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511	https://historysoa.com/items/show/511	The Author, Vol. 16 Issue 03 (December 1905)	<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.+16+Issue+03+%28December+1905%29"><em>The Author</em>, Vol. 16 Issue 03 (December 1905)</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>	1905-12-01-The-Author-16-3					65–96																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1905-12-01">1905-12-01</a>							3			19051201	Che Mutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. X VI.—No. 3.<br /> <br /> DECEMBER<br /> <br /> Ist, 1905. [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> <br /> —__¢—&lt;—e___<br /> <br /> NOTICES.<br /> <br /> — + &lt;4<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 /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The 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 /> Tue 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 /> —_—&lt;——_<br /> <br /> The Pension Fund of the Society.<br /> <br /> Tuer Trustees of the Pension Fund met at the<br /> Society’s Offices in April, 1905, and having gone<br /> carefully into the accounts of the fund, decided<br /> to invest a further sum. ‘They have now pur-<br /> chased £200 Egyptian Government Irrigation<br /> <br /> VoL, XVI.<br /> <br /> <br /> <br /> Trust 4 per cent. Certificates, bringing the invest-<br /> ments of the fund to the figures set out below.<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 /> Congols 25 6 ee £1000 0 0<br /> Toca ioans 2.3.2.6... ees 500 0 0<br /> Victorian Government 3 % Consoli-<br /> dated Inscribed Stock ............... 291 19 11<br /> Wear Loan... 201 9° 3<br /> London and North Western 3 % Deben-<br /> ture SlOGK 3.2.21. se 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates . : ~ 200 0 0<br /> Wl £2,443 9 2<br /> Subscriptions, 1905. £ sod:<br /> Jan. 12, Anonymous . : : : 2 6<br /> June 16, Teignmouth-Shore, the Rev.<br /> Canon. : TO<br /> <br /> July 13, Dunsany, the ‘Right Hon. the<br /> <br /> Lord . ; : 0 5 0<br /> Oct. 12, Halford, F. M. 0:5 0<br /> <br /> », Lhorbum, W. M. 010 O<br /> Nov. 9, “ Francis Daveen ” 0 5 0<br /> <br /> » &gt;», Adair, Joseph 11 20<br /> <br /> ,, 21, Thurston, Mrs. t 10<br /> <br /> Donations, 1905.<br /> <br /> Jan. Middlemas, Miss Jean 010 0<br /> Jan. Bolton, Miss Anna 0 5 0<br /> Jan. 24, Barry, Miss Fanny. 0O- bp 0<br /> Jan. 27, Bencke, Albert : 0 9 0<br /> Jan. 28, Harcourt-Roe, Mrs. 010 O<br /> Feb. 18, French-Sheldon, Mrs. 010 U0<br /> Feb. 21, Lyall, Sir Alfred, P.C. t 0.0<br /> Mar. 28, Kirmse, Mrs. 010 0<br /> April19, Hornung, HE. W. . ; ao 0<br /> May 7, Wynne, 0. Whitworth . 5 0 0<br /> May 16, Alsing, Mrs. J. E. : GO 5 0<br /> May 17, Anonymous . ; 1 1 0<br /> June 6, Drummond, Hamilton § 8 0<br />  <br /> <br /> 66<br /> <br /> July 28, Potter, the Rev. J. Hasluck 0<br /> Oct. 12, Allen, W. Bird 0<br /> Oct. 17, A. C. N. : : : 1<br /> Oct. 17, Hawtrey, Miss Valentina 0<br /> Oct. 31, Williamson, C. No : pel<br /> 1<br /> 1<br /> 0<br /> f<br /> <br /> oon<br /> <br /> Oct. 31, Williamson, Mrs. .<br /> Nov. 6, Reynolds, Mrs. Fred.<br /> Nov. 9, Wingfield, H.<br /> <br /> Noy. 17, Nash, T. A.<br /> <br /> _<br /> HOHRHRH Oo<br /> onoocoooo°e<br /> <br /> —_——————_1——_ + _<br /> <br /> COMMITTEE NOTES.<br /> <br /> —_-—<br /> <br /> N the sixth of last month, at four o’clock, at<br /> 39, Old Queen Street, S.W., the committee<br /> met together for the November meeting.<br /> <br /> They have much pleasure in reporting a very<br /> large election, numbering thirty-three members and<br /> associates, and bringing the total for the current<br /> year up to two hundred and twenty-six— within<br /> seven of the number elected during 1904. It is<br /> hoped, therefore, that, with the December elections<br /> still to be added, the number may exceed that of<br /> 1904, which was an exceptional year. The com-<br /> mittee are exceedingly pleased with the support<br /> that is increasingly given to the society and its<br /> work by the greater number of those who are<br /> engaged in the profession of writing ; but they<br /> will not be content until all writers of every<br /> denomination are included in its ranks.<br /> <br /> On the proposal of Mr. Austin Dobson, seconded<br /> by Mr. A. Hope Hawkins, Mrs. Maxwell (Miss<br /> M. E. Braddon) was elected to the Council<br /> of the Society. There is no need to discuss<br /> Miss Braddon’s title to such a position. The<br /> length and distinction of her literary career entitle<br /> her to the greatest honour which it is possible for<br /> the society to convey.<br /> <br /> After the committee had dealt with the elections,<br /> they proceeded to consider one or two cases which<br /> the secretary had placed before them.<br /> <br /> He reported that the case referring to the ex-<br /> clusive right in the use of a nom de plume had<br /> been satisfactorily settled. The infringer had<br /> withdrawn the name when his attention had been<br /> called to the matter. In another column counsel’s<br /> opinion is printed in full.<br /> <br /> The committee decided, in another case, where<br /> an author&#039;s rights had been infringed in Norway,<br /> to obtain the opinion of a Norwegian lawyer as to<br /> the exact position under the law of that country,<br /> and if such opinion favoured the author’s conten-<br /> tion, to carry the matter through the Norwegian<br /> Courts if necessary. The society is now engaged<br /> <br /> in cases in France, Germany and Norway, and it is<br /> <br /> THE AUTHOR.<br /> <br /> hoped that the result may be satisfactory in all<br /> these countries, and contribute to the respect of<br /> International Copyright.<br /> <br /> A dispute which had arisen between an author<br /> and an agent was carefully discussed, and finally,<br /> as the opinion of the society’s solicitors was<br /> opposed to the legal contention put forward by the<br /> member, the committee decided they could not<br /> take the case any further.<br /> <br /> The report of the sub-committee on copyright<br /> which had met previously, dealing with the question<br /> of the United States Copyright Law, was submitted<br /> to the committee, who decided to adopt the<br /> suggestions put before them. The committee<br /> regret they cannot, at the moment, give further<br /> details on this point.<br /> <br /> The secretary reported that he had heard from<br /> the Foreign Office with regard to Egypt and the<br /> Berne Convention, and that the matter the society<br /> had put forward would have Lord Lansdowne’s<br /> serious consideration.<br /> <br /> ——<br /> <br /> Cases.<br /> <br /> Stncr the last issue there have been in the<br /> secretary&#039;s hands nine fresh cases. In four of<br /> these the return of MSS. was claimed. Two<br /> have already been successful. The demands of the<br /> secretary have been complied with, and the MSS.<br /> returned. The other two cases have come into the<br /> secretary’s hands so recently that insufficient time<br /> has elapsed to bring about the settlement. Money<br /> due under contracts has been withheld from two of<br /> our members. In one case the money has been<br /> paid and forwarded to the author, and it is hoped<br /> that the other case may be satisfactorily terminated,<br /> though there is a possibility that the magazine may<br /> go into bankruptcy. Of three cases for accounts<br /> one has been settled. In the remaining two no<br /> answer has yet been received from the offenders.<br /> One publisher has been notoriously careless in<br /> answering letters, but the society has on former<br /> occasions been finally successful, and, no doubt,<br /> finally, will be successful in the present instance.<br /> In the other case the demand is recent.<br /> <br /> With the exception of one case in the United<br /> States, all the cases that were open when the last<br /> number of Zhe Author was issued have been<br /> settled.<br /> <br /> None of the cases in the hands of the society&#039;s<br /> solicitors, either at home or abroad, have come on<br /> for trial during the past month. The results will<br /> be duly notified in Zhe Author.<br /> <br /> &gt;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> November<br /> <br /> Adair, Joseph. :<br /> <br /> Anderson, Sir Robert,<br /> K.C.B<br /> <br /> Armour, Miss Frances J.<br /> <br /> Artus, A. Lancelot :<br /> <br /> Baker, Miss B. A. ;<br /> <br /> _Aiatchford, Robert ;<br /> <br /> ‘sy,<br /> <br /> Bryden, H. A...<br /> Colomb, George, F.S.A.<br /> Deane, Miss Mary :<br /> <br /> “Francis Daveen”’ :<br /> Hall, Leonard . :<br /> <br /> Hichens, Robert . :<br /> <br /> Lacy, F. St.<br /> A.R.A.M.<br /> <br /> John,<br /> <br /> - Lodge, Sir Oliver, F.R.S.<br /> <br /> Ludlow, Frederick (Fred.<br /> Ludlow)<br /> <br /> Maxwell, Mrs. (“«M. E.<br /> <br /> Braddon ”’)<br /> Moller, Fraulein Clara .<br /> <br /> Nash, Thomas A. . ;<br /> <br /> Ridge, W. Pett .<br /> Robins, Miss Elizabeth<br /> <br /> “ Samuel George ” :<br /> <br /> Snaith, J. C. : :<br /> Sharp, Cecil J... .<br /> <br /> Stephen, Miss A.G.<br /> Thonger, Miss M. Ellen<br /> <br /> Thurston, Mrs. . :<br /> <br /> Waddell, Lieut. - Col.<br /> L. A., C.B.<br /> <br /> Whyte, Wolmer .<br /> <br /> Wingfield, Herbert :<br /> Wingate, A. K. P. :<br /> Winchilsea and Notting-<br /> <br /> ham, The Countess of<br /> <br /> Two of those elected do not desire either their<br /> names or addresses to be printed.<br /> <br /> THE AUTHOR.<br /> <br /> Elections.<br /> Gill Foot, Egremont,<br /> Cumberland.<br /> <br /> 39, Linden Gardens, W.<br /> <br /> Blea Beck, Worcester.<br /> <br /> 11, Emperor’s Gate, S.W.<br /> <br /> 16, Alexander Square,<br /> S.W.<br /> <br /> 42, Deronda Road,<br /> Herne Hill, 8.E.<br /> <br /> Down View, Gore Park<br /> Road, Eastbourne.<br /> <br /> Junior United Service<br /> Club, 8.W.<br /> Hartley, Bourton- -on-<br /> <br /> the-Water, Glos.<br /> <br /> 121, St. James’ Street,<br /> Brighton.<br /> <br /> St. Stephen’s, near<br /> Canterbury.<br /> <br /> Savage Club, Adelphi<br /> Terrace, W.C.<br /> <br /> Mariemont, Birming-<br /> ham. ;<br /> <br /> 9, Laxey Road, Horfield,<br /> Bristol.<br /> <br /> Taubenstrasse 38, Sch-<br /> werin i. M., Germany.<br /> <br /> 60, Elm Park Gardens,<br /> S.W.<br /> <br /> Garrick Club, W.C.<br /> <br /> 24, Iverna Gardens,<br /> Kensington, W.<br /> <br /> West Bridgford, Not-<br /> tingham<br /> <br /> 183, Adelaide Road,<br /> N.W.<br /> <br /> Peniarth, Dorking.<br /> <br /> 19, Cavendish Road,<br /> Leeds.<br /> <br /> 20, Victoria<br /> Kensington, W.<br /> <br /> 61, Lissenden Mansions,<br /> Highgate Road, N.W.<br /> <br /> 34, Chapter Road, Wil-<br /> lesden Green.<br /> <br /> 64, Cannon Street, E.C.<br /> <br /> Underwood, Crieff, N.B.<br /> <br /> Harlech, Merioneth.<br /> <br /> Road,<br /> <br /> 67<br /> <br /> BOOKS PUBLISHED BY MEMBERS OF<br /> THE SOCIETY.<br /> <br /> +<br /> <br /> Cin 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 particulars. )<br /> <br /> ANTHROPOLOGY.<br /> THE SECRET OF THE TOTEM. By ANDREWLANG. 9 x 6.<br /> 215 pp. Longmans. 10s. 6d.n.<br /> ARCH AZOLOGY.<br /> THE CLYDE Mystery. By ANDREW LANG. 7? x 51.<br /> 141 pp. MacLehose. 4s. 6d. n.<br /> ART.<br /> <br /> THE TEMPLE OF ART. A Plea for the Higher Realisation<br /> of the Artistic Vocation. By E. NEWLAND SMITH.<br /> Second Edition. Revised and enlarged. 7? x 54. 151 pp.<br /> Paignton: The Order of the Golden Age. 3s. 6d. n.<br /> <br /> ARUNDEL CLUB PUBLICATIONS, 1905. 164 &lt; 12. Robert<br /> Ross, Hon. Secretary, 10, Sheffield Gardens, Kensington,<br /> W.<br /> <br /> PETER PAUL RUBENS.<br /> Great Masters in Painting and Sculpture.<br /> 138 pp. Bell. 5s. n.<br /> <br /> BIOGRAPHY.<br /> WILHELMINA, MARGRAVINE OF BAIREUTH. By EDITH<br /> <br /> By Hore REA. Bell’s Series of<br /> 8 x of<br /> <br /> E. CUTHELL. 9 x 6. 293 and 411 pp. Chapman<br /> &amp; Hall. 21s. n.<br /> <br /> MASTER WORKERS. By HAROLD BEGBIE. 9 x 5}. 306<br /> pp. Metheun. 7s, 6d. n..<br /> <br /> KATE GREENAWAY. By M. H. SPIELMANN and G. 8.<br /> LAYARD, 9.x 6%. 301 pp. Black. 20s. n.<br /> <br /> ALMOND OF LORETTO. Being the Life and a Selection<br /> from the Letters of Hely Hutchinson Almond. By R. J.<br /> MACKENZIE. 8% x 54. 408pp. Constable. 12s. 6d.n.<br /> <br /> THE ROMANCE OF WoMAN’S INFLUENCE. By ALICE<br /> CoRKRAN. 73 x 5}. 377 pp. Blackie. 6s.<br /> <br /> Mrs. FITZHERBERT AND GEORGEIV. 2 Vols. By W. H.<br /> <br /> WILKINS. 9 x 6%. 350 and 340 pp. Longmans. 36s.<br /> CAPTAIN JOHN SmitH. By A. G. BRADLEY (English Men<br /> of Action). 72 x 54. 226 pp. Macmillan. 2s. 6d.<br /> IN THE SIXTIES AND SEVENTIES. Impressions of Literary<br /> People and Others. By LAuRA HAIN FRISWELL.<br /> <br /> 9 x 53. 331 pp. Hutchinson. 16s. n.<br /> <br /> BOOKS FOR THE YOUNG.<br /> THE STOWAWAY’S Quest. By Henry CHARLES MOORE.<br /> <br /> 72 x 5}. 248 pp. Pitman. 5s.<br /> A Kyicut oF Sr. Joun. A Tale of the Siege of Malta.<br /> <br /> By Captain F. S. Brereton. 7% X 53. 384 pp.<br /> Blackie. 6s.<br /> Sir Toapy Crusor. By S. R. CROCKETT. 8} X 6}.<br /> 406 pp. Wells Gardner. 6s.<br /> His Most Dear LADYE. By BEATRICE MARSHALL.<br /> 72 x 54. 317 pp. Seeley. 5s.<br /> <br /> How THINGS Went WronG. By RAYMOND JACBERNS.<br /> <br /> 243 pp. Wells Gardner. 2s. 6d.<br /> <br /> OLD FASHIONED TALES. Selected by E,. V. LUCAS.<br /> 84 x 6. 390 pp. Wells Gardner. 63,<br /> <br /> Rounp THE WorLD. By &lt;A. R. Hops. 10} X 8.<br /> Blackie. Is.<br /> <br /> A SoupIER oF JAPAN. By Capt. F. S. BRERETON,.<br /> 74 x 5. 350 pp. Blackie. 5s.<br /> <br /> <br />  <br /> <br /> 68<br /> <br /> Mr. PuNcH’s CHILDREN’S BOOK. Edited. by E. V.<br /> <br /> Lucas. 93 x 8}. Punch Office.<br /> <br /> Tur LITTLE ONE&#039;S Book or BiBLE STORIES. By Mrs,<br /> L. HASKELL. 103 x 7}. Blackie. 2s. 6d.<br /> <br /> Micky. By EVELYN SHARP. 7} x 9. 240 pp. Mac-<br /> millan. 4s.<br /> <br /> THe LAY OF THE WEE BROWN WREN. By H. W.<br /> SHEPHEARD WALWYN. 9% x 7}. 43 pp. Longmans.<br /> 2s. 6d.<br /> <br /> FAMOUS BRITISH ADMIRALS. By ALBERT LEE. 8} x 5h.<br /> <br /> 360 pp. Melrose. 6s.<br /> <br /> TENDER AND TRUE. By L. E. TIDDEMAN. 8 x 54.<br /> 361 pp. Religious Tract Society. 3s. 6d.<br /> <br /> Tus WizaRDS or RyErown. A Fairy Tale. By A,<br /> CoNSTANCE SMEDLEY and L. A. TALBOT. 7% X 5.<br /> <br /> 265 pp. Hurst &amp; Blackett. 5s.<br /> <br /> DRAMA.<br /> WHITEWASHING JuLIA. By HENRY ARTHUR JONES.<br /> <br /> 63 x 44. 136 pp. Macmillan. 2s. 6d.<br /> King WILLIAM THE First. By ARTHUR DILLON.<br /> 245 pp. Elkin Mathews. 4s. 6d.<br /> ENGINEERING.<br /> TRANSACTIONS OF THE CIVIL AND MECHANICAL<br /> <br /> ENGINEERS’ SOCIETY. 46th Session, 1904-5. Edited<br /> by A. S. E. ACKERMANN. 8} x 53. 111 pp. Published<br /> by the Society.<br /> <br /> FICTION.<br /> <br /> THE TUNNEL Mystery. By A. W. 4 BECKETT. Geo.<br /> Routledge &amp; Sons, Ltd. 6d. :<br /> <br /> Tue DIFFICULT WAY. By MABEL DEARMER. 7} x 5.<br /> 324 pp. Smith, Elder. 6s.<br /> <br /> Witp WueEat. A Dorset Romance. By M. EH. FRANCIS.<br /> <br /> 8 x 54. 291 pp. Longmans.<br /> <br /> FRENCH NAN. By AGNES and EGERTON CASTLE.<br /> 72 x 5. 216 pp. Smith, Elder. 6s.<br /> <br /> THE UnKNowN Deprus. By Euiior O&#039;DONNELL.<br /> <br /> 7k x 5. 315 pp. Greening. 6s.<br /> <br /> THE PRoFESSOR&#039;’S LEGACY. By Mrs, ALFRED SEDGWICK.<br /> 72 x 5. 320 pp. Arnold. 63.<br /> <br /> THE Man From America. By Mrs. HENRY DE LA<br /> PASTURE. 74 x 5. 343 pp. Smith, Elder. 6s.<br /> <br /> THE MAKING OF MICHAEL. By Mrs. FRED REYNOLDS.<br /> 73 x 5. 310 pp. Allen. 6s.<br /> <br /> JAcoB AND JOHN. By WALTER RAYMOND.<br /> 430 pp. Hodder &amp; Stoughton. 6s.<br /> <br /> A SECRET OF LesomBo. By BERTRAM MITFORD.<br /> 7% x 54. 300 pp. Hurst &amp; Blackett. 6s.<br /> <br /> THe CHERRY RIBAND. By 8S. R. CROCKETT. 8 x 5.<br /> 410 pp. Hodder &amp; Stoughton.<br /> <br /> THE FLAMING SworD. BySinasK.Hockine. 7} x 53.<br /> 440 pp. Warne. 33s. 6d.<br /> <br /> ‘ue HORNED Own. By W. BouRNE CooKE. 7} x 4.<br /> 380 pp. Drane. 6s.<br /> Rep Porracr. By Mary CHOLMONDELEY. New and<br /> cheaper edition. 73 x 5. 374 pp. Arnold. 2s. 6d.<br /> Tur TRAVELLING THIRDS. By GERTRUDE ATHERTON.<br /> 74 x 5. 295 pp. Harper. 6s,<br /> <br /> A LAME Doq’s Diary. By S. MACNAUGHTAN.<br /> 253 pp. Heinemann. 6s.<br /> <br /> SOPRANO. By F. MARION CRAWFORD. 7} X 5}. 386 pp.<br /> Macmillan. 6s.<br /> <br /> Dick PENTREATH. By KATHERINE TYNAN.<br /> 344 pp. Smith, Elder, 6s.<br /> <br /> THE CLEANSING OF THE ‘“ LORDS.”<br /> 7% x 54. 303 pp. White. 6s.<br /> <br /> A MAN FROM THE SHIRES. By Mrs. JoHN TAYLOR.<br /> 7h x 5. 299pp. Gay &amp; Bird. 6s.<br /> <br /> Wuo was Lapy THUME? By FLORENCE WARDEN.<br /> 72 x 6. 320 pp. John Long. 6s.<br /> <br /> 72 x O54.<br /> <br /> 72% x 5.<br /> <br /> 7k xX 5.<br /> <br /> By H. WINTLE.<br /> <br /> THE AUTHOR.<br /> <br /> Cuirr’s END FARM AND OTHER STORIES. By FLORENCE<br /> <br /> WARDEN. 72 x 5. 318 pp. White. 6s.<br /> Car Taues. By W. L. ALDEN. Illustrated by Louis<br /> Wain. 73 x 5. 303 pp. Digby Long. 6s.<br /> <br /> HISTORY.<br /> <br /> BuURFORD PAPERS. Being Letters of Samuel Crisp to his<br /> Sister at Burford; and other Studies of a Century,<br /> 1745—1845. By W. H. Hutton, B.D., Fellow and<br /> Tutor of St. John Baptist College. 9 x 6. 336 pp.<br /> Constable. 7s. 6d, n.<br /> <br /> SOUTHERN ITALY AND SICILY AND THE RULERS OF THE<br /> SoutH. By F. Marion CrAwForp. (New Edition in<br /> One Volume). 8 X 5}. 411 pp. Macmillan. 8s. 6d. n.<br /> <br /> STUDIES FROM COURT AND CLOISTER. By J. M. STONE.<br /> 9 x 53. 379 pp. Sands. 12s. 6d. n.<br /> <br /> LITERARY.<br /> <br /> Tue Day Book oF CLAUDIUS CLEAR. By W. ROBERT-<br /> SON eae 8 x 51. 351 pp. Hodder &amp; Stoughton.<br /> 3s. 6d.<br /> <br /> Dip SHAKESPEARE WRITE “TITUS ANDRONICUS?” By<br /> J. M. RoBERTSON. 8 X 54. 255 pp. Watts. 5s. n.<br /> ON TEN PLAYS oF SHAKESPEARE. By STOPFORD A.<br /> <br /> BRooKE. 9 Xx 5. 311 pp.- Constable. 7s. 6d.n.<br /> <br /> THE New RAMBLER. From Desk to Platform. By Sir<br /> LEWIS Morris. 8 x 5}. 327 pp. Longmans. 6s. 6d.n.<br /> <br /> A BEGGAR&#039;S WALLET. Edited by ARCHIBALD STODDART<br /> <br /> WALKER. 10 x 74. 291 pp. Edinburgh and London:<br /> Dobson, Molle.<br /> 8} x 5}.<br /> <br /> EDITORIAL WILD OATS.<br /> 84 pp. Harper. 2s. n.<br /> <br /> In THE NAME OF THE BODLEIAN AND OTHER ESSAYS.<br /> By AUGUSTINE BIRRELL. 8} X 6. 214 pp. Stock.<br /> 58. D.<br /> <br /> THE FRIENDLY TowN. 377 pp. THE OPEN Roap. (New<br /> and Enlarged Edition.) 369 pp. Compiled by EK. V.<br /> Lucas. 7 x 44. Methuen. 5s. each.<br /> <br /> By Mark TWAIN.<br /> <br /> MEDICAL.<br /> <br /> MEDICINE AND THE Pusnic. By S. SQUIRE SPRIGGE,<br /> M.D. 72x 51. 293 pp. Heinemann. 63.<br /> <br /> Tue Foop FactoR IN Disease. By FRANCIS HARE,<br /> M.D. 2 Vols. 8% x 5}. 497 and 535 pp. Longmans,<br /> 30s. n.<br /> <br /> Wat Foops Frep Us. By EusTacE MILES. 7} x 43.<br /> 93 pp. Newnes. 1s. n. %<br /> <br /> MUSIC,<br /> <br /> Tur CoMPLETE COLLECTION oF IRIsH Music AS<br /> Norep BY GEORGE PxrrtE, LL.D. (1789-1866).<br /> Edited from the original manuscripts by C. VILLIERS<br /> STANFORD. 11 x 73. 397 pp. Boosey.<br /> <br /> NATURAL HISTORY.<br /> <br /> Narure’s Nursery, or Children of the Wilds. By<br /> H. W. SHEPHEARD WALWYN, F.R.Met.Soc., F.Z.8., &amp;e,<br /> 7} x 5. 352 pp. Hutchinson. 6s.<br /> <br /> ORIENTAL.<br /> <br /> INDIAN PortRY. Selections rendered into English Verse.<br /> By Romesa Durr, C.F.E. (The Temple Classics).<br /> 6x 4. 163 pp. Dent. 1s, 6d. n.<br /> <br /> PAMPHLETS.<br /> <br /> Tye RISE OF THE PAROCHIAL SYSTEM IN ENGLAND.<br /> By the Rev. 0. J. RnicHEL. Exeter: Pollard. 6d.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THER AUTHOR.<br /> <br /> POETRY.<br /> NEBULA TO MAN. By Henry R. KNIPE. 12 x 9.<br /> 251 pp. Dent. 21s. n.<br /> <br /> By C. WHITWORTH WYNNE.<br /> Kegan Paul. 7s. 6d. n.<br /> By EDEN PHILLPOTTS.<br /> Methuen. 5s, n.<br /> <br /> PoEMS AND PLAYS.<br /> 84 x 54. 410 pp.<br /> Up-ALONG AND DOWN-ALONG.<br /> <br /> 103 x 7%. 16 pp. 8 Illustrations,<br /> <br /> POLITICAL.<br /> THE FUTURE PEACE OF THE ANGLO-SAxons. By Major<br /> STEWART L. Murray. 8} x 6. 128 pp. Watts. 6d.<br /> A TROPICAL DEPENDENCY. An Outline of the Ancient<br /> History of the Western Soudan, with an Account of the<br /> Modern Settlement of Northern Nigeria. By Fiora L.<br /> <br /> SHAW (Lady Lugard). 10 x 6%. 500 pp. Nisbet.<br /> 18s, n.<br /> REPRINTS.<br /> <br /> THE LETTERS OF HORACE WALPOLE. By Mrs, PAGET<br /> TOYNBEE. In 16 Vols. Vols. 13—15. 9 x 6. 447,<br /> 448, and 456 pp. Oxford: Clarendon Press. London:<br /> Frowde. £4 n. the set.<br /> <br /> SOCIOLOGY.<br /> POVERTY AND HEREDITARY GENIUS. By F.C. CONSTABLE.<br /> $x 5. 139 pp. Fifield. 2s. n.<br /> <br /> IN THE GooD OLD Times. A Review of the Social,<br /> Industrial, and Moral Life of England during the<br /> last Century and a-Half. By J. C. WRIGHT. 9 x 53.<br /> 366 pp. Elliot Stock. 6s. n.<br /> <br /> A HIsTORY OF ENGLISH PHILANTHROPY. By B. KIRKMAN<br /> GRAY. 82 x 5}. 302 pp. P.S8. King. 7s. 6d. n.<br /> <br /> SPORT.<br /> THE SALT OF My Lire. By F. G. AFLALO. 84 x 54.<br /> 277 pp. Pitman. 7s. 6d. n.<br /> THEOLOGY.<br /> THE EVANGELIST MontHuy. Vol. for 1905. Edited by<br /> the Rev. A. WHYMPERand FLORENCE MOORE. 9? X 7}.<br /> <br /> 284 pp. Bemrose. 2s.<br /> <br /> THE GRACE OF EPISCOPACY, AND OTHER SERMONS. By<br /> H. C. BEECHING, D.Litt. 74 x 5. 254 pp. Nisbet.<br /> 3s. 6d. n.<br /> <br /> JESUS OF NAZARETH. By EDWARD CLODD. 8% x 6.<br /> 119 pp. Watts. 6d.<br /> <br /> TOPOGRAPHY.