge of how one is to set about possessing<br />
such a mirror. Can any one put foundations to<br />
this dream? If so, I hope he will graciously<br />
impart his knowledge, and will write a far more<br />
interesting and useful létter than mine.<br />
<br />
F. F. Montresor.<br />
<br />
i<br />
<br />
FICTION IN THE MAKING.<br />
<br />
os<br />
<br />
[Reprinted from The American Critic, by kind permission<br />
of the Editor. ]<br />
I.<br />
<br />
O farther South-west than Communipaw<br />
Was it ever my fate to go,<br />
Nor Indian nor cowboy I ever saw<br />
Except with a Wild West show ;<br />
But Pll weave you a tale of the boundless plains,<br />
The gulch and the mining camp,<br />
The mountain trail and the burro trains,<br />
And ranges where wild steers stamp.<br />
It is true that I flinch at the sound of a gun—<br />
My nerves are deplorably weak ;<br />
All quarrelsome persons I carefully shun—<br />
My nature is shrinking and meek ;<br />
But the Alkali Alecks and Piute Petes<br />
Through my powder-grimed chapters shall<br />
prance :<br />
They shall shoot up the town as they dash through<br />
the streets, 2<br />
And make the pale tenderfoot dance.<br />
Oh, it’s Whoop for the bronco-buster bold !<br />
And it’s Wow for the fierce bad man !<br />
And there’s always a market for stories told<br />
On the strenuous border plan.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
II.<br />
<br />
I never have sailed on a gallant ship,<br />
And I’ve vowed that I never will,<br />
For it only requires a ferry-boat trip<br />
To make me unpleasantly ill ;<br />
But I’ll spin you a yarn of the salt, salt sea,<br />
And the storm-lashed Atlantic’s surge,<br />
Of masts by the board, and of surf a-lee<br />
That moaneth the sailorman’s dirge.<br />
I am not quite sure if the mizzen truck<br />
Is a rope or a species of sail,<br />
If the flying jib-boom with glue is stuck,<br />
Or merely held fast with a nail ;<br />
But I’ll prate you of main topgallant stay,<br />
Of capstan and crossjack lift,<br />
As I tell of a voyage to Far Cathay<br />
Or where Arctic icebergs drift.<br />
Then it’s Yo-heave-ho! and Avast below !<br />
And Shiver the binnacle light !<br />
For why ever to sea need a landsman go<br />
A nautical novel to write ?<br />
<br />
III.<br />
<br />
Tn history I was my teacher’s despair<br />
At school, and I’ve learned little since ;<br />
I forget whether Louis the Debonair<br />
Was a German or English prince ;<br />
But I'll write a romance of the Georges’ court,<br />
Of Virginia under King James,<br />
With gallants of the Philip Sidney sort,<br />
And powdered Colonial dames.<br />
Old fashions in dress I have only seen<br />
At an Arion fancy ball ;<br />
Nor royalty, saving perhaps a queen<br />
Of song in a concert hall ;<br />
But my lady shall wear a patch by her nose<br />
And a Queen Elizabeth ruff,<br />
And my lord shall swagger in peach-coloured hose,<br />
With a yard of lace on his cuff.<br />
So it’s Marry, come up; and it’s Varlet,<br />
what ho !<br />
By my halidom, sire! and Gadzooks !<br />
For of history little we need to know<br />
When making historical books.<br />
<br />
TV.<br />
<br />
I never have seen a football game,<br />
And, judging by common report,<br />
<br />
I would much rather not, for I hold it a shame<br />
To permit such a brutal sport ;<br />
<br />
But my pen shall depict the chalk-lined field<br />
Where straining young giants meet :<br />
<br />
The stone-wall centre that will not yield,<br />
And the quarter-back’s flying feet.<br />
<br />
My college career was confined to a course<br />
In one of the business kind ;<br />
<br />
For mere exhibitions of physical force,<br />
I never had muscle nor mind: ©<br />
<br />
<br />
<br />
<br />
<br />
<br />
¥<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 27<br />
<br />
But I'll give you the thunderous cheers for the<br />
Blue,<br />
Or the shouts for the Orange and Black,<br />
When some Chadwick or Poe for a touchdown goes<br />
through<br />
With a dozen men piled on his back.<br />
‘And it’s Siss—boom—ah—Princeton ! and<br />
Rah—rah—rah—Yale !<br />
And Brace on the five-yard line !<br />
For I’ve seldom known ’varsity football to<br />
fail<br />
In selling a story of mine.<br />
Ross LAWRENCE.<br />
<br />
<_< —__—_—_—_<br />
<br />
CORRESPONDENCE.<br />
<br />
og<br />
“ WHat’s In A NAME?”<br />
<br />
Srr,—Under the heading of “Legal Notes,” in<br />
your issues of June and July, Mr. E. A. Armstrong<br />
deals with the question of the right (or non-right)<br />
of an author to the title of his book.<br />
<br />
His first letter, discussing “the position of a<br />
new book with regard to a title which has been<br />
used before by another writer,” seems, when all<br />
the pros and cons are considered, to leave an im-<br />
pression on the mind that an author’s right to his<br />
book-title has about the value of an arithmetical<br />
round o, when the o stands alone. When this<br />
legal con is deducted from that legal pro, and this<br />