<br /> In THE MARCH AND BORDERLAND OF WALES. By A. G.<br /> BRADLEY. With Sketches of the Country. By W. M.<br /> MEREDITH. 93 x 6}. 430 pp. Constable. 10s. 6d. n.<br /> <br /> TRAVEL.<br /> IypIa oF To-pay. By WaLreR DEL Mar. 8} x 5.<br /> 288 pp. Black. 6s. n.<br /> Iv THE TRACK OF THE Moors. By SYBIL FITZGERALD.<br /> 104 x 74. 204 pp. Dent. 21s. n.<br /> THE ITALIAN LAKES DESCRIBED. By RICHARD BAGOT.<br /> Painted by Ella du Cane. 9 x 64. 201 pp. Black.<br /> <br /> 208. n.<br /> A Boon OF THE RIVIERA. By S. BARING GOULD.<br /> 7% x 51, 320 pp. Methuen. 6s.<br /> ————_+-—&lt;&gt;—_+—_______<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> <br /> ; NOTES.<br /> \ | RS. JEAN CARLYLE GRAHAM&#039;S illus-<br /> <br /> trated work on San Gimiguano has been<br /> _ delayed by the leisurely proceedings of<br /> Italian archivists. ‘Certain necessary documents of<br /> <br /> <br /> <br /> <br /> <br /> 69<br /> <br /> the quattro cento and cinque cento, which have<br /> reposed undisturbed under the dust of centuries in<br /> various Tuscan archives, are now being laboriously<br /> unearthed. Until these are copied, the book cannot<br /> be brought to a close.<br /> <br /> We understand that Mr. A. Pavitt, author of<br /> “Two Friends of Old England,” which we noticed<br /> in October, has been appointed Knight of the<br /> Legion of Honour.<br /> <br /> “The Truth about Man,” by A. Spinster, pub-<br /> lished by Messrs. Hutchinson &amp; Co. recently, has<br /> gone into a second edition. The writer of this<br /> book has, we understand, another work to follow<br /> it, in the form of a novel.<br /> <br /> H.R.H. the Princess of Wales has been<br /> pleased to accept a copy of Mr. Walter Del Mar’s<br /> “India of To-day,” which we referred to in our<br /> last issue.<br /> <br /> “ French Nan,” by Agnes and Egerton Castle,<br /> which Messrs. Smith, Elder &amp; Co. published a few<br /> weeks ago, is an eighteenth century story, telling<br /> of the conflict of hearts and wits, between a spoilt<br /> young beauty bred amid the artificialities of the<br /> Versailles Court, and her English husband, a<br /> chivairous but strong-willed country-loving squire.<br /> <br /> The same publishers have also issued Mrs. De La<br /> Pasture’s new novel entitled “The Man from<br /> America.” The scenes of the story are laid in the<br /> west country and in London, and the love interest<br /> is concerned exclusively with the courtship of men<br /> and maidens. The theme is the descent of an<br /> adventurous American upon a primitive cottage<br /> home in Devon.<br /> <br /> Messrs. Smith, Elder &amp; Co. have also published<br /> a new novel by Katherine Tynan, under the title<br /> of “Dick Pentreath.” The atmosphere of the<br /> story is that of English country life, and the<br /> personages introduced are mainly those who make<br /> up society in a very quiet and exclusive English<br /> county.<br /> <br /> Mr. F. G. Aflalo has written his reminiscences<br /> as an angler in a book which Sir Isaac Pitman &amp;<br /> Sons have published, under the title of “The Salt<br /> of My Life.” The book contains nearly fifty illus-<br /> trations from photographs of actual fishing experi-<br /> ences. The price of the volume is 7s. 6d. net.<br /> <br /> Miss Evelyn Sharp’s new book, “ Micky,” is a<br /> story of a little boy of six, who lives in an imagi-<br /> native world peopled with fairies and dragons,<br /> and beautiful princesses who are shut up in towers<br /> and are rescued by wonderful princes. Messrs.<br /> Macmillan &amp; Co. are the publishers.<br /> <br /> Messrs. Kegan Paul &amp; Co. announce the pub-<br /> lication of a collected edition of the poems and<br /> plays of Mr, C. Whitworth Wynne. About a third<br /> of the volume is new matter.<br /> <br /> “A Book of Mortals: being a Record of the<br /> Good Deeds and Qualities of what Humanity is<br />  <br /> <br /> 70<br /> <br /> pleased to call the Lower Animals,” is the title of<br /> Mrs. Flora Annie Steel’s new book which Mr.<br /> Heinemann has published. The work is a plea for<br /> the recognition of what may be called the human<br /> side of animals and their far-reaching influence upon<br /> man. Examples are taken from modern instances<br /> as well as from the myths of Hast and West.<br /> <br /> Mr. Holman Hunt’s work, “ Pre-Raphaelitism<br /> and the Pre-Raphaelite,” which is rapidly approach-<br /> ing completion, will form two volumes, which will<br /> be enriched with forty photogravure plates and<br /> many illustrations in the text. In the opening<br /> words of this work, which Messrs. Macmillan &amp; Co.<br /> will publish, Mr. Hunt opines that the time has<br /> come for a complete and final history of the<br /> reform movement which began in 1848.<br /> <br /> Mr. Elliot Stock published about the middle of<br /> November a new work by Mr. J. ©. Wright,<br /> entitled “In the Good Old Times.” Its aim is to<br /> show the changes in the social, industrial, and<br /> moral condition of England during the last century<br /> and a half, and particularly to note the achieve-<br /> ments of the later half of the nineteenth century.<br /> By numerous examples and quotations, the author<br /> seeks to prove that former days were not better<br /> than these—generally speaking were not so good—<br /> but at the same time he is disposed to look with<br /> a kindly eye on a period which was a turning<br /> point in the country’s history.<br /> <br /> “The Lay of the Wee Brown Wren,” by H. W.<br /> Shepheard-Walwyn, is a romance from bird life,<br /> in verse, with fifty-four illustrations from the<br /> author’s photographs. Messrs. Longmans &amp; Co.<br /> are the publishers.<br /> <br /> Mr. Archibald Colquhoun’s book, ‘The Africander<br /> Land,” published by Mr. John Murray, is the fruit<br /> of a visit which the writer recently paid to South<br /> Africa, and its aim is to depict, untinged by<br /> partisan bias, the present political, social, and<br /> economic state of that country.<br /> <br /> Miss Beatrice Harraden’s new story, which<br /> Messrs. Methuen &amp; Co. will publish shortly, will pro-<br /> bably be entitled “‘ The Scholar’s Daughter.” It has<br /> for its heroine the daughter of a retired bookworm.<br /> <br /> Mr. Baring Gould’s book, dealing with the<br /> Riviera, which Messrs. Methuen have also pub-<br /> lished, contains an account of the coast from<br /> Marseilles to Savona, and treats not only of its<br /> history, but of its geology and botany.<br /> <br /> Mr. J. W. Caldicott has written, and Messrs.<br /> Bemrose are publishing, an illustrated work on the<br /> values of old English silver and Sheffield plate,<br /> from the sixteenth to the nineteenth century. It<br /> is claimed that the work is a practical guide,<br /> written both for the buyer and seller. The price<br /> to subscribers is two guineas net.<br /> <br /> “A Golden Trust,” by Theo. Douglas (Mrs.<br /> H. D. Everett), which Messrs. Smith, Elder &amp; Co.<br /> <br /> THE AUTHOR.<br /> <br /> published in the early part of last month, ran as a<br /> serial through the pages of The Graphic during<br /> last summer. The scene of the story is laid partly<br /> in the home of Northumbrian wreckers, which<br /> conceals a treasure, partly in the Paris of 1792,<br /> whither the murderous designs of his kinsman<br /> drive the young hero.<br /> <br /> Mr. J. M. Lely’s Annual Edition of the Statutes<br /> of Practical Utility and Selected Statutory Rules,<br /> which was published last month (Sweet and<br /> Maxwell: Stevens &amp; Sons, 7s. 6d.), contains,<br /> in addition to the Aliens Act, the Unemployed<br /> Workmen Act, the Trade Marks Act, and nine<br /> other of the twenty-three Acts passed last session,<br /> the Education Code and Secondary School Regula-<br /> tions of the Board of Education ; the Orders,<br /> Circulars, and Regulations of the Local Govern-<br /> ment Board under the Unemployed Workmen<br /> Act, and the Licensing Rules of the Home Office,<br /> which were issued at too late a date to be included<br /> in last year’s collection.<br /> <br /> “My Pretty Jane ; or, Judy and I,” is the title<br /> of a story by Alfred Pretor, published in London<br /> by Geo. Bell &amp; Sons, and in Cambridge by<br /> Deighton, Bell &amp; Co. The work is a studied<br /> comparison of the fidelity of a dog with that of a<br /> lover. The author depicts the failure of the lover<br /> in the first test to which he is put, and contrasts it<br /> with the fidelity of the dog which ends with death.<br /> <br /> “ Up-Along and Down-Along ” ig a volume of<br /> poems of the west country, by Eden Phillpotts,<br /> which Messrs. Methuen &amp; Co. published early last<br /> month.<br /> <br /> The Strand Magazine for this month contains<br /> the opening chapters of Sir Arthur Conan Doyle’s<br /> new story “Sir Nigel.” The story which is<br /> written in the manner of “The White Company,”<br /> will be published in book form by Messrs. Smith,<br /> Elder &amp; Co.<br /> <br /> “The Stowaway’s Quest” is the title of Mr.<br /> Henry Charles Moore’s latest book for boys. It<br /> describes adventures at sea, in Matabeleland, in<br /> Barotseland, and is published by Sir Isaac Pitman<br /> &amp; Sons, Ltd.<br /> <br /> Miss Edith A. Barnett left about the middle of<br /> <br /> ast month for a trip to New Zealand and round<br /> <br /> the world. Miss Barnett, who expects to be away<br /> for ten ot twelve months, hopes to bring out a new<br /> book in the spring of 1906.<br /> <br /> The city of Prague has just done honour to an<br /> English author, by voting in its senate and council<br /> the great silver medal of merit of Prague to Mr.<br /> <br /> James Baker, author of “ The Inseparables,” &amp;¢.,<br /> <br /> “for his efficient efforts to propagate the knowledge<br /> of the kingdom of Bohemia and its capital of Prague,<br /> by means of numerous books and articles pub-<br /> lished during the last twenty years.” The medal<br /> bears on the obverse the arms of Prague and<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> i, @<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. at<br /> <br /> “Praga Caput Regni”; and on the reverse, a<br /> figure of Fame standing by the Bohemian lion,<br /> holding forth a wreath of bays, with an inscrip-<br /> tion, With the medal is an illuminated diploma<br /> on vellum, signed by Dr. Srb (the chief burgo-<br /> master) ; a covering official letter in Bohemian,<br /> with English translation, also illuminated, was sent<br /> with it.<br /> <br /> Our former secretary, Dr. Squire Sprigge, has<br /> just published a book with Mr. William Heine-<br /> mann, entitled “ Medicine and the Public.” It<br /> has for its object the evoking of a more widespread<br /> sympathy than at present exists for the difficulties<br /> which medical men undergo in the exercise of their<br /> professional duties. Dr. Sprigge adduces statistics<br /> and official information as to the distribution and<br /> qualification of doctors, points to manifold abuses<br /> in medical practice, and is never afraid to indicate<br /> the lines upon which reform should run for the<br /> public good. The fairness of the book is con-<br /> spicuous, for throughout all the recommendations<br /> for reform the popular interest is kept steadily to<br /> the fore ; it is never subordinated to the welfare of<br /> the class. Dr. Sprigge advocates various amend-<br /> ments—some of them of a drastic nature—to<br /> the existing Medical Acts. Everyone knows that<br /> Parliament will turn a deaf ear to mere professional<br /> grievances, but may be persuaded to listen to a<br /> ery for reform based upon public needs.<br /> <br /> “Somerset House, Past and Present,” is the<br /> title of a work by R. Needham and A. Webster, in<br /> which is given a continuous record of its history,<br /> from its foundation by the Lord Protector in 1547<br /> to the present day. The volume, which Mr. Fisher<br /> Unwin is publishing at the price of 21s., is illus-<br /> trated with reproductions of prints and a series of<br /> modern photographs.<br /> <br /> Part I. of “King William I.,” written by<br /> Mr. Arthur Dillon and published by Mr. Elkin<br /> Mathews, deals with the great duke’s marriage<br /> with Matilda of Flanders, and his strengthening<br /> of his power in Normandy; Part II., with his<br /> overthrow of Harold, giving the incident of Edith<br /> Swan-neck at Senlac; and concludes with his<br /> crowning as King of England ; and Part III., with<br /> his quarrel with his rebellious son Robert, his<br /> difference with his queen, and his death.<br /> <br /> Messrs. Skeffington will publish shortly a new<br /> book, entitled “The Happy Christ,” in which Mr.<br /> Harold Begbie endeavours to prove that the con-<br /> templation of Christ as a Man of Sorrows is due to<br /> the last act in the Saviour’s life, and is in direct<br /> contradiction to the life itself.<br /> <br /> The 1906 edition of ‘ Who’s Who ?” which will<br /> be published by Messrs. Black on December 8th,<br /> will contain a couple of thousand more biographies<br /> than its predecessor, and in order still further to<br /> increase the utility of the book the number of a<br /> <br /> man’s sons and daughters will be recorded, also<br /> his motor-car number, telephone number, and<br /> telegraphic address, where necessary.<br /> <br /> The other year-books published by the same<br /> firm, viz., “ Who’s Who? Year-Book,” “ English-<br /> woman’s Year-Book,” and “The Writers and<br /> Artists’ Year-Book ”—the last named just acquired<br /> by them—vwill all be published about the same time.<br /> <br /> “The Voysey Inheritance,” by H. Granville<br /> Barker, produced at the Court Theatre on<br /> November 7th, 1905, depicts the downfall of the<br /> family of an apparently respectable solicitor. He<br /> dies suddenly, and leaves as a legacy a business<br /> which he has only been able to maintain by<br /> persistent perversion of his clients’ money. The<br /> effect of this position on the various parties<br /> mainly concerned, and the discussion which it<br /> produces, form the theme of the play, which was<br /> adequately interpreted by a caste including Miss<br /> Florence Haydon, Mr. Eugene Mayeur, and<br /> Mr. Dennis Eadie.<br /> <br /> «The Temptation of Samuel Burge,” by W. W.<br /> Jacobs and Frederick Fenn, was produced at the<br /> Imperial Theatre on November 9th, in front of.<br /> “The Perfect Lover.” The main character—the<br /> converted burglar, whose peculiarities are, no<br /> doubt, familiar to all who have read the story upon<br /> which the piece is founded—was taken by Mr. A<br /> E. George.<br /> <br /> Mr. Alfred Sutro’s one-act play, “ The Correct<br /> Thing,” performed at the Shaftesbury Theatre on<br /> November 4th, is a social sketch describing the<br /> manner in which a man of the world has to<br /> disembarrass himself of the mistress of whom he<br /> tires, and whose affections threaten to interfere<br /> with his chances of social success. The caste<br /> included Miss Darragh and Mr. Nye Chart.<br /> <br /> An original satirical comedy, entitled “The<br /> Assignation,”’ will be produced at the Haymarket<br /> Theatre on December 7th, at a matinée. A pre-<br /> liminary performance of the play will be given at<br /> the Grand Stand, Ascot, at a matinée on the<br /> 4th December. The proceeds of both performances<br /> will be in aid of the Royal Waterloo Hospital.<br /> Among the distinguished performers taking part<br /> are Miss Genevieve Ward, Miss Edyth Olive,<br /> Miss Marie Illington, Mr. Gerald Du Maurier, and<br /> Miss Ethel Irving.<br /> <br /> oo ——_—_—<br /> <br /> PARIS NOTES.<br /> <br /> — +<br /> <br /> JOSE-MARIA DE HEREDIA, whose<br /> recent death is so universally deplored,<br /> had been a member of the French<br /> <br /> Academy since the year 1894. M. de Heredia’s<br /> <br /> literary celebrity was earned by his one volume of<br />  <br /> <br /> 72<br /> <br /> absolutely perfect poems, “ Les T&#039;rophées.” These<br /> poems were the result of long years of patient<br /> work, and the fame of some of the best-known ones<br /> is world-wide. “ Fuite des Centaures,” ‘‘ Les Con-<br /> quérants,” “ Soleil couchant,” “Soir de Bataille,”<br /> and “Le vieil Orfévre,” are among those which<br /> are most frequently quoted. M. de Heredia was<br /> buried in the little cemetery of Bon Secours, near<br /> Rouen. The President of the Socicté des Gens de<br /> Lettres pronounced a farewell at the grave.<br /> <br /> The following are extracts from the funeral<br /> oration :<br /> <br /> “ Messieurs, il y eut &amp; Paris un écrivain d’une<br /> production si parfaite qu’elle signifie dans un seul<br /> volume, et bien mieux qu’un amas de livres, le<br /> labeur constant de lentes et patientes années : un<br /> écrivain si passionnément épris de son art quwil put<br /> justement relever la fiere devise de Ronsard :<br /> <br /> L’honneur sans plus du verd laurier m’agrée ...<br /> <br /> “Le temps de cet écrivain était, par conséquent,<br /> précieux entre tous... . Pourtant, chaque fois<br /> qu’un inconnu frappait 4 sa porte et lui disait :<br /> ‘Maitre, j’ai mis mon effort dans ces vers, dans<br /> cette prose ; écoutez-moi, conseillez-moi,’ le grand<br /> écrivain posait sa plume, souriait au néophyte, et<br /> lui disait : ‘ Asseyez-vous et lisez. . . .’ La chose<br /> lue était-elle indifférente ? il osait le dire, mais si<br /> paternellement que la blessure était pansée aussitot<br /> que faite. Si, par contre, il devinait des promesses<br /> de talent, comme il savait, de sa voix chaude et<br /> retentissante, conforter le poste, célébrer l’ceuvre,<br /> aider A sa fortune !<br /> <br /> “ Messieurs, il y eut un tel écrivain 4 Paris. .<br /> Nous ne savons pas s&#039;il en existe un autre dune<br /> Ame aussi généreuse, maintenant que José-Maria<br /> de Heredia est mort... .<br /> <br /> “Voila pourquoi non seulement la gloire littéraire<br /> de la France est aujourd’hui en deuil par ce deuil,<br /> mais aussi, corporativement, tous les gens de<br /> lettres. Ils ont perdu un de leurs protecteurs, un<br /> de leurs guides, un de leurs parrains. Voila<br /> pourquoi aussi leur Compagnie devait étre repré-<br /> sentée ici et témoigner des rares vertus profession-<br /> nelles du Maitre que nous pleurons.”<br /> <br /> “Au Pays de lHarmonie,” by M. Georges<br /> Delbruck, is a novel written with the one aim and<br /> object of exposing a philosophical doctrine, which<br /> the author proposes later on to treat in further<br /> detail. We are taken, in this book, to a land in<br /> which the “struggle for life” is unknown, a land<br /> where all things are beautiful, where the people<br /> dwell together in perfect harmony and happiness.<br /> A traveller from modern France arrives in this<br /> wonderful country. He is a typical, up-to-date<br /> sportsman and man of the world. He has done<br /> everything, seen everything, been everywhere, and,<br /> <br /> THE AUTHOR.<br /> <br /> at the age of thirty, decides to make some great<br /> discovery or bring out some marvellous invention.<br /> His great difficulty is that in this present century<br /> nearly everything has been discovered, there are<br /> so few possibilities left for him. Finally he builds<br /> an air-ship and on his trial journey in it discovers<br /> the “Land of Harmony,” which is situated in the<br /> very centre of Africa. He finds there a race of<br /> people hundreds of years in advance of all Euro-<br /> peans in matters of science and civilisation. The<br /> watchwords of this extraordinary race are Beauty,<br /> Harmony, and Love, and the inhabitants of this<br /> wonderful country have attained to such perfection<br /> by obeying the wishes and instructions of their<br /> founder, Déon. The chapter containing these<br /> commandments is one of the finest in the book.<br /> Psychological, physiological end social problems<br /> are all treated and new laws are laid down which<br /> differ vastly from those now in vogue in many So-<br /> called civilised countries of the present day.<br /> Among the new precepts are the following : “ Ilne<br /> faut ni punir, ni pardonner, il faut guérir. Il ne<br /> faut pas critiquer, il faut créer; il ne faut pas<br /> gémir, il faut produire; il ne faut pas réver, il<br /> faut penser.” Lysias, one of the inhabitants of<br /> this country, explains that while our revolutionists<br /> have been fruitlessly endeavouring to suppress<br /> wealth, his compatriots have effectually suppressed<br /> <br /> poverty, and that while, for twenty centuries, our<br /> <br /> activity has been employed in destroying our<br /> fellow-creatures they have used their energy in<br /> creating and improving. We have been making<br /> of our earth a valley of tears, whilst they have<br /> made of their land a wonderful garden of beauty,<br /> harmony and love. Whilst we have been, and<br /> still are, grovelling in superstition and ignorance<br /> they have been climbing to the heights of ideal<br /> beauty based on science, so that their life now is<br /> glorious yet simple, whilst ours is dull, petty and<br /> complex. The book is curious and original, full<br /> of thought and ideas, and will no doubt be much<br /> discussed here on account of its daring theories<br /> and ideals.<br /> <br /> “Le Fardeau,” by Hugues Lapaire, is a study<br /> of peasant life and psychology. Weare introduced<br /> to the inhabitants of a certain country village in<br /> the centre of France. The story is very true to<br /> life; the primitive simplicity of these humble<br /> people, their independence of character, the hard,<br /> plain existence they lead, their every-day tasks,<br /> their love affairs and their sorrows—everything is<br /> touched upon with great delicacy and exactitude.<br /> The “burden” to which the book owes its title is<br /> the load on the conscience of a young peasant,<br /> Claude Jacquet, who, in his anxiety to win the<br /> woman whom in his rough way he adores, steals<br /> the savings of an old peasant woman, and then<br /> allows suspicion to rest upon an old man. The<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 73<br /> <br /> remorse and repentance are well depicted, and the<br /> whole story is well told.<br /> <br /> “ Avant l’Amour,” by Mme. Marcelle Tinayre,<br /> is another powerful novel by the author of “La<br /> Maison du Péché.” Ever since the publication of<br /> the latter book all novel readers have been<br /> anxiously awaiting another work of equal charm<br /> from the pen of the same writer. The present one<br /> is strong, but not convincing, as there is much<br /> that appears to be overdrawn.<br /> <br /> “Comment vout les Reines,” by Colette Yver, is<br /> a story dedicated to wives of politicians who,<br /> thanks to the pre-occupation of their husbands,<br /> are doomed to a life of solitude.<br /> <br /> “Ta Valeur de la Science,” by M. Poincaré, of<br /> the Institute of France, is an interesting book of<br /> scientific philosophy.<br /> <br /> Among the new novels are “‘ Les Bonshommes en<br /> Papier,” by M. Jules Perrin ; ‘“ Fumée d’Opium,”<br /> by M. Claude Farrere ; “ Les Papiers Brilés,” by<br /> M. Montégut; “Les Martyrs de Lyon,” by<br /> M. Baumann: “La Conquéte de Paris,” by<br /> M. Paul Segonzac ; “Le Précurseur” by M. Jacques<br /> Fréhel ; “‘ Les Hannetons de Paris,” by M. Georges<br /> Lecomte. Among other new books are “La<br /> Comédie Protectionniste,’ by M. Yves Guyot ;<br /> «Visite sur un Champ de Bataille,” by Maurice<br /> Barres; ‘‘ Vers lHglise Libre,” by Julien de<br /> Narfon ; “Les Noéls Frangais,” by M. Noél<br /> Hervé.<br /> <br /> The following publications are shortly expected :<br /> “Memoires de Granet,” by Ludovic Halévy ;<br /> “Coeur de Josanne,” by Marcelle Tinayre ;<br /> “ Jean d’Arc,” by Anatole France ; ‘‘ Balzac,” by<br /> M. Brunetiére.<br /> <br /> The death of Jules Oppert is a great loss to the<br /> Assyriologists—he was one of the four greatest<br /> of our times. Sir Henry Rawlinson is generally<br /> acknowledged to be the first. Fox Talbot and<br /> Hincks are the other two.<br /> <br /> We are told in a French paper that a Biblio-<br /> graphical Bureau has been founded in Rome. The<br /> idea of it is to provide savants with information<br /> they may require at the least possible expense.<br /> The Bureau will, when required, supply a réswmé<br /> of documents or manuscripts, and even send a<br /> photograph of them if necessary. The director is<br /> Professor Henri Celani.<br /> <br /> The question has been raised as to whether the<br /> yearly prize given by the Académie Goncourt can<br /> be awarded to M. Jules Huret for his book,<br /> “New York 4 San Francisco.” The objection<br /> brought forward is that this is not a work of<br /> Mmagination, but it is said that M. Octave<br /> Mirbeau is to plead in favour of M. Huret.<br /> <br /> In the Revue des Deux Mondes of November 1st,<br /> M. de Vogiié writes on “ Les Villes Hanséatiques.”<br /> <br /> Tn a recent number of the Revue de Paris, the<br /> <br /> <br /> <br /> “Lettres &amp; ma Niéce,” by Flaubert, give some<br /> te details about that author’s work and<br /> ife.<br /> <br /> In a recent number of the Revue des Deua<br /> Mondes, Alfred Fouillée writes an able article on<br /> “La Science des Mceurs.”<br /> <br /> At the Francais, M. Hervieu has read his three-<br /> act play “ Le Reveil.” MM. Donnay is now finishing<br /> his “ Paraitre,” and M. Bataille has a play to be<br /> given this season entitled “ Potiche.”<br /> <br /> “La Vieillesse de Don Juan,” by Pierre Barbier<br /> and Mounet-Sully, is not to be played at the<br /> Frangais, as was at first thought.<br /> <br /> The Comédie-Frangaise celebrated recently the<br /> twentieth anniversary of M. Jules Claretie’s<br /> administration. It is generally acknowledged that<br /> the post he holds is one of the most difficult, and<br /> that it would be almost impossible to find in France,<br /> at this moment, anyone to replace him.<br /> <br /> One of the events of the theatrical season has<br /> been the representation of “ Les Bas-Fonds,” by<br /> Gorki, at the theatre of L’Ciuvre with La Duse in<br /> the principalvéle. “La Rafale,” by Henry Bernstein,<br /> at the Gymnase, has certainly been the greatest<br /> success hitherto of this season. It is an admirably<br /> written play, and has been greatly appreciated by<br /> the public.<br /> <br /> “Tia Marche Nuptiale,” by M. Henry Bataille,<br /> has been given at the Vaudeville. It is a work<br /> that would have been more convincing probably in<br /> anovel. A young girl, of good family, elopes with<br /> her music master. She marries him and lives in<br /> Paris in poverty. She then visits one of her convent<br /> friends whose husband makes love to her and pro-<br /> poses a second elopement, upon which she commits<br /> suicide.<br /> <br /> “ Bertrade,’ by M. Jules Lemaitre, has been<br /> produced at the Renaissance, but is not a play<br /> likely to hold the bill a long time.<br /> <br /> Mme. Rejane is to have a theatre of her own,<br /> and will probably put on first a piece by M. Capus.<br /> <br /> M. Saint-Saéns has written the three acts of his<br /> opera “ L’Ancétre,” which is to be staged during<br /> the winter.<br /> <br /> For the Gaité, M. Bazin’s novel, “Les Oberlé,”<br /> has been adapted for the stage by M. Haraucourt.<br /> <br /> Other plays announced at this theatre are<br /> “T/Attentat,” by MM. Capus and Descaves, and<br /> “‘ Qhantecler,” by M. Rostand.<br /> <br /> Among the new plays to be produced at the<br /> Vaudeville are “Le Bourgeon,” by M. Georges<br /> Feydeau, and “La Cousine Bette,” by Balzac,<br /> adapted by M. Pierre Decourcelle.<br /> <br /> M. Antoine has a long list of pieces to produce,<br /> some of which are ‘“‘L’Employé du Gaz,” by M.<br /> Dieudonné ; “ Mile. Bourrat,” by M. Claude Anet,<br /> and “ Vieil Heidelberg.”<br /> <br /> Auys HaLLarp.<br /> SPANISH NOTES.<br /> <br /> + —<br /> <br /> ON BENITO GALDOS has not been idle<br /> during his so-called holiday in Cartagena,<br /> for he has worked several hours every day at<br /> <br /> the correction of the proofs of his new novel,<br /> “‘Qasandra,” which is written in the form of a<br /> dialogue, like El Abuelo” ; andthe third and last<br /> series of his “Episodios Nacionales” will appear<br /> under the title of “Prim y La de los tristes<br /> destinos.” The great author showed the genial<br /> side of his nature by his visit to the Cacharreria,<br /> which is a club for young people ; and, in con-<br /> versation with a few friends, he has enjoyed the<br /> fine sea view and the climate, which rivals that of<br /> his native spot—the Canary Isles.<br /> <br /> Senor Palaeio Valdés seems also to have<br /> mingled work with his recreation during the sum-<br /> mer and autumn months at La Hendaye in the<br /> Pyrenees, for he tells me that he is engaged on a<br /> new novel, which will be published in the early<br /> spring. The last romance of this popular novelist<br /> is entitled “La Aldea Perdida” (“The Lost<br /> Hamlet”), and it is with the pen of a true artist<br /> that he describes the transformation of village life<br /> and character, when the place falls into the hands of<br /> amining company. The author’s rank in moral<br /> philosophy, of which he is a great authority in<br /> the Atheneum at Madrid, gives particular point<br /> to the psychological side of his novels, and in<br /> “The Aldea Perdida” this grip on the characters<br /> gives an unusual interest to their evolution in the<br /> stirring events recorded.<br /> <br /> To pass from the pen to the brush—and<br /> as Valdés shows in his article on “ Art and<br /> her Schools” (which I have just translated<br /> into English), the two arts are closely related<br /> it is in the studio of Lino Iborra that one<br /> sees the high standard of modern Spanish art in<br /> the hands of a first-rate painter. The artist’s<br /> medals, and especially the Cross of Alfonso XII.,<br /> prove that his work is much appreciated. His<br /> “ Sheepfold” received high distinction at the last<br /> exhibition at Munich, and although animals are<br /> Iborra’s speciality, such figure paintings as<br /> “Rachel,” “My Daughter&#039;s Death,” “Judas<br /> Selling Jesus,” brought him renown ; whilst the<br /> picture called “ The Master is Coming,” now hung<br /> in the Exhibition of Modern Paintings in Madrid,<br /> shows a further development in the painter’s<br /> powers. The well-known Spanish novelist, Blasco<br /> <br /> <br /> <br /> Ibafiez reveals a great power as an art critic in his<br /> book called “En el pais del Arte” (“In the<br /> Country of Art”), in which he gives an erudite<br /> account of his three months’ tour in Italy. The<br /> descriptions of the masterpieces of the country are<br /> very forcible, and the interest of the book is<br /> <br /> THE AUTHOR.<br /> <br /> increased by his historical settings of his subject,<br /> and the mention he makes of the great littérateurs<br /> of the land down to Fernando de Amicis of the<br /> present day, for whom he expresses great personal<br /> admiration.<br /> <br /> The success of “ Aire de fuera,” on the boards<br /> at Madrid, shows that the author, Linares-Rivas<br /> Astray, is a first-class dramatist, for, although he<br /> treats of ordinary “high life” in the Spanish<br /> capital, it is the treatment of one who sees beneath<br /> the surface of society.<br /> <br /> The recent visit of M. Loubet to Madrid was<br /> not only the occasion of a gala evening at the<br /> theatre, a review, etc., but the French President<br /> was shown the palatial offices of the illustrated<br /> paper, Blanco y negro, with its marble staircase,<br /> frescoed reading-room and picture gallery, as well<br /> as its printing machines of the latest inventions.<br /> Moreover, as photography has made such strides<br /> in Spain, Napoleon, the expert in cinematographic<br /> views, gave an exhibition of subjects before<br /> Alfonso XIII. and his distinguished French guest,<br /> when the programme included a series of views<br /> of the Lady Warwick College at Studley Castle,<br /> during the visit of Colonel Figuerola Feretti,<br /> when he was invited to inspect this system of<br /> agricultural education. The King of Spain has<br /> lately taken a fresh step for the advance of<br /> natural science, by signing a royal decree for the<br /> establishment of a biological laboratory on the<br /> coast of Morocco, more especially for the study<br /> of the fauna and flora peculiar to those parts.<br /> Moreover, it is understood that it is at the desire<br /> of King Alfonso that the Ministry of Agriculture<br /> is about to organise a course of agricultural study<br /> for soldiers whilst in active service, so that they<br /> will be better equipped for their lives on the land<br /> when their time in the army is over.<br /> <br /> The Spaniards are certainly appreciative of<br /> clever women, for they are taking steps to erect a<br /> monument to the well-known authoress, Emilia<br /> Pardo Bazan, and various important literary<br /> centres are organising a commission to carry out<br /> the idea. Further recognition of woman’s work<br /> has been shown by Sefiora Carmen Burgos de Segiii,<br /> the foremost lady journalist in Spain, being com-<br /> missioned by the Minister of Education in Madrid<br /> to visit all the most important centres of woman’s<br /> education on the Continent, and these reports are<br /> not only made officially to her native land, but<br /> they are also published in her Spanish newspaper,<br /> El diario Universel de Madrid. The country-<br /> women of the Spanish writer are now hearing of<br /> her experiences in France ; and it will not be<br /> long before they read in the Spanish Press the<br /> impressions she will receive on woman’s work<br /> in England.<br /> <br /> RACHEL CHALLICE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ay<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> an<br /> <br /> pt<br /> <br /> <br /> <br /> THE AUTHOR. 75<br /> <br /> GERMAN LAW RESPECTING PUBLISHERS’<br /> RIGHTS AND CONTRACTS.<br /> <br /> —<br /> Section 1.<br /> FYF\HE author under agreement with the pub-<br /> [&#039; lisher relating to a work of literature or<br /> music is bound to hand over to the pub-<br /> lisher the work to be reproduced or distributed by<br /> the publisher. The publisher is bound to reproduce<br /> and distribute the work.<br /> <br /> Section 2.<br /> <br /> The author must not during the continuance of<br /> the contract reproduce or distribute the work so<br /> far as such reproduction or distribution is forbidden<br /> to a third party as long as the copyright lasts.<br /> <br /> Nevertheless the privilege of reproduction and<br /> distribution remains with the author for :<br /> <br /> 1. The translation into another language or<br /> another dialect.<br /> <br /> 2. The rendering of a story in dramatic form or<br /> a stage play in the form of a story.<br /> <br /> 3. The elaboration of a musical work, as long as<br /> it is not merely an extract, or a transposition into<br /> another key, or an arrangement for another voice<br /> (Tonart oder Stimmlage).*<br /> <br /> The author is also privileged to reproduce and<br /> distribute a work in a collected edition (Gesammt-<br /> ausgabe) when twenty years have elapsed, reckon-<br /> ing from the end of the calendar year in which<br /> the work was published.<br /> <br /> Section 3.<br /> Articles inserted in a collective work for which<br /> an author is not entitled to obtain remuneration,<br /> can be used by him elsewhere as soon as a year has<br /> <br /> elapsed, reckoning from the end of the calendar<br /> year in which they appeared.<br /> <br /> Section 4.<br /> <br /> The publisher is not entitled to make use of a<br /> single work in an edition of collected works, nor of<br /> a collective work or portions either of an edition of<br /> collected works or of a collective work for a<br /> separate edition. In so far, however, as such use<br /> of the works is free to everyone during the duration<br /> of copyright it is free to the publisher.<br /> <br /> Section 5.<br /> <br /> The publisher is only entitled to one edition.<br /> If the right of preparing several editions is granted<br /> him, then in case of doubt the same agreement<br /> holds good for every new edition as for the one<br /> above mentioned.<br /> <br /> If the number of copies is not specified then<br /> the publisher has the right of producing 1,000<br /> <br /> * German musical authorities are doubtful as to the<br /> exact legal interpretation of these two words.<br /> <br /> <br /> <br /> copies. If the publisher, before reproduction has<br /> commenced, has by agreement with the author<br /> fixed the number of the edition at less than 1,000<br /> copies, then the publisher is only entitled to pro-<br /> duce an edition of the number agreed,<br /> <br /> Section 6.<br /> <br /> The customary “extra copies” are not reckoned<br /> in the number of the edition agreed upon. The<br /> same holds good of free copies as long as their<br /> number does not exceed the twentieth part of the<br /> edition agreed upon. ‘ Extra copies” which have<br /> not been used for replacing or completing those<br /> that happen to be damaged may not be distributed<br /> by the publisher.<br /> <br /> Section 7.<br /> <br /> If the copies which the publisher has in his<br /> warehouse are destroyed he can replace them by<br /> others ; but he must first give notice to the author.<br /> <br /> Section 8.<br /> <br /> So far as the author under sections 2—7 is pledged<br /> not to reproduce and distribute and to concede<br /> reproduction and distribution to the publisher, so<br /> far is he bound to procure for the publisher the<br /> exclusive right of reproduction and publication in<br /> the absence of any agreement to the contrary in the<br /> contract.<br /> <br /> Section 9.<br /> <br /> The right of publication (Verlagsrecht) begins<br /> with the delivery of the work to the publisher, and<br /> ends with the termination of the contract.<br /> <br /> As long as the protection of the publishing con-<br /> tract demands it the publisher can put into force<br /> against the author, as well as against a third<br /> person, those privileges which are provided by the<br /> law for the protection of copyright.<br /> <br /> Section 10.<br /> <br /> The author is bound to hand the work to the<br /> publisher in a condition fit for reproduction.<br /> <br /> Section 11.<br /> <br /> If the contract with the publisher refers to a<br /> work already completed, then the work must be<br /> handed over immediately. If the work is to be<br /> produced only after the signing of the contract,<br /> the date of its delivery is to be determined by the<br /> scope of the work. If that, however, in no way<br /> determines the date, the period shall be reckoned<br /> by the time within which the author, according to<br /> his circumstances, shall be able to produce the<br /> work. Other engagements of the author are only<br /> left out of consideration in reckoning the period if<br /> the publisher at the time of signing the contract<br /> neither knew nor could know of them.<br />  <br /> <br /> 76<br /> <br /> Section 12.<br /> <br /> The author is entitled to make alterations in the<br /> work until the completion of the reproduction.<br /> Before the preparation of a new edition the pub-<br /> lisher must afford the author opportunities of<br /> revision. Alterations are permissible only to such<br /> an extent as shall not injure the just interests of<br /> the publisher. The author may have the altera-<br /> tions made by a third person.<br /> <br /> If the author, after the beginning of the repro-<br /> duction, makes alterations which exceed the ordi-<br /> nary usage, he is bound to detray the consequent<br /> expenses. He is not under an obligation to do<br /> this in a case where the circumstances necessitating<br /> the alterations have occurred since the completion<br /> of the work.<br /> <br /> Section 13.<br /> <br /> The publisher may not make abbreviations or<br /> alterations either in the work itself or in the title<br /> or in the descriptions of the author.<br /> <br /> Alterations to which the author cannot fairly<br /> and honestly refuse his consent are permissible.<br /> <br /> Section 14.<br /> <br /> The publisher is bound to reproduce and dis-<br /> tribute the work in a suitable form and in the<br /> customary manner. The form and the appearance<br /> of the copies shall be determined by the publisher<br /> in accordance with the customs of the book trade,<br /> and also with due consideration of the aim and<br /> contents of the book.<br /> <br /> Section 15.<br /> <br /> The publisher must begin the reproduction as<br /> soon as he has received the completed work. If<br /> the work appears in parts, the reproduction must<br /> begin as soon as the author has delivered a part<br /> destined to appear in the regular order.<br /> <br /> Section 16.<br /> <br /> The publisher is bound to produce the number<br /> of copies which he is entitled to produce according<br /> to the contract or according to section 5. He<br /> must take such measures in good time as will<br /> provide against the stock being sold out.<br /> <br /> Section 17.<br /> <br /> A publisher who has the right of producing a<br /> new edition, is not bound to avail himself of this<br /> right. The author can fix a time for the exercise<br /> of this right. On the termination of the time<br /> fixed the author is entitled to cancel the contract<br /> if the production has not taken place. If the<br /> publisher has refused to reproduce the author need<br /> not fix a time.<br /> <br /> Section 18.<br /> <br /> If after signing the contract the purpose which<br /> the work was to serve does not exist, the publisher<br /> can cancel the agreement. The author’s right to<br /> <br /> THE AUTHOR.<br /> <br /> remuneration remains unaltered. The same holds<br /> good when the subject of an agreement is a con-<br /> tribution to a collective work and the reproduction<br /> of the collective work does not take place.<br /> <br /> Section 19.<br /> <br /> If fresh copies of a collective work are produced<br /> then the publisher is entitled with the consent of<br /> the editor to leave out single contributions.<br /> <br /> Section 20.<br /> The publisher must provide for corrections. He<br /> must supply the author in good time with one<br /> roof for correction. The proof counts as approved<br /> if the author does not within a stated period<br /> notify the publisher of his objections.<br /> <br /> Section 21.<br /> <br /> The publisher has the right to fix the published<br /> price at which the work shall be sold in the case<br /> of every edition. He may lower the price as long<br /> as the just interests of the author are not injured<br /> thereby. For the raising of the price the consent<br /> of the author is necessary always.