pro from that con, the author’s position appears<br />
to be more indefinite than the happenings of<br />
to-morrow.<br />
<br />
In the second paragraph of his first letter, Mr.<br />
Armstrong asserts :—“ The right to the name ofa<br />
book is not copyright.” Why should it not be ?<br />
The name of a bdok is the introductory sentence of<br />
that book; and why, in reason, should not the<br />
introductory sentence share legal protection with<br />
any other passage in the work? An author<br />
appropriating for his “new book” any portion of<br />
another’s registered book is indictable for infringe-<br />
ment of copyright. Why should not the law,<br />
which holds the literary purloiner liable for incor-<br />
porating in his book any passage from another’s,<br />
make him equally amenable for stealing the intro-<br />
ductory sentence? Every line should be covered<br />
by copyright from title to finis.<br />
<br />
Having asserted, ‘The right to the title of a<br />
book is not copyright,” Mr. Armstrong remarks :—<br />
“At the same time,-there is in a title a right which<br />
is capable of protection” (!). Pray, what is that<br />
right if not copyright ? Copyright is the one right<br />
known to authors as capable of protecting their<br />
works. What would be thought of the man who<br />
<br />
declared he had a right to his own person as<br />
Mr. Penman Dryasdust, but no right whatever to<br />
his christian and surname, Penman Dryasdust,<br />
Esq.? The law will protect his style and title<br />
as well as his person.<br />
<br />
“Tt is in some cases of importance to an author<br />
that it (the title of his book) should be protected.<br />
In others . . . a work which is of no value needs<br />
no protection.” This is the dictum of Mr. Arm-<br />
strong. But, who is to assess finally the value of a<br />
work ? How many books have lain dormant upon<br />
the shelves of publishers for years, before rising to<br />
centuries of fame and millenaries of circulation ?<br />
Take, for instance, Hume’s own words anent his<br />
“History of England,” before its resurrection to a<br />
life of established fame : “The book seemed to sink<br />
into oblivion ; Mr. Millar (Hume’s publisher) told<br />
me that in a twelvemonth he had sold only forty-five<br />
copies of it.”<br />
<br />
A more modern instance is that of “ Lorna<br />
Doone.” The book was quietly settling down for a<br />
long rest on its publisher’s shelves, when a happy<br />
public event aroused it to a deserved popularity.<br />
Every author knows the story of its electric burst<br />
into fame. If a book with a prior claim to the<br />
title of another book in the market, after having<br />
lain dormant for years, is awakened by public<br />
appreciation to fame and circulation, what becomes<br />
of Mr. Armstrong’s theory of cribbing a title<br />
because it was “of no value?” Would “the<br />
question have to be decided whether he (the author)<br />
is to be treated with contempt or humoured,” as<br />
Mr. Armstrong puts it? In a court of law the<br />
prior title would be certain to win a verdict upon<br />
its resurrection-claimed value. Would B.’s conten-<br />
tion that because A.’s book had no circulation<br />
when first issued it was “ of no value” be any plea<br />
for justification ? Certainly not! Take parallel<br />
cases, and judge if Mr. Armstrong’s “no value ”<br />
standard is morally or legally correct. Take<br />
house-property instead of literary property, or take<br />
house utensils. If a certain house-property would<br />
not let or sell, and was therefore supposed “of no<br />
value” to its owner, would any man have a right to<br />
alter it out of all recognition, and then claim the<br />
title-deeds 2? What would be thought by common-<br />
sense people of the morality of such an assumed<br />
right ? Because a house or a book is “of no<br />
value” in the eyes of some does that create a right<br />
for another to levant with the things of no reputed<br />
value? There are many things in one’s house<br />
of no reputed value, and if a burglar stole any one<br />
of them, he would be tried at the Old Bailey<br />
for thefc—proving that justice sets a value upon<br />
all things coming under the title of property.<br />
Since this “no value” theory cannot hold for a<br />
moment with rectitude, then, out on it for a<br />
principle of conduct !<br />
<br />
<br />
28<br />
<br />
Let me review “the legal position” of Mr.<br />
Armstrong’s A. and B. deductions from the case of<br />
the “ Oxford Bibles.” He writes: ‘‘ This, therefore,<br />
it is submitted, is the legal position: that A. must<br />
not take for his hook the name used by B. so as<br />
to have his (A.’s) book mistaken for B.’s.” What<br />
else can happen except mistaken identity and<br />
confusion when one writer takes another writer’s<br />
book-title? If A.’s title failed to sell his book,<br />
what warrant have we that the same title will<br />
“boom” B.’s work ? Then, in what lies the value<br />