<br /> <br /> Section 22.<br /> <br /> The publisher is bound to pay the author the<br /> stipulated remuneration. Remuneration is to be<br /> considered as tacitly implied when the circum-<br /> stances show that it could not be expected that the<br /> work should be handed over without remuneration.<br /> <br /> Tf the amount of the remuneration is not stated,<br /> an equitable payment in money is to be regarded<br /> as agreed upop.<br /> <br /> Section 23.<br /> <br /> Remuneration is to be paid upon delivery of the<br /> work. If the amount of the remuneration is not<br /> fixed, or depends upon the dimensions of the<br /> published work, in particular upon the number of<br /> sheets, then the remuneration is due when the<br /> work appears.<br /> <br /> Section 24.<br /> <br /> When the remuneration depends upon the sale,<br /> the publisher must annually present the author<br /> with an account for the previous commercial year,<br /> and permit him to examine his books, so far as<br /> may be necessary for the verification of the account.<br /> <br /> Section 25.<br /> <br /> The publisher of a literary work is bound to<br /> send the author one free copy for every hundred<br /> copies printed; but under no circumstances less<br /> than five, or more than fifteen. He is also bound<br /> to deliver the author on his demand one proof<br /> copy. The publisher of a musical work is also<br /> bound to send the author the customary number<br /> of free copies.<br /> <br /> In the case of articles appearing in collective<br /> works separate reprints may be sent as free copies.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 77<br /> <br /> Section 26.<br /> <br /> The publisher must, at the author’s request,<br /> supply him with copies of the work which are at<br /> his disposal, at the lowest trade price.<br /> <br /> Section 27.<br /> <br /> The publisher is bound to restore the manu-<br /> script of the work to the author as soon as the<br /> work has been reproduced, provided that the<br /> author has stipulated for this return of the manu-<br /> script before the beginning of the reproduction.<br /> <br /> Section 28.<br /> <br /> In the absence of special agreement to the con-<br /> trary between the publisher and the author, the pub-<br /> lisher’s rights are assignable. But the publisher<br /> cannot, without the consent of the author, assign<br /> his rights under a contract which is only con-<br /> cluded with reference to separate works. Consent<br /> cannot be unreasonably withheld. If the pub-<br /> lisher demands a declaration from the author of<br /> his consent this is regarded as given if the author<br /> has not declared his refusal within two months<br /> after the receipt of the demand from the publisher.<br /> <br /> The reproduction and distribution of the work,<br /> which are the publisher’s duty, can be effected by<br /> his assignee. In the case when the publisher’s<br /> assignee makes himself responsible to the pub-<br /> lisher for reproduction and distribution of the<br /> work, he becomes also, together with the publisher,<br /> jointly liable to the author for the performance of<br /> all the obligations under the contract. At the<br /> same time the obligation does not extend to the<br /> payment of damages already accrued due.<br /> <br /> Section 29.<br /> <br /> If the publisher’s agreement is confined to a<br /> definite number of editions or of copies, the con-<br /> tract ceases when the editions or vopies are<br /> exhausted.<br /> <br /> The publisher is bound to inform the author, at<br /> the latter’s request, if the single edition or the<br /> specified number of copies is exhausted.<br /> <br /> If the agreement is concluded for a definite<br /> time, then at the expiration of this time the pub-<br /> lisher is not entitled to distribute the remaining<br /> copies.<br /> <br /> Section 30.<br /> <br /> If the work is not, either wholly or in part,<br /> delivered at the specified time, the publisher can,<br /> instead of insisting on his right to demand the<br /> fulfilment of his contract, fix a certain reasonable<br /> time for the delivery of the work by the author,<br /> and give notice that after the expiration of this<br /> _time he will refuse to accept the work. If, even<br /> before the date at which the work ought (in con-<br /> formity with the contract) to be delivered, it<br /> <br /> <br /> <br /> appears it will not be delivered, then the publisher<br /> may immediately mention the extension of time<br /> allowable. The period must be so calculated that<br /> it does not expire before the date originally fixed,<br /> At the expiration of this extension of time, if the<br /> work has still not been delivered, the publisher<br /> has the right to cancel the contract, but not to<br /> demand that the work shall be delivered to him.<br /> <br /> This extension of time is unnecessary when it is<br /> impossible to produce the work within the period,<br /> or when the author refuses to produce the work,<br /> or when the immediate cancellation of the agree-<br /> ment is justified by some particular interest of the<br /> publisher’s. Cancellation of the agreement is<br /> forbidden when it is clear that non-delivery of the<br /> work at the time specified causes the publisher<br /> merely an insignificant loss.<br /> <br /> These regulations do not affect the rights which<br /> belong to the publisher when the author does not<br /> deliver the work in proper time.<br /> <br /> Section 31.<br /> <br /> The regnlations of section 30 also apply when<br /> the work does not present the qualities stipulated<br /> for in the agreement.<br /> <br /> In the case where the failure is due to circum-<br /> stances under the control of the author, the pub-<br /> lisher, instead of cancelling the contract conform-<br /> able with section 30, has the right to proceed for<br /> damages for non-fulfilment of contract.<br /> <br /> Section 32.<br /> <br /> If the work has not been produced and dis-<br /> tributed in accordance with the contract, the<br /> regulations of section 30 are by analogy applicable<br /> in favour of the author.<br /> <br /> Seclion 88,<br /> <br /> If the work is accidentally destroyed after having<br /> been delivered to the publisher, the author retains<br /> his right to remuneration. In other respects the<br /> parties are released from their contract.<br /> <br /> Nevertheless the author is bound at the demand<br /> of the publisher to deliver, for a reasonable con-<br /> sideration, another work identical in its essential<br /> parts with the first, if he can re-write the work<br /> without too great difficulty, with the assistance of<br /> his preparatory notes, or of other materials. If<br /> the author offers to deliver gratuitously a similar<br /> work within a reasonable period, the publisher is<br /> bound to reproduce and distribute it in place of<br /> the work which has perished. Hither party can<br /> also claim these rights when the work, after having<br /> been delivered, has perished in consequence of an<br /> act for which the other party was responsible.<br /> The fact that the publisher has been placed in a<br /> position to accept delivery of the work is equivalent<br /> to its delivery.<br />  <br /> <br /> 78<br /> <br /> Section 34.<br /> <br /> If the author dies before he has finished the<br /> work, and a portion of the work has been delivered<br /> to the publisher, the publisher has the right to<br /> maintain his contract (so far as the part delivered<br /> is concerned) by a declaration addressed to the<br /> heirs of the author.<br /> <br /> The heir can appoint the publisher a reasonable<br /> period for the exercise of the right mentioned in<br /> the previous paragraph. This right expires if the<br /> publisher does not, before the end of this period,<br /> state his intention of maintaining his agreement.<br /> These regulations apply in like manner if the<br /> completion of the work is impossible in consequence<br /> of some other circumstance for which the author<br /> is not responsible.<br /> <br /> Section 35.<br /> <br /> Up to the beginning of the reproduction the<br /> author is entitled to withdraw from the contract<br /> if circumstances arise which could not be foreseen<br /> on the signing of the contract, and which would<br /> have stopped the author from publishing the work,<br /> after he had known the circumstances and fully<br /> considered the case. If the publisher is entitled<br /> to produce another edition, then these regulations<br /> will also apply for the new edition. If the author<br /> cancels the agreement on the grounds set forth in<br /> paragraph 1 then he is bound to remunerate the<br /> publisher for the expenses he has incurred.<br /> <br /> If he publishes the work elsewhere, in the course<br /> of a year after cancellation, then he is bound to<br /> pay damages for non-fulfilment of contract, except<br /> in the case when the author has proposed to the<br /> publisher that he should ultimately execute the<br /> agreement, and the publisher has refused this<br /> proposition.<br /> <br /> Section 36.<br /> <br /> (This section refers to the bankruptcy of a pub-<br /> lisher and the legal position of his trustee or<br /> assignee.)<br /> <br /> . Section 37.<br /> <br /> The regulations dealing with the right of<br /> cancellation of contracts under sections 346 to 356<br /> of the Civil Code apply equally by analogy to the<br /> right to cancel a publisher’s contract in sections 17,<br /> 30, 35, 36. If the motive for cancellation is a<br /> circumstance for which the other contracting party<br /> is not responsible the responsibility will be deter-<br /> mined according to the regulations relative to<br /> restitution on account of any advantage unlawfully<br /> allowed.<br /> <br /> Section 38.<br /> When the agreement is cancelled after delivery<br /> <br /> of the whole or a part of the work, then it will<br /> depend on the circumstances whether the contract<br /> <br /> THE AUTHOR.<br /> <br /> shall be held to be binding in part. It makes no<br /> difference whether the cancelling takes place in<br /> consequence of the Act, or in consequence of a<br /> clause in the contract. In case of doubt the con-<br /> tract will be binding in so far as it applies to<br /> copies which are no longer at the disposal of the<br /> publisher, to earlier portions of the work, or to<br /> editions which have already appeared.<br /> <br /> In go far as the agreement is binding, the author<br /> may claim a corresponding part of the proceeds of<br /> sale, These regulations can be applied also when<br /> the contract is cancelled in any other manner.<br /> <br /> Section 39.<br /> <br /> If agreement is made concerning a non-copyright<br /> work the author is not bound to secure to the<br /> publisher the rights of publication.<br /> <br /> Nevertheless if the author fraudulently conceals<br /> from the publisher the fact that the work has been<br /> previously published elsewhere, then by analogy<br /> the regulations of the Civil Code are applicable,<br /> which declares the vendor responsible for the<br /> non-existence of the rights transferred.<br /> <br /> The author must abstain from reproducing and<br /> distributing the work in conformity with the<br /> provisions of section 2 exactly as if a copyright<br /> existed. This restriction ceases six months after<br /> the publication of the work by the publisher.<br /> <br /> Section 40.<br /> <br /> In the case of section 39 the publisher has in<br /> common with any third person, the right to<br /> reproduce the work which he has published, either<br /> with or without alterations. This regulation does<br /> not, however, apply if according to the agreement<br /> the production of new editions or of more copies<br /> depends upon special payments.<br /> <br /> Section 41.<br /> <br /> In the absence of any regulations of sections 42<br /> to 46 to the contrary the regulations of this law<br /> are applicable when articles are accepted with a<br /> view to publishing in a newspaper, a review or any<br /> other periodical collective work.<br /> <br /> Section 42.<br /> <br /> As long as circumstances do not prove that the<br /> publisher is to receive the exclusive rights of<br /> reproduction and distribution. The author retains<br /> the right freely to dispose of his article. :<br /> <br /> After the publisher has acquired the exclusive<br /> right of reproduction and distribution of such an<br /> article, the author can freely dispose of it after the<br /> expiration of one calendar year from the date of<br /> publication. If the article is destined for a news-<br /> paper then the author has this privilege (of freely<br /> disposing) as soon as it is published.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Section 48.<br /> <br /> No restriction is laid upon the publisher respect-<br /> ing the number of copies of articles for a collective<br /> work. The regulations of section 20 Div. 1<br /> Sentence 2 do not apply.<br /> <br /> Section 44.<br /> <br /> When the article appears without the author&#039;s<br /> name, the publisher is entitled to make in the text<br /> such alterations as it is usual to make in collective<br /> works of the same description.<br /> <br /> Section 45.<br /> <br /> If the article has not been published within one<br /> year from the date of its delivery to the publisher,<br /> the author can cancel the contract. The author’s<br /> right to remuneration remains intact.<br /> <br /> A claim to reproduction and distribution of the<br /> article, or for damages on account of non-fulfil-<br /> ment, is only due to the author if the period of<br /> time in which the article should be published, has<br /> been fixed by the publisher.<br /> <br /> Section 46.<br /> <br /> If the article appears in a newspaper the author<br /> cannot claim free copies. The publisher is not<br /> bound to accord the author copies at the usual<br /> trade price.<br /> <br /> Section 47.<br /> <br /> If anyone undertakes to create a work in accor-<br /> dance with a plan which the person giving the<br /> commission describes exactly, determining both<br /> the contents of the work, and the manner in which<br /> the subject shall be treated in case of doubt, the<br /> person giving the commission is not bound to<br /> reproduce and distribute the work.<br /> <br /> The same rule applies when the work of the<br /> author consists in collaboration in the production<br /> of encyclopeedias, or in auxiliary or supplementary<br /> labours for the works of others, or for a collective<br /> work.<br /> <br /> Section 48.<br /> <br /> The provisions of this law also apply when the<br /> person who makes the contract with the publisher<br /> is not the author.<br /> <br /> Section 49.<br /> <br /> In civil actions, in which by claim or counter-<br /> claim, a right is made valid on the basis of the<br /> regulations of this law, the final appeal and<br /> decision lie within the jurisdiction of the Supreme<br /> Court of the Empire in accordance with Section 8<br /> of the law dealing with judicial organisation.<br /> <br /> Translated from the German by<br /> Go. i. 7.<br /> <br /> 19<br /> PROPERTY IN A “NOM DE PLUME,”<br /> <br /> 1<br /> COUNSEL’S OPINION.<br /> <br /> N the November number of The Author it<br /> I was stated that the committee had decided at<br /> their meeting in October to take counsel’s<br /> opinion on the question of an author’s property in<br /> a nom de plume, and, further, that as counsel’s<br /> opinion had been in favour of the member’s con-<br /> tention of her right of property, the committee of<br /> the society had decided to take the matter up.<br /> When the solicitors of the society wrote to the<br /> editor of the offending paper, he at once, on his<br /> attention being drawn to the point, frankly and<br /> courteously consented to withdraw the heading of<br /> the column which was the cause of complaint, and<br /> the matter thus terminated satisfactorily, without<br /> the necessity of any further action. For some<br /> reasons we regret that no legal decision was come<br /> to, as the point—the property that it is possible to<br /> acquire in a name—is one of great importance to<br /> all authors, whether they write under a nom de<br /> plume or not. As it is not at all unlikely that the<br /> same question may arise from time to time, the<br /> case as laid before counsel, together with his<br /> opinion on the points put forward, is printed<br /> below.<br /> CASE.<br /> <br /> Mrs. W. Desmond Humphreys is a novelist who<br /> has, during the last twenty-five years, written a<br /> large number of books under the nom de plume of<br /> “ Rita,” which has become in consequence a very<br /> well-known name amongst readers generally.<br /> <br /> Mrs. Humphreys has written some fifty-two<br /> novels under this name.<br /> <br /> A list of the chief ones will be found under the<br /> entry “ Rita,” in “ Who’s Who ?” for 1905.<br /> <br /> There can, we believe, be no doubt that the<br /> name of “Rita” is widely associated with Mrs.<br /> Humphreys’ work, that when the name is used in<br /> newspapers and elsewhere Mrs. Humphreys is the<br /> person intended to be referred to, and that it is of<br /> distinct pecuniary value in literary and journalistic<br /> circles; what may be called Mrs. Humphreys’<br /> literary “ good-will’? having become attached to it.<br /> On the other hand it is, we believe, a not uncommon<br /> name, and cannot, we think, be regarded as in any<br /> sense a “fancy ” or invented word.<br /> <br /> Mrs. Humphreys has been a good deal annoyed<br /> of late by the publication in a provincial journal<br /> of a “ children’s page,” purporting to be conducted<br /> by “ Rita.” Mrs. Humphreys says she is constantly<br /> being told that she writes in this paper—a report<br /> which is at once annoying and calculated also to<br /> injure her literary reputation, and consequently, in<br />  <br /> <br /> 80<br /> <br /> the long run, her pecuniary results also, which ulti-<br /> mately depend largely upon that reputation. The<br /> question arises, whether Mrs. Humphreys can in<br /> any way prevent this annoyance and the use of her<br /> name ?<br /> <br /> The answer to this question depends, we<br /> suppose, upon the same principles as those which<br /> have been applied in the case of trade names<br /> generally, though there are some practical differ-<br /> ences in applying those principles to the profession<br /> of authorship. We suggest that if an author<br /> writes and acquires a reputation under an invented<br /> and fancy name he would be able to protect<br /> himself against the use of that name unfairly by<br /> other authors. Further, we submit that the fact<br /> of an author using a name already known does not<br /> alter his rights, save, of course, that no other person<br /> could we suppose be prohibited from writing under<br /> his own name. Upon these principles we should<br /> suggest that if any other person published a novel<br /> simply as by “ Rita,” as she could easily distinguish<br /> her work by adding her surname, according to the<br /> ordinary practice, she would equally be restrained<br /> from using the word “ Rita” alone. As regards<br /> this user in a newspaper, the question presents<br /> perhaps rather greater difficulty, but Mrs.<br /> Humphreys has, for the last ten years, constantly<br /> written under the name “Rita” in a_ large<br /> number of newspapers, and her name is well<br /> known.<br /> <br /> Tt is, no doubt, the usual practice to write<br /> “children’s pages” in newspapers under some<br /> fancy or other name than that of the person<br /> writing. The full name of the writer is seldom<br /> ised. Some name is chosen, either the writer’s<br /> own, or more commonly some other. ‘The name<br /> in this case is, we expect, so far as the author of<br /> the page is concerned, a fancy name, and if so,<br /> why have chosen “ Rita” ?<br /> <br /> There may have been no intention to mislead<br /> anyone, but we take it an innocent intention is not<br /> sufficient.<br /> <br /> The question is, have Mrs. Humphreys’ rights<br /> in the name of “ Rita” been infringed in fact ?<br /> Mrs. Humphreys is as well known as a journalist<br /> under the name “ Rita” as a novelist, so that the<br /> fact of the name being used for newspaper work<br /> as distinguished from novels could not be made<br /> use of, We suggest, therefore, that in this case<br /> also Mrs. Humphreys would have a remedy by<br /> injunction to prevent this writer from trading on<br /> «“ Rita’s” literary reputation.<br /> <br /> Counsel is desired to advise Mrs. Humphreys :<br /> <br /> 1. Whether she can restrain the writer in the<br /> provincial journal from conducting the “ children’s<br /> page” under the name “ Rita,” and the proprietors<br /> from permitting such user ; or whether she has any<br /> other and what remedy in the matter ?<br /> <br /> THE AUTHOR.<br /> <br /> 2. Whether, if another writer published a novel<br /> in ordinary book form, under the name of “ Rita,”<br /> he could be restrained from such user of the name ?<br /> <br /> 3. Generally, whether Mrs. Humphreys has<br /> acquired any and what rights in the name “ Rita?”<br /> <br /> OPINION.<br /> <br /> In my opinion, where an author has gained a<br /> reputation for his works, and has become known to<br /> the public under a nom de plume as the writer of<br /> such works, he has the right to prevent any other<br /> person from holding out to the world that such<br /> author is the writer of literary matter which he<br /> never wrote. If it were otherwise, writers of<br /> inferior merit would be able to put their composi-<br /> tions before the public under the names of writers<br /> of high standing and authority, and thereby per-<br /> petuate a fraud, not only on the writer whose<br /> name is used, but also on the public. ;<br /> <br /> I further think that the principles which govern<br /> cases of trade names generally are applicable to<br /> this case.<br /> <br /> The law on the subject is very pithily put by Lord<br /> Halsbury, L.C., in Reddaway v. Banham ( [1896]<br /> A. C., p. 204), where he says, * The principle of<br /> law may be very plainly stated, and that is, that<br /> nobody has any right to represent his goods as the<br /> goods of somebody else.” In Lord Byron v. John-<br /> stone (2 Merivale, 29) the defendant was restrained<br /> from advertising for sale certain poems, which he<br /> represented by the advertisement to be the work<br /> of Lord Byron when such was not the case. In<br /> Besant v. Moffat and Paige (84 L. T. Journal, 152),<br /> upon an application for an interim injunction, it<br /> was held that the publisher was wrong in repre-<br /> senting that a book was written by Sir Walter<br /> Besant when it had not been written by him, but<br /> upon the defendant undertaking to block out the<br /> words objected to no order was made on the<br /> motion.<br /> <br /> In view of these cases, and the case of Metzler v.<br /> Wood (L. R. 8 ©. D. 606), I think it is clear that<br /> if Mrs. Humphreys had written her books and<br /> articles in her own name, she would be entitled to<br /> restrain anyone else from using her name, as the<br /> writer of works which were not hers, in such a<br /> manner as would be calculated to deceive persons<br /> into the belief that they were Mrs. Humphreys’<br /> works.<br /> <br /> T have not been able to find any English case<br /> where the writer has used a “nom de plume,” but<br /> in my opinion the user would not alter the prin-<br /> ciples to be applied.<br /> <br /> There are, however, two American cases upon<br /> the subject, viz., Clemens v. Such (Sebastian’s<br /> Digest, 429) and Clemens v. Belford (11 Biss. 459).<br /> In the first case it was held that the plaintiff,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 81<br /> <br /> whose works were published under the “nom de<br /> plume” of Mark Twain, was entitled to restrain<br /> the unauthorised use of that name by another<br /> person.<br /> <br /> In the second case, it was held that an author<br /> who is known to the public under a “nom de<br /> plume” has the right to prevent the publication<br /> of matter which he did not write, in connection<br /> with his “nom de plume” and purporting to be<br /> written by him.<br /> <br /> Of course, the American decisions are not binding<br /> on the English courts, but in my view they were<br /> correctly decided in accordance with the principles<br /> of English law.<br /> <br /> In all cases of this description the plain-<br /> tiff must, of course, show that deception is<br /> probable, but in the present I do not think the<br /> Court would have much difficulty in arriving at<br /> such a conclusion. The Judge, however, cannot<br /> act on the mere view, but he must be satisfied by<br /> independent evidence that there is at least a<br /> reasonable probability of deception (London General<br /> Omnibus Co. v. Lavell [1901] 1 Ch. 185). There<br /> ought to be no difficulty in getting this evidence,<br /> as | understand from my instructions that Mrs.<br /> Humphreys is being constantly told that she<br /> writes for the provincial journal. I think it is<br /> immaterial whether or not the writer in the pro-<br /> vincial journal used the name fraudulently (see Worth<br /> Cheshire and Manchester Brewery Co. v. Manchester<br /> Brewery Co. [1899] A. C. 83), although if it should<br /> be proved that the writer has assumed the name of<br /> “Rita,” it would be almost sufficient evidence of<br /> fraud if taken alone (see per Turner, L.J., in Burgess<br /> v. Burgess, 3 De G. M. &amp; G. 896).<br /> <br /> Assuming that the facts which I have indicated<br /> above can be proved, I am of opinion that :<br /> <br /> 1. Mrs. Humphreys can restrain the writer in the<br /> provincial paper from conducting the “ children’s<br /> page,” under the name of “ Rita,” and the pro-<br /> prietors from permitting such user.<br /> <br /> She is also entitled to damages, but most<br /> probably they would be only nominal, as it would<br /> be very difficult to prove any specific damage.<br /> <br /> 2 and 3. Mrs. Humphreys can restrain any<br /> person from using the nom de plume of “ Rita”<br /> to any literary work, which has not been written<br /> by Mrs. Humphreys, in any manner as is calculated<br /> to deceive persons into the belief that it is the work<br /> of Mrs. Humphreys.<br /> <br /> Lastly, before taking any proceedings against<br /> either the writer in the provincial journal or the<br /> proprietors thereof, a letter should be written<br /> asking them to discontinue the use of the name<br /> * Rita.”<br /> <br /> W. OuiverR Hones.<br /> 1, King’s Bench Walk,<br /> Temple, E.C.<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> od<br /> <br /> BOOKMAN.<br /> Geo. Macdonald. By James Moffatt.<br /> <br /> Book MONTHLY.<br /> <br /> The Modern Novel. By Hubert Bland.<br /> A Literary Peer.<br /> <br /> CHAMBERS’ JOURNAL.<br /> With Coleridge at Samuel Rogers’. By Robert McClure.<br /> <br /> CONTEMPORARY REVIEW.<br /> The Narratives of the Resurrection, By G. Margoliouth.<br /> Old and New Lights on Shakespeare’s “ Hamlet.” By<br /> Prof. Churton Collins.<br /> Humanism asa Religion. By R. Christie.<br /> <br /> CORNHILL.<br /> The Creation of the British Museum. By Sir E. Maunde<br /> Thompson, K.C.B.<br /> A Book of Martyrs. By Dora Greenwell McChesney.<br /> <br /> FORTNIGHTLY REVIEW.<br /> <br /> Geo. Farquhar. By. Wm. Archer.<br /> <br /> Sir Oliver Lodge on Religion and Science. By W. H.<br /> Mallock.<br /> <br /> A Classic of the Chase. By E. H. Lacon Watson.<br /> <br /> Life and Literature in France. By W. Lawler Wilson.<br /> <br /> Henry Irving: A Personal Reminiscence. By TE, 8:<br /> Escott.<br /> <br /> INDEPENDENT REVIEW.<br /> Charles Lamb. By Herbert Paul.<br /> <br /> MACMILLAN’S MAGAZINE,<br /> <br /> Matthew Arnold as a Social Reformer. By H. H.<br /> Dodwell.<br /> MONTHLY REVIEW.<br /> Charles Lamb. By Arthur Symons.<br /> Living Legends of the Saints. By Lady Gregory.<br /> Society Journalism. By Stephen Stapleton.<br /> <br /> NATIONAL REVIEW.<br /> Arisoto. By W. J. Courthorpe, C.B.<br /> Some Public Aspects of “The Times” Book Club, By<br /> Hugh Chisholm,<br /> <br /> NINETEENTH CENTURY.<br /> <br /> Latin for Girls. By Stephen Paget.<br /> The Deans and the Athanasian Creed. By The Very<br /> Rev. The Dean of Winchester.<br /> The Gaelic League. By The Countess Dowager of<br /> Desart.<br /> PALL MALL MAGAZINE.<br /> Thomas Hardy and The Land of Wessex. By Clive<br /> <br /> Holland. : d<br /> The Romance of a French Artist: Felix Ziem. By<br /> <br /> Frederic Lees.<br /> Lord Acton’s List of Books. By Lord Avebury,<br /> <br /> TEMPLE BAR.<br /> Some Recent Tragedy. By A. Balliol.<br /> <br /> WorLp’s WORK.<br /> The Education of an Artist. By GC. Lewis Hind,<br /> <br /> (There are no articles dealing with Literary, Dramatic,<br /> or Musical Subjects in Blackwood’s Magazine or The<br /> <br /> Month.)<br /> 82<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<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 a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <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 /> duetion 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 /> (8.) 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 is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author,<br /> <br /> IV. A Commission Agreement.<br /> <br /> The main points are :-— :<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 combimations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author.<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> —————_1—__+—__—_<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> oe :<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> : “petent legal authority.<br /> 2. {t is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters 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 /> gross receipts. Percentages vary between 6<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.&lt;¢., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (6.) apply<br /> also in this case.<br /> <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. ‘They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> <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 /> ++ __<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> —_-—&gt; +<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 /> <br /> property. The musical composer has very often the two —<br /> <br /> rights to deal with—performing right and copyright, He<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> +e<br /> ec<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 83<br /> <br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> 9<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> a<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&#039;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 ordinarysolicitors. 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 /> aah without the advice of the Secretary of the Society.<br /> <br /> embers are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> <br /> This<br /> The<br /> <br /> 8. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members,<br /> <br /> 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 £1 1s. per<br /> annum, or £10 10s for life membership.<br /> <br /> <br /> <br /> TO MUSICAL COMPOSERS.<br /> <br /> =o<br /> <br /> Gee: Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or<br /> part of 100. The members’ stamps are kept in the<br /> Society’s safe. The musical publishers communicate direct<br /> with the Secretary, and the voucher is then forwarded to<br /> the members, who are thus saved much unnecessary trouble.<br /> <br /> ——_—— +o —_<br /> <br /> THE READING BRANCH.<br /> <br /> ee ee oe<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 /> <br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> <br /> fee is one guinea.<br /> —_—————_.—&gt;—_e_____<br /> <br /> NOTICES.<br /> <br /> — ++ —<br /> <br /> HE Editor of The 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 “ The Author” should be addressed<br /> to the Offices of the Society, 39, Old Queen Street, Storey’s<br /> Gate, S.W., and should reach the Editor not later than the<br /> 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 /> 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 /> ges<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 /> a<br /> <br /> LEGAL AND GENERAL LIFE ASSURANCE<br /> SOCIETY.<br /> <br /> 1<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 /> AUTHORITIES.<br /> <br /> —_——<br /> <br /> E must congratulate Sir George Darwin on<br /> receiving the Birthday honour of K.C.B.<br /> ‘he son of a distinguished father, he has<br /> followed in his father’s footsteps as @ man of science.<br /> He was Second Wrangler and Smith’s Prizeman<br /> in 1868 at Cambridge, and was elected a Fellow of<br /> Trinity College in the following year. This year,<br /> everyone will remember, he was President of the<br /> British Association, and in South Africa opened<br /> the bridge over the Falls of the Zambesi.<br /> His writings on scientific subjects are well<br /> known, but too numerous to recount in detail.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Iv is constantly argued that the success of adver-<br /> tisement depends upon its persistence ; that after<br /> a certain amount of repeated advertisement the<br /> mind receives the obsession of a certain idea and<br /> yields to this obsession.<br /> <br /> It is essential from time to time to apply this<br /> principle in The Author, and to repeat the faults<br /> of various methods of dealing with literary pro-<br /> perty suggested by publishers, editors, and agents,<br /> so that, finally, members may be convinced of the<br /> points to be avoided. This repetition—from our<br /> point of view completely satisfactory—has, how-<br /> ever, its drawbacks. For those authors who are<br /> capable of managing their own business satisfac-<br /> torily, or whose position is such that they are not<br /> over careful about driving hard bargains, some-<br /> times come to the conclusion that the Society of<br /> Authors is the embittered enemy of all publishers.<br /> It is needless to repeat, what has been repeated so<br /> often, that the society is nothin of the kind.<br /> <br /> Only the other day a certain ell known author,<br /> on being asked to join the society, refused to do<br /> so for the reason already mentioned. If the accu-<br /> sation were true—which we deny—there would<br /> still remain many reasons why the author, however<br /> successful, and however little he might need the<br /> help of the society in the conduct of his own special<br /> business, should still become a member. He<br /> benefits indirectly, and he has no right to live or<br /> to gain part of his livelihood from the guineas of<br /> his more gregarious fellow writers. It is possible<br /> he might deny the position, but he should remember<br /> that every effort made by the society to obtain<br /> better copyright laws in Great Britain, her colonies<br /> and dependencies, in the United States, and in the<br /> direction of international legislation, or to obtain<br /> a wider protection by agitation for the adhesion of<br /> other countries to the Berne Convention, increases<br /> the value of his property. This applies to the case<br /> of an author of established position more than to<br /> the case of a beginner.<br /> <br /> It is needless also to mention that the committee<br /> <br /> THE AUTHOR.<br /> <br /> of the society have all these points before them,<br /> and are constantly moving in one direction or<br /> another to increase and to protect the value of<br /> literary property.<br /> <br /> Tt is for reasons such as these, then, that every<br /> writer should join the society. The guinea paid<br /> is not in charity—it is paid to an insurance<br /> company.<br /> <br /> In this month’s issue we print the German Law ~<br /> <br /> of Publishers’ Contracts. In the July, 1905,<br /> number we printed the German Law of Copy-<br /> right. These two translations cover the Acts<br /> dealing with literary property in Germany, and<br /> deserve the careful consideration of members of<br /> the society. The former law, that of publishers’<br /> contracts, is a most interesting document, showing<br /> with what minute preciseness legislation is carried<br /> in the Fatherland. We may fairly say that it<br /> would be impossible for such a law to pass through<br /> the Parliament of Great Britain. However, it is<br /> an exceedingly instructive document, and a studied<br /> perusal will enable the author to obtain many<br /> suggestions of clauses and terms to be embodied in<br /> contracts with publishers.<br /> <br /> There are some points, however, which would<br /> appear almost superfluous. For instance, in<br /> Section 1, “1f there is an agreement between<br /> the author and the publisher to publish a work,<br /> the author undertakes to deliver the work and the<br /> publisher undertakes to reproduce and distribute<br /> it.” Again, in Section 29, “if the agreement<br /> with the publisher is restricted to a definite<br /> number of editions the relationship of the con-<br /> tracting parties ceases when the editions or copies<br /> are exhausted.” There are other examples of<br /> what would appear to be self-evident platitudes.<br /> <br /> Of the clauses containing useful hints to authors<br /> we should like to draw attention to clause 5.<br /> “In the absence of agreement the publisher is<br /> only entitled to produce one edition limited to<br /> 1,000 copies.” Again, in clause 8 (a hint for<br /> publishers) in the absence of any stipulation to<br /> the contrary the author must secure to the pub-<br /> lisher the exclusive right of reproduction and<br /> distribution.<br /> <br /> In clause 12, again, there are some curious<br /> points which refer to the alterations allowed to<br /> authors, In clause 23 payment to the author<br /> becomes due on delivery of the work to the pub-<br /> lisher—a most important point often overlooked<br /> in English contracts. We do not desire to go<br /> through the law clause by clause, but leave to<br /> members of the society the full consideration, as<br /> the study will afford them many useful ideas as<br /> to the manner of dealing with their literary<br /> <br /> property.<br /> <br /> <br /> <br /> 6<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 85<br /> <br /> THE PENSION FUND CO MMITTEE.<br /> <br /> 1<br /> <br /> N order to give members of the society, should<br /> I they desire to appoint a fresh member to the<br /> Pension Fund Committee, full time to act,<br /> it has been thought advisable to place in Zhe Author<br /> a complete statement of the method of election<br /> under the scheme for administration of the Pension<br /> Fund. Under that scheme the committee is com-<br /> posed of three members elected by the committee<br /> of the society, three members elected by the society<br /> at the general meeting, and the chairman of the<br /> society for the time being, ex-officio. The three<br /> members elected at the general meeting when the<br /> fund was started were Mr. Morley Roberts, Mr.<br /> M. H. Spielmann, and Mrs. Alec ‘Tweedie. These<br /> have in turn during the past three years resigned,<br /> and, submitting their names for re-election, have<br /> been unanimously re-elected. This year Mr.<br /> Morley Roberts again, under the rules of the<br /> scheme, tenders his resignation and submits his<br /> name forre-election. The members have power to<br /> put forward other names under clause 9, which<br /> runs as follows :—<br /> <br /> Any candidate for election to the Pension Fund Com-<br /> mittee by the members of the society (not being a retiring<br /> member of such committee) shall be nominated in writing<br /> to the secretary at least three weeks prior to the general<br /> meeting at which such candidate is to be proposed, and the<br /> nomination of each such candidate shall be subscribed by<br /> at least three members of the society. A list of the names<br /> of the candidates so nominated shall be sent to the members<br /> of the society, with the annual report of the Managing<br /> Committee, and those candidates obtaining the most votes<br /> at the general meeting shall be elected to serve on the<br /> Pension Fund Committee.<br /> <br /> In case any member should desire to refer to the<br /> list of members, a copy, with the exception of<br /> those members referred to in the note at the<br /> beginning, can be obtained at the society’s office.<br /> This list, dated 1902, owing to the small demand,<br /> has not been re-edited, and is, therefore, not<br /> absolutely accurate. A further list of the elections<br /> for 1903 was published in separate form, and all<br /> further elections have been duly notified in The<br /> Author. They can easily be referred to, as all<br /> members receive a copy every month.<br /> <br /> It would be as well, therefore, should any of the<br /> members desire to put forward a candidate, to take<br /> the matter within their immediate consideration.<br /> The general meeting of the society has usually<br /> been held towards the end of February or the<br /> beginning of March. This notice will be repeated<br /> in the January number of 7&#039;he Author. It is<br /> essential that all nominations should be in the<br /> hands of the secretary before the 31st of January,<br /> 1906.<br /> <br /> THE NOBEL PRIZE COMMITTEE.<br /> ee<br /> HE Nobel Prize Committee of the Society of<br /> Authors met on November 15th at the<br /> offices of the society, 39, Old Queen Street,<br /> when the chair was taken by Lord Avebury.<br /> Among those present were Mr. Austin Dobson,<br /> Mr. Edmund Gosse, Mrs. John Richard Green,<br /> and Sir Donald Mackenzie Wallace; Mr. G.<br /> Herbert Thring acted as secretary.<br /> <br /> The chairman expressed the hope that the<br /> English Nobel Committee would not be dis-<br /> couraged if the prize of £8,250 should this year<br /> be awarded to a foreign poet or poets, since we<br /> have the assurance of the director of the Swedish<br /> Academy that any “idealistic” writer strongly<br /> supported by the authors of England “ has every<br /> prospect of gaining the Nobel prize for litera-<br /> ture at some future time.” Mr. Austin Dobson<br /> suggested that unanimity and persistence were of<br /> the greatest importance, and that the committee<br /> should not be impatient if the prize were not<br /> immediately given to the English candidate. &lt;At<br /> the suggestion of Mr. Gosse it was agreed that the<br /> committee should take the same steps as were<br /> taken last year to collect the votes of all qualified<br /> British voters.<br /> <br /> ————Cc—&gt;—o——_<br /> <br /> SOME CANADIAN WRITERS.