of annexing another’s title? Again, has not B.<br />
a very meagre inventive faculty, when it is not<br />
fertile enough to evolve into blossom an original<br />
title for his own work? Whether is better, to<br />
brain-sweat honestly for one’s own produce, or to<br />
crib another man’s ?<br />
<br />
The inventive faculty is the fiction author’s<br />
prospecting ground, containing the original ore,<br />
which, when refined in the critical crucible of other<br />
mental faculties, presents to the world that valuable<br />
article called a book. Mr. Armstrong would con-<br />
done trespass upon this exclusively-staked prospect-<br />
ing ground or claim; notwithstanding that the<br />
owner pronounces, “ Trespassers will be prosecuted<br />
according to law.” To the lay mind the natural<br />
sequence of B.’s adopting A.’s title would induce<br />
the belief that A. was the more original writer of<br />
the two, and that B. levied for his book the ideas<br />
of A.<br />
<br />
Can Mr. Armstrong giveany instance of one author<br />
having appropriated the title of another author’s<br />
book, and that book having had an extensive sale?<br />
If this question can be answered affirmatively, then<br />
title-appropriation is of value at the expense of the<br />
original inventor, which, to say the least of it, is a<br />
very dubious title to fame or honesty. The experi-<br />
ment, according to his own admission, was<br />
attempted by Mr. Armstrong. He writes: “I<br />
have suffered from the nuisance, as I had to<br />
change the name of a novel, after it had been<br />
announced in advance, because the writer of a<br />
short story having the title I had chosen,” etc., etc.<br />
Does Mr. Armstrong mean by “suffered from the<br />
nuisance” that his book did not sell by consequence<br />
of his not having been allowed to adopt the title of<br />
another author’s work? Or does he suppose that<br />
had he been permitted to take that other’s title his<br />
book would have had a sale? This is certainly<br />
the inference from his words ; for as his work was<br />
prefaced by his own invented title, he declares,<br />
“My book is now as dead as a doornail.”’<br />
<br />
Paragraph seven in the July letter is wisdom<br />
itself, not because it upsets nearly all the pros and<br />
cons in both Mr. Armstrong’s June and July<br />
letters, but on account of its advice to authors to<br />
keep on the safe side of a law court.<br />
<br />
The Society of Authors will not be a complete<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
organisation until such time as it establishes a<br />
“ Titles’ Registration Department.”<br />
CHARLES RIcHARD PanTeR.<br />
Wickhampton.<br />
<br />
—1—> +<br />
<br />
a<br />
AUTHOR AND INCoME Tax.<br />
<br />
Sir,—It would be a matter of great interest to.<br />
your readers if Mr. Thring could advise upon the<br />
author’s income tax. Should an author count<br />
sums received for the sale of copyright and cheques.<br />
in advance of royalties as income? The stamp-<br />
ing of agreements assigning copyrights should<br />
throw a light upon the interpretation of these<br />
things as property.<br />
<br />
Yours sincerely,<br />
<br />
TAXPAYER.<br />
—-—~> +<br />
<br />
THE PUBLISHER AND THE AUTHOR.<br />
<br />
Sir,—Will you kindly allow me to ask any<br />
other author who has suffered from the overcharge<br />
of the publisher to write to me and give me details.<br />
<br />
I would like to say that I purpose to write a book<br />
under the title of “The Humour of Books and<br />
the Ways of the Publishers,” and shall-be glad to<br />
receive anything and everything that will be<br />
helpful.<br />
<br />
Yours, &c., &c.,<br />
J. P. SANDLANDS.<br />
<br />
—_——<br />
<br />
ELECTIONS AND COPYRIGHT.<br />
<br />
Srr,—I am no politician, but I am from time to.<br />
time made aware that disturbances called elections<br />
are taking place. On such occasions unknown<br />
people who want to talk call at strange hours, and<br />
the letter-box furnishes, in addition to the ordinary<br />
flood of touting advertisements, other applications<br />
apparently equally veracious, and certainly couched<br />
in similar language, informing me that the Empire<br />
will go to the dogs if I do not—or do—vote for<br />
someone of whose real opinions I know nothing.<br />
Amongst this vote-hunting tribe are evidently the<br />
gentlemen whom authors have to thank for<br />
obstructing the passing of enactments advantageous<br />
to the literary profession. Might I suggest that<br />
next time an election comes off Zhe Author should<br />
print—conspicuously and in heavy type—a black<br />
list of the names of these worthies? Votes are<br />
evidently the only things they care about ; and<br />
though authors’ votes may be few, those who labour<br />
to diminish authors’ incomes may just as well go<br />
without them.<br />
<br />
A VoTeR aND AUTHOR. | https://historysoa.com/files/original/5/498/1904-10-01-The-Author-15-1.pdf | publications, The Author |