<br /> <br /> a te<br /> No. 1.—PortTry.<br /> <br /> HE Editor of The Author has asked me to<br /> write something about Canadian literature,<br /> with which a residence of seventeen years<br /> <br /> in the Dominion may be supposed to have made<br /> me acquainted. I comply with his request with<br /> some diffidence, knowing the “invidious bar”<br /> that stands in the way of him who would treat of<br /> living artists, whether of the pen or brush, and<br /> knowing also the difficulty of escaping, in such an<br /> article as the editor wants, from a certain simi-<br /> larity to a mere list of names, that might remind<br /> one of a directory or of the genealogical chapters<br /> of the Book of Chronicles.<br /> <br /> It is not possible to speak of everybody, and it<br /> must be said that this article does not touch the<br /> French-Canadian branch of the subject.<br /> <br /> I will speak first of poets. In the preface to his<br /> valuable and laborious “ Bibliography of Canadian<br /> Poetry,” published in 1899, Mr. O. C. James says<br /> that it is “based on a collection of about four<br /> hundred volumes and pamphlets brought together<br /> by the author during the last ten years, and now<br /> in the library of Victoria University, Toronto.”<br /> <br /> The earliest book of poetry in Mr. James’s list<br /> is “The New Gentle Shepherd,” by Lieutenant<br /> Adam Allan, which was published in 1798. ‘Two<br />  <br /> <br /> 86<br /> <br /> volumes of Canadian poetry were published in 1815<br /> and one in 1816, after which came a hiatus of<br /> seven lean years in which no poet ventured into<br /> the open. Perhaps the fate of those three earlier<br /> works showed that the air of Canada in that day<br /> was a little too frigid for poets.<br /> <br /> From 1824 to 1850, however, there was no year<br /> without the appearance of some modest book of<br /> Canadian verse, and in 1846 no fewer than six saw<br /> the light. It is touching to look at some of these<br /> yolumes, which bear the marks of rural printing<br /> presses, well-worn type, and home-made binding.<br /> ‘After 1850 the number of singers began to grow<br /> larger, so that in the following decade forty-five<br /> poets ventured before the public, and in the next<br /> sixty-six. From 1870 to the end of the century<br /> the poetical output of the publishers steadily<br /> increased, till it culminated in its last decade with<br /> no fewer than one hundred and forty-one volumes,<br /> which, for a population of five millions, containing<br /> no leisured class, is a little remarkable.<br /> <br /> In 1864, Rev. Dr. Dewart published a work<br /> entitled ‘Selections from Canadian Poets.” In<br /> that book forty-seven authors are noticed, and one<br /> hundred and seventy-two poems. In 1889, Mr.<br /> W. D. Lighthall, of Montreal, issued his collection<br /> entitled “Songs of the Great Dominion,” in which<br /> we find fifty-six authors and one hundred and sixty-<br /> three poems. In 1900, Dr. Theodore H. Rand<br /> gave us his “ Treasury of Canadian Verse,” which<br /> quotes three hundred and forty-four poems from<br /> cone hundred and thirty-five authors. From these<br /> interesting books one may derive much informa-<br /> tion as to Canadian poetry, and a comparison of<br /> them enables us somewhat clearly to judge as to<br /> the respective places of Canadign poets according<br /> to the opinion of competent judges. Among those<br /> who have passed away, the most prominent names<br /> ‘are those of Charles Heavysege, Charles Sangster,<br /> D’Arcy McGee, Alex. McLachlan, Isabella<br /> Valancy Crawford, and Archibald Lampman. To<br /> read the lives of these writers is to feel through<br /> what difficulties poetic genius has, in this country,<br /> ‘struggled to its goal.<br /> <br /> Of Heavysege’s great poem, ‘“ Saul,” published<br /> anonymously in Montreal in 1857, the North<br /> British Review for August, 1858, says : “ We have<br /> before us perhaps the only copy that has crossed<br /> the Atlantic. At all events we have heard of no<br /> other, as it is probable we should have done,<br /> through some public or private notice, seeing that<br /> the work is indubitably one of the most remarkable<br /> English poems ever written out of Great Britain.”<br /> <br /> Dr. Dewart assigns to Charles Sangster the first<br /> place among Canadian poets. While I do not<br /> agree with this verdict, I am willing to concede<br /> him a high place as one of the most representative<br /> .of our Canadian bards.<br /> <br /> THE AUTHOR.<br /> <br /> He was born in Canada, his themes are Canadian,<br /> he lived in an atmosphere of Canadian sentiment,<br /> and everything he wrote is permeated with the<br /> spirit of the scenery of his country. He may be<br /> said to be the pioneer of what has developed into<br /> that distinctively Canadian school of verse which has<br /> been inspired by the grandeur of our mountains<br /> and forests, and the impressiveness of our lakes,<br /> rivers, waterfalls, and boundless prairies.<br /> <br /> Thomas D’Arcy McGee, M.P., was born in<br /> Treland in 1825, and came to Canada in 1857.<br /> He was a Canadian statesman of high repute, and<br /> was assassinated in the vicinity of the parliament<br /> buildings in Ottawa, in 1868. He was the author<br /> of “Canadian Ballads and Occasional Verses,” and<br /> his poem entitled, “ Our Ladye of the Snow,” is as<br /> good as any of Sir Walter Scott’s.<br /> <br /> Alexander McLachlan has been called the Burns<br /> of Canada, and that is, perhaps, a convenient way<br /> of indicating his status to the over-seas reader.<br /> Like Burns, he was a farmer. In his work, as in<br /> that of D’Arcy McGee, the divine Celtic fire is<br /> visible. The following verses are from his poem<br /> entitled “ The Scot.”<br /> <br /> “ Dour as a door-nail he’s indeed ;<br /> To change an item of his creed<br /> Is tearing hair oot o’ his heid,<br /> <br /> He winna budge,<br /> Nor will he either drive or lead,<br /> But just ery ‘Fudge !’<br /> <br /> “ And in his bonnet apt is he<br /> To hae some great big bumming bee,<br /> Sic as his Stuart loyalty,<br /> When hope is past ;<br /> Despite their stupid tyranny,<br /> True to the last.<br /> <br /> “A man o’ passionate convictions,<br /> A mixture queer o’ contradictions,<br /> Big, liberal, but wi’ stern restrictions ;<br /> Yet at the core,<br /> To a’ mankind wi’ benedictions,<br /> His heart rins o’er.”’<br /> <br /> To the memory of Isabella Valancy Crawford,<br /> who came to Canada from Ireland in 1856, and<br /> died in Toronto in 1887, at the age of 36, an<br /> increasing number of tributes is yearly offered.<br /> As the appreciation of what is truly worthy in<br /> Canadian poetry becomes more cultured and<br /> critical, her fame is bound to increase, though she<br /> produced very little, and died disappointed at the<br /> lack of recognition which was the fate of her<br /> publications.<br /> <br /> The name of Archibald Lampman seems to bring<br /> us suddenly down to the present, since he died in<br /> Ottawa but six short years ago ; so young—he was<br /> only thirty-eight—that one almost feels he ought<br /> to be living now. Living he is, still, in the hearts<br /> of all who knew him, for he was not only a poet,<br /> <br /> but the most lovable of Nature’s gentlemen. His<br /> <br /> <br /> <br /> <br /> <br /> 1<br /> r<br /> i<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 87<br /> <br /> complete poems in a volume of four hundred and<br /> seventy-two pages, edited by his friend and fellow<br /> poet, Duncan Campbell Scott, with a memoir which<br /> is one of the most beautiful examples of biographical<br /> literature in the language, were published in 1900.<br /> <br /> As heat is measured by the quantity of ice it<br /> will melt, a poet’s ability may be roughly judged<br /> by his skill in attacking a prosaic subject. I will<br /> quote Lampman’s sonnet entitled “ The Railway<br /> Station” :—<br /> <br /> “The darkness brings no quiet here, the light<br /> No waking : ever on my blinded brain<br /> The flare of lights, the rush, and cry, and strain,<br /> The engines’ scream, the hiss and thunder smite ;<br /> I see the hurrying crowds, the clasp, the flight,<br /> Faces that touch, eyes that are dim with pain ;<br /> I see the hoarse wheels turn, and the great train<br /> Move labouring out into the bournless night.<br /> <br /> “So many souls within its dim recesses,<br /> So many bright, so many mournful eyes :<br /> Mine eyes that watch grow fixed with dreams and<br /> guesses ;<br /> What threads of life, what hidden histories,<br /> What sweet or passionate dreams and dark distresses,<br /> What unknown thoughts, what various agonies! ”<br /> <br /> Writing of Lampman in the Canadian Magazine<br /> some years ago, Mr. Arthur J. Stringer, himself a<br /> Canadian poet and critic of no mean ability, says :<br /> “Of the group of Canadian poets who have<br /> obtained a recognised standing—Roberts, Lamp-<br /> man, Carman, Campbell and Scott—probably<br /> Lampman is the most thoroughly Canadian, and<br /> in Canada the most popular. He is not as<br /> scholarly as Roberts; he has not the strong<br /> imaginative power of Campbell ; he may not have<br /> the mysterious melody of language peculiar<br /> to Carman, nor the pleasing daintiness and<br /> occasional felicitousness of Scott; but he is the<br /> strongest and broadest poet of the group,<br /> possessing the most of what Landor has called<br /> ‘substantiality.” He has an artist&#039;s eye for<br /> colour, and the quiet thoughtfulness of a student<br /> for scenery—the true nature poet.”<br /> <br /> This quotation is not only valuable for what it<br /> says about Lampman, but it suitably introduces<br /> our other chief poets, Charles G. D. Roberts, Bliss<br /> Carman, William Wilfred Campbell, and Duncan<br /> Campbell Scott, to whom I will add R. H.<br /> Kernighan, Frederick George Scott, Ethelwyn<br /> Wetherald, and W. H. Drummond, as the best<br /> selection I can make for this poetical guest-table.<br /> <br /> Charles G. D. Roberts has done so much in the<br /> forty-five years of his life, not only in poetry, but<br /> in other departments of writing, that he necessarily<br /> takes a chief place in any comparative view of our<br /> literature. He had a good start, for he comes of a<br /> cultured family, and he received an adequate and<br /> comprehensive education, The variety of his aims<br /> <br /> may have hindered in some degree the production of<br /> the monumental ; but he has written four or five<br /> volumes of noble poetry, a most readable and useful<br /> History of Canada, several picturesque Canadian<br /> stories, a few charmingly-handled _ historical<br /> romances, the best “animal stories’? that have<br /> been written on the continent, and of late a<br /> quantity of flesh-coloured verse that rivals Swin-<br /> burne and hints at Rossetti. If thereis a touch of<br /> the chameleon in his genius, the genius is there ;<br /> and if he had lived and written in England instead<br /> of in Canada his fame would by this time be<br /> world-wide, since he is, on the whole, in advance of<br /> most of his English contemporaries in poetry. I<br /> have only room for a few lines from Roberts—this<br /> whole magazine might well be taken up by quota-<br /> tions from his verse :<br /> <br /> <br /> <br /> “THE FALLING LEAVES.<br /> <br /> “ Lightly He blows, and at His breath they fall,<br /> The perishing kindreds of the leaves ; they drift,<br /> Spent flames of scarlet, gold aérial,<br /> <br /> Across the hollow year, noiseless and swift.<br /> Lightly He blows, and countless as the falling<br /> Of snow by night upon a solemn sea,<br /> <br /> The ages circle down beyond recalling,<br /> <br /> To strew the hollows of Eternity.<br /> <br /> He sees them drifting through the spaces dim,<br /> And leaves and ages are as one to Him.”<br /> <br /> Bliss Carman, a cousin of the foregoing, is an<br /> unmistakable poet. He is another of the young<br /> men, who having celebrated their native country in<br /> serious, and no doubt sincere poetry, have, like<br /> Roberts, been carried by the torrential stream of<br /> life to the accelerated atmosphere of American<br /> cities, where life goes with a greater rush than in<br /> London because the air is more stimulating, and<br /> there is more money per capita to spend ; where,<br /> also, the English poise and phlegm are absent.<br /> The circumstances and conditions of Carman’s<br /> education were the same as those of Roberts, except<br /> that he took post-graduate courses at Harvard and<br /> Edinburgh. He also, like his kinsman, indulged<br /> somewhat in editorial work, but ultimately forsook<br /> the chair for the freer road of independent literary<br /> endeavour. That this road léd him far afield, the<br /> titles of two of his books, “Songs from Vagabon-<br /> dia” and ‘More Songs from Vagabondia,” seem<br /> to indicate. He had already, however, shown his<br /> distinctive poetic genius, in his books “ Low Tide<br /> on Grand Pré,” “ Behind the Arras—a book of the<br /> Unseen,” and “ Ballads of Lost Haven.” He writes<br /> splendidly of the sea—no poet better ; living or<br /> dead.<br /> <br /> “QO, the shambling sea is a sexton old,<br /> And well his work is done.<br /> <br /> With an equal grave for lord and knave<br /> He buries them every one.<br /> <br /> <br /> THE<br /> <br /> <br /> <br /> “Then hoy and rip, with a rolling hip,<br /> He makes for the nearest shore ;<br /> <br /> And God, who sent him a thousand ship,<br /> Will send him a thousand more.<br /> <br /> “ But some he&#039;ll save for a bleaching grave,<br /> And shoulder them in to shore—<br /> Shoulder them in, shoulder them in,<br /> Shoulder them in to shore.”<br /> <br /> But Carman can write other poems besides those<br /> which somehow remind us of the volume, the<br /> strength, and the irresistible impetuosity of a<br /> brass band. He has the poet’s subtle insight, and<br /> he understands the delicate flavour of word and<br /> phrase. Withal he has originality and a com-<br /> prehensive grasp of life that are rare in modern<br /> <br /> oets.<br /> <br /> William Wilfred Campbell was born in Western<br /> Ontario in 1861, studied at Toronto University,<br /> and has been in the Canadian civil service for<br /> some years. His poetry has frequently appeared<br /> in the best magazines on both sides of the Atlantic,<br /> and he is a writer of great originality and power.<br /> It was with respect to a poem of his that a com-<br /> petent reviewer wrote: “The nearest approach to<br /> a great poem that has cropped out in_ current<br /> literature for many a long day is ‘The Mother.’ ”<br /> This poem first appeared in an American magazine<br /> in 1891 and at once stamped its author as a man<br /> of conspicuous and virile originality and force of<br /> imagination. He has published “ Lake Lyrics and<br /> other Poems,” “The Dread Voyage,” ‘“ Mordred<br /> and Hildebrand ” and “ Over the Hills of Dream.”<br /> These four books of verse place him in a high<br /> position in contemporary verse. He has written<br /> also a very beautiful elegy on his fellow-poet<br /> Lampman, which begins :— ,<br /> <br /> “ Soft fall the February snows, and soft<br /> <br /> Falls on my heart the snow of wintry pain ;<br /> For never more, by wood or field or croft,<br /> Will he we knew walk with his loved again ;<br /> No more with eyes adream and scul aloft,<br /> <br /> In those high moods where love and beauty reign<br /> Greet his familiar fields, his skies without a stain.”<br /> <br /> And he has written several other pieces of occa-<br /> sional or national interest. His is no vagrant<br /> muse, though he knows his Hastern Canada, and<br /> his eye for the larger aspects of nature is un-<br /> doubtedly keen.<br /> <br /> Duncan Campbell Scott, besides being a most<br /> artistic and genuine poet, is a very competent<br /> member of the civil service of Canada, where he<br /> holds a highly responsible position in the Depart-<br /> ment of Indian Affairs.<br /> <br /> For the sweetness of his song, and its dainty .<br /> perfection of form, Scott stands to a great extent<br /> alone. There is a delicate reticence, and a high-<br /> bred refinement about his poetry which marks it as<br /> the work of a masterly literary craftsman. He is<br /> a devotee of music, and there is music in all his<br /> <br /> AUTHOR.<br /> <br /> lines. Besides this there is a condensed force in<br /> some of his utterances that marks them as the<br /> sublimed essence of a strong and subtle mind. He<br /> has produced less than some Canadian poets,<br /> having issued but two books, “ The Magic House”<br /> in 1893, and “ Labour and the Angel” in 1898,<br /> but of the high quality of his output there is no<br /> question.<br /> <br /> In R. H. Kernighan, who has written much<br /> verse, more or less fugitive, under the nom de<br /> plume of “The Khan,” and has published a very<br /> popular volume of poems entitled “The Khan’s<br /> Canticles,”” we have an example of genuine native<br /> genius, essentially Canadian, imitative of nobody,<br /> full of vigour, and giving evidence everywhere of<br /> being that of a poet born and not made. He is a<br /> farmer, and has had no advantages of higher edu-<br /> cation, but where any of the poets before mentioned<br /> has an audience of a hundred, Kernighan has a<br /> thousand. The others appeal chiefly or solely to<br /> the “fit audience though few.” Kernighan<br /> appeals to everybody.<br /> <br /> Another poet who has a similarly wide circle of<br /> readers is Dr. W. H. Drummond, medical practi-<br /> tioner, hunter, camper, and sympachetic interpreter<br /> of the French Canadian habitant to his fellow<br /> Canadians who speak English, and to people of all<br /> English-speaking countries. Dr. Drummond may<br /> be said to have discovered the habitant just as<br /> Mr. Kipling discovered Tommy Atkins. He is<br /> the only Canadian poet who has had the pleasure<br /> of seeing his works run into many and large<br /> editions. The medium of expression he adopts<br /> is the habitants broken English, so that all his<br /> poems have a certain dramatic force. It is the<br /> peasant of Quebec who speaks and says :—<br /> <br /> “ Venez ici, mon cher ami, an’ sit down by me—so,<br /> An’ I will tole you story of ole tam long ago—<br /> W’en ev&#039;ryting is happy—w’en all de bird is sing,<br /> An’ me !—I’m young and strong lak moose an’ not afraid<br /> no ting” ;<br /> <br /> and who tells us on the occasion of the late<br /> Queen’s jubilee :—<br /> <br /> “ Yaas, dat is de way Victoriaw fin’ us dis jubilee,<br /> Sometam’ we mak fuss about not’ing, but it’s all on de<br /> familee,<br /> An’ wenever dere’s danger roun’ her, no matter on sea<br /> or lan’,<br /> She&#039;ll find that les Canayens can<br /> Englishman.”<br /> <br /> fight de sam as bes’<br /> <br /> Miss Ethelwyn Wetherald is not only an in-<br /> dustrious contributor of prose articles to the<br /> magazines, but she is distinguished as a poet whose<br /> work has received much appreciation during the<br /> last decade. That she is a genuine lover of Nature<br /> and a skilful interpreter of Nature’s moods is shown<br /> in the three books of verse she has published :<br /> “The House of the Trees,” “Tangled in Stars,”<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> and “The Radiant Road.” Much of her work<br /> has a piquant lightness of touch and originality<br /> that give it a distinctive character. I have only<br /> = room for a small quotation :—<br /> <br /> <br /> <br /> “THE SCHOOL OF PAIN.<br /> <br /> “This is the hard school kept by Pain,<br /> With pupils sad and white ;<br /> While some shed tears like falling rain<br /> From dreary morn till night ;<br /> ‘Some knit the brow and clench the fist,<br /> And fill the heart with hate :<br /> And some cross languid wrist on wrist<br /> And say Pain is their fate.<br /> <br /> * But those that study very hard,<br /> <br /> And learn that Pain can bless,<br /> Are sent out in a leafy yard<br /> To play with Happiness.”<br /> <br /> Though Frederick George Scott is the last name<br /> to be mentioned in this division of the subject, he<br /> is by no means our least poet. On the contrary,<br /> he works on a high plane of excellence ; very little<br /> of his published poetry can be reckoned as mediocre,<br /> and occasionally he reaches the sublime. Indeed<br /> it is impossible to rise from a perusal of such a<br /> poem, for instance, as his “ Samson,” or some of<br /> his sonnets, without feeling that he takes a very<br /> high place in contemporary poetic literature,<br /> whether of this continent or of England. He has<br /> published three books of verse: ‘The Soul’s<br /> Quest,” “My Lattice,’ and “The Un-named<br /> Lake ;” and he has also written several stories of<br /> considerable interest and merit. There is perhaps<br /> less of a distinctively Canadian flavour about his<br /> verse than in that of his confréres, and there is<br /> not so much celebration of the aspects of Nature.<br /> <br /> BernarD McEvoy.<br /> (To be continued.)<br /> <br /> —_———_o—&gt;—_+__—_<br /> <br /> “LITERATURE” IN ADVERTISEMENTS.<br /> <br /> —<br /> <br /> HAT is “literature”? and what is the<br /> scope of its applicability to written com-<br /> position? very century upsets the<br /> <br /> standards of its forerunner, or literature might be<br /> pronounced comprehensively the work of men of<br /> letters, that is to say, of the esoteric devotees of<br /> grammar, syntax, style and expression. But here,<br /> come to me within the last few days from an<br /> American agency for the “ placing” of “ copy,” are<br /> a letter and a bulky package of circulars and<br /> pamphlets. The latter include a booklet of written<br /> testimonials to the firm ; another, treating of its<br /> school for journalism, with fecs, diplomas, certi-<br /> ficates and all the rest of it, very praiseworthy and<br /> profitable ; various leaflets containing urgent<br /> entreaties and calls upon man and womankind<br /> <br /> <br /> <br /> <br /> <br /> 89<br /> <br /> generally to make or augment their incomes by an<br /> investment of their waste faculties in the gold<br /> mines of fiction (of which “there is not half<br /> enough to go around”); and, finally, forms to fill<br /> in, would I become one of that industrial army<br /> of “writers for profit.” Well, we have no right<br /> of quarrel with all this. If fiction has become the<br /> very bread of life, there must arise A. B. O.’s to<br /> meet a demand for which the humble bakery 1s<br /> inadequate. But why refer to such a budget of<br /> business self-puffery as “literature”? That is my<br /> anxious difficulty. ‘‘ After you have carefully read<br /> our literature,” says the Agency’s paternal letter,<br /> referring to the voluminous package. I have read<br /> it, or some of it. It is good plain advertising<br /> stuff, but it will not compare, say, with ‘‘ The<br /> Critic,’ or Autolycus’ crying of his wares in<br /> Bohemia. To call it literature seems to me to<br /> smack of those verbal appropriations to contorted<br /> uses by the free and independent, which dispossess<br /> the old without dignifying the new. Perhaps if<br /> American letters basked in the light of their own<br /> stately antiquity, Americans would be more jealous<br /> of the term. Perhaps if—this, that or the other<br /> had happened differently !<br /> <br /> What an utterly idle speculation! and yet how<br /> the kingdom of romance is builded on such. “ Of<br /> all sad words of tongue or pen, the saddest are<br /> these, ‘It might have been.’” America, for<br /> instance, might have had at this day a very damask<br /> of historical dyes to paint into her literature, had<br /> not that confederacy of States limited her drafts<br /> upon romance to a beggarly couple of wars. There<br /> were the original thirteen, each sovereign and<br /> independent, and at the outset intending to<br /> remain so : thirteen embryo principalities, duchies,<br /> counties—or twelve, or eleven, perhaps, with a<br /> virulent republic interposed here and_ there.<br /> Think of it! Washington’s struggle for the<br /> suzerainty, his hard-wrung success, and the piece-<br /> meal lopping of its limbs by his rival survivors,<br /> the rise of the Salt Lake popes, instead of a Zion<br /> whopping creation ; anarchy, militarism, chaos,<br /> reason, in turn and intermingling ; a constellation<br /> of despotisms ; falling stars and fountains running<br /> blood ; the tocsin ; slaughter and frenzy in the<br /> streets; State marching on State, the clashing<br /> cymbals of discordance ; sack, pillage, the roar of<br /> musketry and babbled prayers of girls. Then, the<br /> sense of design emerging—wild theories of order,<br /> and patterns of art and government ; fervid<br /> apostolicism and a Christ-like vision of beauty ;<br /> mutinies of wickedness bubbling here and there,<br /> and complicating the design in their suppression—<br /> at the end, Roosevelt crowned King, at Washington,<br /> of the United States.<br /> <br /> Dismal, dismal! a lurid thing to picture ; and,<br /> instead, the gods of progress be praised ! we have<br />  <br /> <br /> 90<br /> <br /> ‘‘ literature” in business circulars, art in advertise-<br /> ments, and a religion—not common, or Catholic,<br /> but of commonness. Romance’s potentialities<br /> have ended in electric cars, and heaven and earth<br /> run upon parallel lines.<br /> <br /> Still, it is not yet illegal, though it is out of<br /> date, for a dreamer to dream. Whittier’s postulate<br /> turns, after all, upon a question of dollars, the<br /> republican cachet of distinction. Suppose the<br /> inroad of enterprisers bringing steel instead of<br /> finance to the internecine problem; suppose<br /> adventure running free, nor brought up blank<br /> against that impenetrable keep of Wall Street.<br /> We should not have had Bartholdi’s gigantic<br /> statue of Liberty, it is true; nor, on the other<br /> hand, should we have had business advertisement<br /> expressing itself in the following terms of elegance :<br /> “First thing you know, a good, snappy, zero day<br /> will catch you outside of an ulster.” We should<br /> have had, perhaps, at this day, a multiplex tradi-<br /> tion of conflicts in the matter of all that makes<br /> for picturesqueness—war, art and love—the ruins<br /> of a Doges’ palace at New York, of a causeway in<br /> Colorado built entirely of silver bricks by some<br /> self-exalted hidalgo of New Mexico. With such a<br /> continent, such enterprise, such a vigorous hybrid<br /> race, a century would have sufficed for the weaving<br /> of a very tapestry of history ; and, instead, we<br /> have America—it is her boast—leading the<br /> commonsense of creation.<br /> <br /> Art—it is a lamentable fact—abhors a mild and<br /> sagacious order. She derives of the gods, before<br /> reason was. Tyranny and passion are her right<br /> provocatives; dirt and decay a necessary part<br /> of her kaleidoscopic scheme. She withers in the<br /> breath of municipalities, fears ostentation, shrinks<br /> from the very term progressiveness. In statuary,<br /> in architecture, she knows her place subordinate to<br /> the mountains. She will not dwart her trees, nor,<br /> as literature, allow her appropriation to a circular.<br /> At least, that is the creed of her acolytes of the<br /> Old World, but our transatlantic Agency thinks<br /> otherwise.<br /> <br /> ———_—__$_-——<br /> <br /> A CANDID FRIEND.<br /> <br /> ++<br /> <br /> ““F you think,” said Desmond, reloading the<br /> pipe, which had gone out during his ener-<br /> getic denunciation of my craft, “if you<br /> <br /> think of the hundreds of abortive novels -<br /> <br /> <br /> <br /> “ Well,’ I answered, “ then for consolation you<br /> must remind yourself of the thousands of acorns<br /> that make food for pigs to every one that grows<br /> into an oak.”<br /> <br /> “Do you mean to suggest that the more trash is<br /> published, the more literature we may expect?”<br /> <br /> THE AUTHOR.<br /> <br /> demanded Desmond, striking a match and letting<br /> it go out before he used it.<br /> <br /> “Perhaps,” I suggested, “ we ought to find a<br /> fresh name for it.”<br /> <br /> “Certainly, nobody in his senses,” he cried,<br /> “would describe its manufacturers as Men of<br /> Letters.”<br /> <br /> “Yet what ought we to be called ? We are not<br /> precisely journalists, although the work of a man<br /> who puts forth two or three novels and goodness<br /> knows how many short stories a year, seems to<br /> resemble journalism. After all,” I said, “a story-<br /> teller is an inoffensive person &quot;<br /> <br /> “’m, sometimes. It depends on the story.”<br /> <br /> “ You were kind enough to say you would point<br /> out some of our most glaring faults,’ I reminded<br /> him—a little unnecessarily.<br /> <br /> Desmond crossed his legs and scowled as he<br /> struck a third match :<br /> <br /> “A rather large order,” he muttered. “ But<br /> what strikes me first is your egregious confusion<br /> of thought. You are utterly unable to discriminate<br /> between love—which seems to be the proper sub-<br /> ject for a novelist, and the—improper subject,<br /> which also begins with an ‘L.’ In fact the con-<br /> temporary novel may be defined as a study of bad<br /> manners.”<br /> <br /> “Would you wish all novels to be society<br /> novels ?” I asked.<br /> <br /> “My dear fellow,” he answered, with the air of<br /> a man who was scoring a point, ‘‘ those are pre-<br /> cisely what I had in my mind. Uncultivated<br /> manners are no more bad manners than humble<br /> life is bad life. Then,” he continued, ‘‘ your tales<br /> are far too long.”<br /> <br /> “They are shorter than they used to be and we<br /> are constantly being told that we are incapable of<br /> a sustained effort.”<br /> <br /> “Ttisvery often because athree andsixpenny book<br /> naturally brings in less than a six shilling one,”<br /> said Desmond, with a rather unpleasant laugh.<br /> “ However,” he added, “there may be something<br /> to be thankful for if what you say is right. But<br /> was any English novel ever written which wouldn’t<br /> be improved by curtailment? That is where the<br /> press notices often mislead one. Your reviewer is<br /> a practised and judicious skipper—otherwise he<br /> couldn’t keep on. He digs out the plot which I<br /> suppose is generally hidden away somewhere in<br /> the three hundred and fifty pages and it sounds<br /> interesting enough in his summary, but when one<br /> comes to the book one is lost in the maze of<br /> twaddle.”’<br /> <br /> “Yet I constantly read that our stories are too<br /> ‘thin’—that our younger writers keep too closely<br /> to the fable, and you must admit that some quite<br /> unnecessary characters are amongst the best that<br /> have ever been drawn.”<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 91<br /> <br /> “ Oh dear yes,” said Desmond. “Tam prepared<br /> to forgive you almost anything provided you draw<br /> me a character.”<br /> <br /> “Then what on earth are you growling about ?”<br /> I asked, pushing across the whiskey.<br /> <br /> “You insist on relating your incidents twice<br /> over,” he answered. “ First in dialogue, again in<br /> what you would call the analysis. You may de-<br /> scribe your scene either dramatically or in narrative,<br /> but why do both? Read the conversations in an<br /> average novel and you can usually gather all you<br /> wish to know, but as if the author distrusted him-<br /> self, he almost invariably goes on to explain them<br /> as well.”<br /> <br /> “ Still,’ I urged, “an explanation may be<br /> illuminating. Mayn’t there be an advantage in<br /> judicious repetition. You become more saturated<br /> with the subject.”<br /> <br /> “How often is it worth while ?” he demanded.<br /> “ Give your readers credit for a little imagination if<br /> you possess none yourself. Now explain this,” he<br /> continued, still appearing to find a difficulty in<br /> making his pipe draw. ‘‘ Leaving on one side the<br /> relative literary merits of plays and novels, why do<br /> people insist more and more on being amused.<br /> when they go to the theatre, but less and less<br /> when they read fiction ?”<br /> <br /> « Now you are accusing us of a lack of humour,”<br /> I suggested.<br /> <br /> “Humour” he exclaimed, throwing his arms<br /> above his head. “Humour! That is a great<br /> thing to ask for. Humour, let me tell you, is one<br /> of the rarest qualities in the world. Of course the<br /> word is generally used when one means merely a<br /> sense of the ridiculous.”<br /> <br /> “ What is the difference ? ”<br /> <br /> “Oh well, I take it that humour implies a touch<br /> of emotion combined with an idea of incongruity.<br /> Humour surely lies betwixt tears and smiles, closely<br /> akin to both. We mustn’t expect to find it very<br /> often. I stipulate for something far more com-<br /> onan simply for a little—well, for a little<br /> <br /> un.”<br /> <br /> «A funny novel would be as depressing as a<br /> fonny man,” I returned.<br /> <br /> “7 don’t wish for a funny novel, but for a novel<br /> with some fun init . . . quiteanother thing. On<br /> the stage we have a good deal of what is at least<br /> intended for fun. In novels with one or two<br /> exceptions we have remarkably little. Now, how<br /> do you account for that ?” he asked, leaning back<br /> in his chair as if he were content to wait in vain<br /> for a reply.<br /> <br /> “(Can it be,’ I ventured, “because a larger<br /> proportion of men go to the theatre than to the<br /> <br /> circulating libraries ? The bulk of novel readers<br /> are women and one naturally tries to suit one’s<br /> public.”<br /> <br /> Desmond glared at me over his spectacles, so<br /> that I began to feel more than ever like a guilty<br /> thing :<br /> <br /> “You justify that kind of truckling?” he<br /> exclaimed.<br /> <br /> « A man who tells you a story that you don’t<br /> wish to hear, is just a bore, you know.”<br /> <br /> “ Besides,” said Desmond, “ you must be forget-<br /> ting that the moralists warn us that the craving<br /> for amusement on the part of women is one of the<br /> serious evils of the day.”<br /> <br /> “What they crave is entertainment,” I returned.<br /> “They require their attention to be held. Now<br /> ‘amusement’ seems to signify entertainment with<br /> agreeable objects.”<br /> <br /> “The fact of the matter is,” cried Desmond,<br /> “that novel writing is ceasing to be an art.”<br /> <br /> «“T was under the impression,” I said very<br /> humbly, “that in spite of all our faults, we<br /> were credited with a certain improvement in<br /> technique.”<br /> <br /> « Well, that may be so,” he admitted grudgingly.<br /> “A good many of you are clever, but few are wise.<br /> No doubt many write fairly well, but what you<br /> have to say is not often concerned with the<br /> beautiful.”<br /> <br /> “You forget that for the most part we have to<br /> deal with modern life !”<br /> <br /> “My dear chap, you shouldn’t try to be cynical<br /> off duty,” was the answer. “If you are worth your<br /> salt, you ought to have enough insight to see<br /> through the trappings that modern life is as<br /> beautiful and as ugly—neither more nor less—as<br /> life has ever been. You simply put beauty on the<br /> shelf—or at least,’ he added, with a laugh,<br /> “you don’t. Look through the contents of any<br /> circulating library—I see girls doing it every<br /> week.”<br /> <br /> “Oh come,” I cried, “you are not going to drag<br /> the young person into it again.”<br /> <br /> “Well, I certainly don’t like her books,” he<br /> confessed. “And yet, you prohibit certain<br /> undesirable advertisements on street hoardings.<br /> The circulating library shelves are almost as<br /> accessible. Still, we will leave the young person<br /> out of it, and think only of those others who still<br /> possess a sense of decency. If you are not careful<br /> you will have a censor of novels as well as of<br /> plays.”<br /> <br /> “ Poor wretch !<br /> sinecure !”<br /> <br /> «J was going to say when you interrupted me,”<br /> Desmond continued, “that if you look through the<br /> shelves of any circulating library, it is absolutely<br /> appalling to open one book after another full<br /> of sheer hideousness. I suppose, though, it<br /> is rather old-fashioned to believe that vice is<br /> hideous.”<br /> <br /> His berth wouldn’t be a<br />  <br /> <br /> 92<br /> <br /> «You ought to define your terms,” I hinted.<br /> <br /> But Desmond shook his head :<br /> <br /> “ Tt’s too close to midnight,” he said.<br /> <br /> “Anyhow, you must admit that a great deal<br /> depends on the treatment,” I persisted.<br /> <br /> “A great deal, I grant. But then the open<br /> air treatment is ousting every other. The windows<br /> are thrown up, the blinds are absent, very nearly<br /> everything is done out of doors. Surely there are<br /> human functions which it is undesirable to witness,<br /> to talk about, even to write about.”<br /> <br /> “In fact, you would discourage any attempt to<br /> deal seriously with life !”<br /> <br /> “ With life! Good Lord,” cried Desmond, “ isn’t<br /> it possible to deal seriously with life and yet not to<br /> be everlastingly trafficking with the seventh<br /> commandment.”<br /> <br /> “ You would prefer a story with a moral !”<br /> <br /> “ ] should hate it,” he answered, furiously. “It<br /> may be as unmoral as you please, but for goodness’<br /> sake let me have something as a change from<br /> immorality. Don’t you understand that ugliness<br /> in art should be used only as a foil to beauty ! But<br /> you make the hideous an end in itself. You are sel-<br /> dom tragic, but instead of making me shudder, you<br /> make me sick, and you compel me to hold my<br /> nostrils instead of my sides.”<br /> <br /> “Well,” I suggested, “let me give you some<br /> more whiskey.”<br /> <br /> “No, thank you, no more to-night,” said<br /> Desmond and the following day I learned that he<br /> was keeping his bed with influenza. Of course, he<br /> must have been sickening the previous night ; no<br /> doubt the poor fellow’s temperature had already<br /> risen above the normal, thus accounting for his<br /> extremely crude and sweeping assertions. 3<br /> <br /> ——____+—~»—_ —__&lt;_<br /> <br /> COMMENTS ON COMMENTS.<br /> <br /> 1<br /> <br /> CANNOT allow the “ Comments on Thack-<br /> <br /> eray’s ‘Essay on Pope,” which appeared<br /> <br /> in the November issue of Zhe Author, to pass<br /> without one or two words of protest.<br /> <br /> The contemptuous estimate of Pope’s character by<br /> the writer of the article will be rather galling to those<br /> to whom his personal good qualities far outweigh<br /> his disagreeable ones. It must never be forgotten,<br /> <br /> in thinking over what he accomplished, that he<br /> was deformed, and from a child of a sickly nature.<br /> And yet a weak body must have contained a strong<br /> and attractive mind, to allure to itself as staunch<br /> and life-long friends the author of the “ Beggar’s<br /> Opera,” John Gay; he of the “ Seasons,” James<br /> Thomson ; and last, but perhaps the greatest of<br /> <br /> THE AUTHOR.<br /> <br /> the trio, Dean Swift. Nor must I omit “ My St.<br /> John,” the brilliant and versatile politician, Lord<br /> Bolingbroke :— :<br /> <br /> “ Awake, my St. John ! leave all meaner things<br /> To low ambition and the pride of kings.<br /> Let us (since life can little more supply<br /> Than just to look about us and to die)<br /> Expatiate free o’er all this scene of man.<br /> <br /> . * * + -<br /> <br /> Laugh where we must, be candid where we can ;<br /> But vindicate the ways of God to man.”<br /> <br /> This keynote is struck by one of whom, accord-<br /> ing to the essayist in The Author, “it is a little<br /> difficult to think generously.”<br /> <br /> That Pope’s heart was in the right place is<br /> evidenced, I think, by the modest and truly<br /> unselfish wish that his might be the task to<br /> “rock the cradle of reposing age .. . and keep<br /> awhile one parent from the sky.” The most<br /> virulent critics do not deny that he was a good<br /> son to father and mother. That he was capable of<br /> deeper feelings than he is given credit for in the<br /> article under review is proved by the mournful<br /> lines commencing :—<br /> <br /> “ How loved, how honoured once,” etc.<br /> <br /> These are worthy of being placed side by side<br /> with the solemn, the sad, the true reflection on<br /> human existence as “rounded by a sleep,” which<br /> is one of the gems in Shakespeare’s “ Tempest.”<br /> <br /> This man, whose “ philosophy of life is just one<br /> bitter satire,” so the comments run; this mis-<br /> shapen, small and delicate creature, how reads a<br /> portion of his literary record? This is what<br /> Professor Henry Morley says :—‘‘ Under Queen<br /> Anne he was anoriginal poet . . . under George I.<br /> he was a translator and made much money . . . he<br /> also edited Shakespeare, but with little profit to<br /> himself, for Shakespeare was but a Philistine in the<br /> eyes of the French classical critics.” This man,<br /> then, of sarcasm, more or less venomous, more or<br /> less cruel, could so admire the ‘ unvalued book :<br /> (so spoken of by Milton in his day) that at little<br /> profit to himself, but with much labour, he edited<br /> Shakespeare’s plays; he tried to turn men’s<br /> attention “from the culture of the snuff-box and<br /> the fan” to the problems and pathos of humanity,<br /> as discussed and displayed in undying glory of wit<br /> and wisdom and individuality of character—those<br /> plays whose words of matchless diction irradiate<br /> with beauty and truth.<br /> <br /> One more quotation from the comments ere I<br /> bring my remarks to a close :— There is hardly a<br /> page in all Pope’s poetry which does not hold a<br /> satire.” Well, I find many pages quite otherwise.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 93<br /> <br /> 4 As, for instance, I find on one page this glorious<br /> og poetry, as fine as anything ever written :—<br /> <br /> <br /> <br /> fe<br /> <br /> 4<br /> <br /> HT<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “What blessings Thy free bounty gives,<br /> Let me not cast away ;<br /> For God is paid when man receives,<br /> To enjoy is to obey.<br /> <br /> “Tf Tam right, Thy grace impart<br /> Still in the right to stay ;<br /> If I am wrong, oh, teach my heart<br /> To find that better way.<br /> <br /> “ Teach me to feel another’s woe,<br /> To hide the fault I see ;<br /> That mercy I to others show,<br /> That mercy show to me.<br /> <br /> “This day be bread and peace my lot :<br /> All else beneath the sun<br /> Thou know’st if best bestowed or not ;<br /> And let Thy will be done.”<br /> <br /> There are many whoare proud of being English-<br /> men ; there are not a few who are just as proud of<br /> the heritage left to them by the “little crooked<br /> thing” in their land’s language. Filmy fancies,<br /> charming conceits, and the ‘solid pudding” of<br /> sound common sense are offered to all with a wealth<br /> of graceful poetic illustration. It is as a com-<br /> panion Pope excels. He ranges ‘from grave to<br /> gay, from lively to severe”; he is a persuasive<br /> teacher of worldly prudence, of good morals, of<br /> healthy hopes, and this without the jargon of the<br /> schools and, above all, without cant.<br /> <br /> J. Harris BRIGHOUSE.<br /> <br /> ——_+—&lt;—_+___—__-<br /> <br /> THE TWENTY-SEVENTH CONGRESS OF<br /> THE INTERNATIONAL LITERARY AND<br /> ARTISTIC ASSOCIATION.<br /> <br /> ——&gt;—<br /> <br /> (Liége, Brussels, Antwerp ; 18-24 September,<br /> 1905.)<br /> <br /> HIS congress, brightened by a greater diver-<br /> <br /> sity than usual of féfes and excursions of<br /> <br /> : a very interesting character, consisted of<br /> six séances. Three were held at lLiége, one at<br /> Brussels, and one at Antwerp. Of these, four<br /> were devoted to strictly copyright questions ; the<br /> subjects under discussion in the first and last<br /> were connected with the important problem of<br /> the further extension of the Berne Convention.<br /> Several of the debates were occupied with the<br /> consideration of questions that are only of secon-<br /> dary interest to authors, such as ‘The Industrial<br /> Applications of Art,” “The Public Performance<br /> of Musical Works,” ‘Gratuitous Performances,”<br /> * Protection of Public Sites and Ancient<br /> <br /> Monuments,” and “The Protection of Objects in<br /> Museums.” A mention of these may suffice. The<br /> purely literary questions were, however, of very<br /> great interest, and will demand fuller attention.<br /> <br /> Foremost amongst the literary questions must<br /> be placed the duration of copyright, which was<br /> discussed at some length. This is a matter of<br /> the highest interest to all authors, and of particular<br /> interest to British authors, who may be well dis-<br /> contented with having a duration of rights shorter<br /> than that accorded by many insignificant States<br /> possessing but a poor literature, and that dura-<br /> tion of rights placed upon a confused and highly<br /> unsatisfactory basis. We call the basis unsatis-<br /> factory because it is liable in certain cases to be<br /> calculated from the date of the first publication<br /> of the work protected. That date is often, even<br /> in the case of well-known authors, extremely<br /> difficult to discover. The date of the author&#039;s<br /> death, on the other hand, can be always easily<br /> ascertained. And for that reason alone pro-<br /> tection for life, anda definite period afterwards,<br /> is infinitely to be preferred to any arrangement<br /> based upon the moment of the publication of<br /> a work. The congress was, of course, entirely<br /> opposed to quaint anomalies of any kind.<br /> <br /> In fact, they found a constant source of grave<br /> inconveniences even in the diversities of the dura-<br /> tions of copyright in the different countries of<br /> the union. When legal action is taken in accor-<br /> dance with the provisions of the Convention, the<br /> judges find themselves in every case obliged to<br /> take into consideration the durations of copyright<br /> in the country of origin, and in the country of<br /> reproduction ; and where a difference of duration<br /> exists, difficulties of various kinds invariably<br /> arise, whilst in any case only the shorter period<br /> can be legally dealt with. The result of this<br /> is an amount of confusion that has much assisted<br /> to generate a cynical scepticism concerning the<br /> actual utility of the Berne Convention. This is<br /> to be deplored. But all these difficulties will<br /> immediately vanish as soon as a general radical<br /> reform shall have made the duration of copyright<br /> equal in all States. ‘The advantages of such a<br /> reform would be so great that anything to be<br /> urged against it may be justly held to be of<br /> minimal importance. A comparison of the various<br /> durations of copyright led the congress to believe<br /> that the period of “life and fifty years afterwards ”<br /> seemed to have the best chance of universal accept-<br /> ance. The congress was unanimous on this im-<br /> portant point. At the same time it was disposed<br /> to consider of no small moment the fact that the<br /> term of protection in Spain is life and eighty years<br /> afterwards. For which reason the congress opined<br /> that life and fifty years should be regarded as a<br /> minimum.<br />  <br /> <br /> 94<br /> <br /> A more complicated question is that of formali-<br /> ties, and this question occupies a larger space than<br /> any other in the report of the congress. The<br /> congress was of opinion that in international<br /> relations formalities have no right to exist. They<br /> are the source of nothing but nuisances, and con-<br /> stantly impede successful legal proceedings. It<br /> was contended that the mere fact of having pub-<br /> lished a book should entitle the author to all<br /> rights accorded him by the Convention. (This<br /> amounts to the suppression of the second clause<br /> of Article 2.) It appears that at present the<br /> formalities of deposition or registration, or of<br /> both, are necessary only in Haiti, Spain, and<br /> Italy. Italy and Spain allow the author some<br /> time during which to comply with the requirements<br /> —but at the risk of piracy, against which he can-<br /> not proceed during the interval. In Great Britain,<br /> France, and Japan, deposition and registration are<br /> necessary only before taking legal action. The<br /> various speakers on the subject were theoretically<br /> in favour of the complete suppression of formall-<br /> ties, and regarded this as the certain ultimate<br /> solution of the various difficulties. But it was<br /> admitted that, at least at present, it was highly<br /> doubtful whether this was possible. Meanwhile,<br /> the proposition that the neglect of formalities should<br /> have no international importance involved the in-<br /> consistency that, in this case, it would be possible<br /> for an author who had no rights in the country of<br /> origin, to have in other States larger rights than<br /> its own citizens legally enjoyed. On the question<br /> being put to the vote, a fundamental proposition in<br /> favour of the abolition of formalities was carried.<br /> <br /> A suggestion that a new form should be given<br /> to Article 14 of the Convention, which deals with<br /> retroactivity, led to a discussion of a somewhat<br /> confused character. The danger of trespass<br /> beyond the legitimate province of international<br /> relations appeared to be involved, and the con-<br /> ference contented itself with a modified resolution,<br /> which will be found below. :<br /> <br /> The fourth article of the Convention was also<br /> subjected to criticism, as wanting in “system.” A<br /> new text was proposed, but as it was not discussed,<br /> nor indeed regarded as final, it may suffice to say<br /> that it offers a somewhat fuller and more orderly<br /> definition of what should be understood by<br /> “literary and artistic works.” Scenic decorations<br /> in theatres, photographs, architectural designs,<br /> engineers’ designs, and lectures would be included.<br /> The report mentions also that a hope was enter-<br /> tained that the duration of secondary rights (trans-<br /> lations, &amp;c.) would ultimately be made commen-<br /> gurate with the duration of the copyright itself.<br /> <br /> In the discussion of the Extension of the Union,<br /> three States only of those which are outside it<br /> came into consideration—the United States of<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> America, Holland, and Roumania. A full dis-<br /> cussion of the relations of the unionist countries<br /> with the United States was not possible; and the<br /> congress contented itself with acquiescing in<br /> M. Osterrieth’s conclusions, which recommended<br /> that, on the one hand, the unionist countries —<br /> should make common cause in seriously pressing<br /> the United States to accord strangers a more<br /> satisfactory protection; and that, on the other ©<br /> hand, within the United States themselves authors<br /> <br /> and publishers should take a saner view of the © ij<br /> advantages that would accrue to themselves from &quot;2<br /> this protection, in the shape of a higher develop-<br /> ment of the national literature. :<br /> <br /> Holland was described as “The Holy Land of ©<br /> Pirates” : a country where ‘‘ a coalition of mercan-<br /> tile interests, ingeniously disguised as protective<br /> of national labour, and yet more ingeniously as a<br /> means of popular diffusion of the highest forms<br /> of literature,” supported a system that paid no~<br /> regard to rights of any kind. It was further<br /> hinted that, even at the present date, literature<br /> is not considered a profession in Holland. All §<br /> authors are mere dilettanti who amuse themselves _<br /> with writing in their spare moments, and any man<br /> who considers his pen a source of income is<br /> beneath contempt. Some hopes of more en-<br /> lightened views are, however, entertained since<br /> the foundation of the Dutch Society of Authors<br /> (Vereeniging van Letterkundigen), which has on<br /> its roll of members the names of 120 of the best<br /> known writers in Holland.<br /> <br /> The Roumanian Government, on the other<br /> hand, was officially represented. The delegate<br /> was not able to announce the adhesion of Roumania<br /> to the Berne Convention—an adhesion mistakenly<br /> reported in some journals. But he informed the<br /> congress that his government was engaged in<br /> drafting a new copyright law, which will supersede<br /> the imperfect one of 1862. The passing of this<br /> new statute will greatly facilitate Roumania’s<br /> adhesion to the Berne Convention. And in the<br /> name of his government he invited the association<br /> to hold their next congress at Bucharest, an<br /> invitation that was immediately accepted.<br /> <br /> The following resolutions, with some others of<br /> minor interest, were passed by the congress.<br /> <br /> <br /> <br /> The congress again approves the project of the<br /> revision of the Berne Convention adopted at the -<br /> congresses of Weimar and Marseilles, and it desires<br /> that the provisions affirming the following principles<br /> should be inserted in the project :-—<br /> <br /> I<br /> The enjoyment of the rights recognised by the ye<br /> Convention ought not to be conditional upon Hite<br /> compliance with any formality.<br /> <br /> <br /> AMigogon T<br /> <br /> tte<br /> <br /> (a Ode<br /> <br /> <br /> <br /> yt ge<br /> Og<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 7) dramatic talent—‘ The Pioneers.”<br /> <br /> <br /> <br /> THER AUTHOR.<br /> <br /> LT,<br /> <br /> The duration of copyright shall be a minimum<br /> of the life of the author and fifty years afterwards.<br /> <br /> Il.<br /> <br /> The stipulationsrespecting retroactivity (Art. 14)<br /> should apply to all new rights recognised by the<br /> Conferences of Revision.<br /> <br /> —_—_————_+—_—___——__<br /> <br /> CORRESPONDENCE.<br /> <br /> os<br /> Pornts oF VIEW.<br /> Str,—May I offer a few words in reply to<br /> <br /> 1 Mr. Ascher’s interesting article in the November<br /> _ Author ?<br /> <br /> I do not think my point of view actually diverged<br /> from that expressed in Mr. Begbie’s sensible advice<br /> to journalists. He dealt frankly with the com-<br /> mercial side of our profession: I dealt with the<br /> artistic, and the two sides have little to do with<br /> each other.<br /> <br /> The fact I wished to emphasise was, that while<br /> there is a mighty number of magazines for a<br /> certain class of reader, another class, and not a<br /> small one, goes lacking. Also, that there is no<br /> opening in our English magazines for original<br /> work of a high order.<br /> <br /> He who writes to make a living and he who<br /> writes because he can’t help it need not interfere<br /> with each other. The best advice to the former<br /> is: “Strive to please the ordinary public.” The<br /> best advice to the latter is: “Strive to satisfy<br /> your own artistic conscience and the most fastidious<br /> taste.” Some day or other the best must come to<br /> the top, but the process is a slow one at present—<br /> much slower than in the days of George Eliot and<br /> Jane Austen—and I would see it gently assisted by<br /> the great English magazines, whose readers are<br /> waiting impatiently for it—those readers who want<br /> literature, not journalism.<br /> <br /> Thanking Mr. Ascher for the kind things he<br /> says of my work.<br /> <br /> T am, yours truly,<br /> <br /> Mary L. PENDERED.<br /> —_-—&lt;—+—<br /> <br /> Matters DRAMATIC.<br /> <br /> Dear Sir,—As no one, so far, has called<br /> attention in Ze Author to what is, in my opinion,<br /> one of the most interesting literary events of the<br /> passing year, may I be permitted todoso. I refer<br /> to the formation of a new society, whose primary<br /> object is the discovery and exploitation of native<br /> Under the<br /> <br /> <br /> <br /> 95<br /> <br /> management of a strong executive council, of<br /> which Mr. Arthur Bourchier is chairman, the<br /> society proposes not “ to bewail the decadence of<br /> the British drama,” but to give a hitherto non-<br /> existent chance to the as-yet-unacted British<br /> dramatists, who may, it is hoped, revive it. Plays<br /> can be sent in by the aspiring playwright, whether<br /> a member of the society or not, with the certainty<br /> of their consideration by the council. From<br /> amongst the number submitted the most suitable<br /> for theatrical representation will be chosen, and<br /> duly presented to an audience which should be<br /> ideal from a dramatic author’s point of view, for it<br /> will consist of theatrical managers, actors, authors,<br /> brother-playwrights, and others whose first interest<br /> is in the play as a play ; and not as a vehicle for an<br /> hour or two’s amusement. The inaugural per-<br /> formance is to take place at the Scala Theatre on<br /> December 17th next, and has already aroused<br /> widespread interest. The welcome accorded to<br /> the new society can only be described as enthu-<br /> siastic, but an increase of membership is very<br /> desirable. The subscription is one guinea for the<br /> year, and carries with it the right to two tickets<br /> for every performance given by the society. Any<br /> enquiries addressed to the hon. sec., 1, Trafalgar<br /> Buildings, Northumberland Avenue, W.C., will,<br /> I am sure, be readily answered, and | would<br /> suggest that all who have the interests of the<br /> British drama at heart should put themselves in<br /> communication with him forthwith.<br /> <br /> SretitaA M. Dirine.<br /> <br /> rt<br /> <br /> THE JATERATURE OF AUSTRALIA.<br /> <br /> i<br /> <br /> Duar Srr,—Noticing an interesting account of<br /> Australian writers in your last issue, | was some-<br /> what surprised—considering its fullness—that no<br /> mention was made of that best known of all<br /> colonial novelists, Ethel Turner, whose stories for<br /> children have been so well received in England.<br /> In Australia, as I happen to have heard from<br /> friends in that country, she is, without exaggera-<br /> tion, a household name, far above many your<br /> writer has mentioned, and equal to any that he<br /> has. I have also read and noticed reviewed this<br /> year a novel by * Constance Clyde,” which gives a<br /> new and vivid description of Sydney city life, she,<br /> I read from one of the reviews, being a well-<br /> known writer on one or two of the best papers in<br /> Australia. oe a<br /> <br /> Hoping you will pardon this slight criticism of<br /> your correspondent’s article.<br /> <br /> Yours obediently,<br /> <br /> E. BROADFIELD.<br />  <br /> <br /> 96<br /> Il.<br /> <br /> Srr,—I am very sorry for the omission of Miss<br /> Ethel Turner’s name from my article on “« Aus-<br /> tralian Literature,” and do not know how I came<br /> to forget so well known an author. I am glad<br /> that the error will be corrected by the publication<br /> of your correspondent’s letter on the subject.<br /> <br /> Indeed, I fear that owing to my not having been<br /> lately in the colonies, there may be yet other<br /> omissions, but I trust this may not be the case<br /> with authors of note. My idea was rather to give<br /> the general trend of Australian literature from its<br /> beginning than to enumerate contemporary writers,<br /> and I confess that I do not know the author,<br /> “Constance Clyde,” of whom your correspondent<br /> speaks.<br /> <br /> I am, yours sincerely,<br /> <br /> R. M. PRAED.<br /> <br /> CHAPTER HEADLINES.<br /> <br /> Dear Srr,—A novel reader recently asked me<br /> why many books are now published without chapter<br /> headings. Can any novelist answer ? Is it art,<br /> or simply idleness, or just a vogue ?<br /> <br /> If the chapters of a novel have no title or head-<br /> line, why not abolish the table of contents also ?<br /> Such information as “Ch. V. p. 50” is of no use<br /> to anyone. It would be much better to put the<br /> number of each chapter either as a headline, or a<br /> “Sig.” on each odd page.<br /> <br /> Then, what is the use of repeating the title of a<br /> novel as its headline on every page. “Old Brown”<br /> may be all right on the cover, but as he probably<br /> is the subject of every one of three hundred pages<br /> it is quite unnecessary to have the title paraded in<br /> large caps three hundred times or more. When<br /> the title is no indication to the contents of the<br /> volume its vain repetition is but the constant<br /> reiteration of an unwarrantable impertinence.<br /> <br /> In a recently-issued American novel the story is<br /> divided into more than half-a-dozen titled “books,”<br /> and each book consists of from six to twelve un-<br /> titled chapters—but there is no table of contents !<br /> There appears to be no rule, and the practice<br /> varies.<br /> <br /> Any story which is not intended to be read<br /> through at a single sitting should consist of<br /> sections; and, as a convenience to the reader,<br /> these sections or chapters should be named rather<br /> than numbered only. his is my opinion and<br /> that of novel readers I have consulted. What do<br /> the novelists say ?<br /> <br /> WILL. GREENER.<br /> <br /> THE AUTHOR.<br /> <br /> Unit oF AN EbITION,<br /> <br /> Srr,—With reference to what is mentioned in<br /> the November issue of Zhe Author, under the<br /> heading of ‘‘ Committee Notes,” about the unit of<br /> an edition, I would like to suggest (what, doubtless,<br /> has already been proposed) that the society agree<br /> with the Publishers’ Association that the word<br /> “sedition” mean all the copies of a work in which the<br /> wording is the same, and the word “ issue” all those<br /> copies of an edition which are published at one<br /> time. To say that a work is in its second or any<br /> other edition would then show how many times it<br /> has undergone alteration. These words are, I<br /> think, used in this sense by Messrs. Macmillan, but<br /> I do not know whether by any other firm of<br /> publishers.<br /> <br /> There does not seem to me much real need to<br /> define how many copies constitute either an issue<br /> or an edition, for the number must depend so much<br /> upon the nature of the work ; but what people do<br /> most urgently want to know is that they are buy-<br /> ing really a copy of the latest revised issue of any<br /> work, and the use of the word edition in the<br /> above-suggested sense, with the date, would always<br /> give them that information.<br /> <br /> Husert Hass.<br /> <br /> A Muissine VOLUME.<br /> <br /> Sir,—Permit me to rectify two slight slips<br /> which crept into my communication under this<br /> head in last month’s organ.<br /> <br /> The name of the supposed authoress of “ Rebecca,<br /> or the Victim of Duplicity,” is Mrs. Holebrook of<br /> Sandon, Derbyshire, and the precise style of the<br /> present resting-place of the two volumes, the<br /> Library of the University of Paris, Bibliotheque<br /> de la Sorbonne. I may add that the third volume<br /> we are so anxious to find has not, as yet, been<br /> traced.<br /> <br /> Crcil CLARKE.<br /> <br /> ——<br /> <br /> REFERENCE BOOKS.<br /> <br /> Srr,—In reply<br /> Littérateur ” on page 64 of the November number,<br /> he should certainly obtain a copy of F. Howard<br /> Collins’s ‘Author and Printer,”<br /> revised, in which he will find on p. xiv. the books<br /> constituting ‘a useful library of reference,” from<br /> which a selection for travelling could be made.<br /> <br /> A MEMBER.<br /> <br /> to the question of “A Struggling —<br /> <br /> second edition —	https://historysoa.com/files/original/5/511/1905-12-01-The-Author-16-3.pdf	publications, The Author