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390	https://historysoa.com/items/show/390	The Author, Vol. 19 Issue 05 (February 1909)	<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.+19+Issue+05+%28February+1909%29"><em>The Author</em>, Vol. 19 Issue 05 (February 1909)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1909-02-01-The-Author-19-5					109–136																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-02-01">1909-02-01</a>							5			19090201	C be El u t b or .<br /> (The organ of the Incorporated Society of Authors. Monthly.<br /> Vol. XIX.-No. 5. EEBRUARY 1, 1909. [PRICE SINPENCE.<br /> C O N T E N T S.<br /> |<br /> - . PAGE PAGE<br /> Notices, ... * - G * - tº tº e is - - - - - - • . . - - - 109, 124 Warnings to Dramatic Authors - - - * - - s º e - - - ... 123<br /> &#039;Qommittee Notes - - - tº º º - - - • * * * * * - - - ... 112 Warnings to Musical Composers ... * * * * e º - - - ... 123<br /> Books published by Members of the Society * g º - - - ... 114 How to Use the Society tº tº a - - - e - - * * * - - - ... 124<br /> Books published in America by Members ... tº º ºs - * * ... 115 To Musical Composers e tº e - - - 6 º&#039; - * = &amp; - - - ... 134<br /> Literary, Dramatic and Musical Notes ... e e e - - - ... 115 The Reading Branch ... * * * - - - tº - - * c &amp; - - - ... 124<br /> Paris, Notes - - - - - - tº e e * * * - - - • * s - - - ... 117 Legal and General Life Assurance Society... e 6 - - - - ... 124<br /> Spanish Notes ... . ... º, a &amp; - - - e - - e &amp; © - - - ... 118 General Notes ... * * * tº tº e - * * - - - * * * - - - ... 125<br /> “Copyright in Musical Compositions... - - - &amp; ſº tº - - - ... I.19 Arthur William A. Beckett ... - - - - - - &amp; e - - - - ... 126<br /> The Dramatisation of Novels ... . ... * - - as s &amp; - * * ... 120 British Authors and American Copyright ... s = &amp; - * * ... 127<br /> Performing Rights in Sketch... - - - - - - * * * - tº - ... 121 On Rendering Accounts * * * - - - - - - * e a - - - , , , 129<br /> ...A Bill to Abolish the Powers of the Lord Chamberlain in To Be Ol&#039; Not To JBe ... c. * * - - - - - - - e - - - - ... 129<br /> Respect of Stage Plays, &amp;c. e - - - tº º - - - ... 121 The Decadence Of the Novel ... - - - - - - * * * - - - ... 131<br /> Magazine Contents e - - tº e tº - - - tº - - * * * - - - ... 122 The Literary Year look sº º º * * * - - - * * * - - - ... 133<br /> Warnings to Producers of Books ... • * - * * * - - - ... 123 Correspondence ... • * * tº tº º - - - * * * * * * * * * ... 135<br /> PUBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report for the current year. 18.<br /> 2. The Author. Published ten months in the year (August and September omitted), devoted especially<br /> to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br /> to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per Vol. - -<br /> 3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 3s.<br /> 4. The History of the Société des Gems de Lettres. By S. SQUIRE SPRIGGE. 18.<br /> 5. The Cost of Production. (Out of print.)<br /> 6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the<br /> various kinds of fraud which have been made possible by the different clauses therein. 3s.<br /> Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br /> the office of the Society since the publication of the “Methods.” With comments and<br /> advice. 28.<br /> T. Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill of 1890. With<br /> Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br /> American Copyright Bill. By J. M. LELY. 18. 6d.<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). 18.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> LUNGE, J.U.D. 2s. 6d.<br /> 10. Forms of Agreement issued by the Publishers&#039; Association ; with Comments. By<br /> G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br /> 11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br /> and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> [All prices met. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S.W.]<br /> <br /> <br /> ## p. 108 (#152) ############################################<br /> <br /> AD VERTISEMENTS.<br /> (Ilje Šuriefn of Autburg (ſmrurpurated).<br /> PRESIDENT,<br /> COUNCIL.<br /> SIR ARTHUR CONAN DOYLE.<br /> A. W. DUBOURG.<br /> DOUGLAS FRESHFIELD.<br /> THE HON. MRS. ALFRED FELKIN<br /> (ELLEN THORNEYCROFT FOWLER).<br /> SIR. W. S. GILBERT.<br /> EDMUND GOSSE, LL.D.<br /> SYDNEY GRUNDY.<br /> H. RIDER HAGGARD.<br /> THOMAS HARDY.<br /> MRS. HARRISON (“LUCAS MALET&quot;).<br /> ANTHONY HOPE HAWKINS,<br /> E. W. HORNUNG.<br /> MAURICE HEWLETT.<br /> JEROME K. JEROME.<br /> HENRY ARTHUR JONES.<br /> J. SCOTT KELTIE, LL.D.<br /> RUDYARD KIPLING.<br /> SIR EDWIN RAY LANKESTER, F.R.S.<br /> THE REv. W. J. LOFTIE, F.S.A.<br /> THE RIGHT HON. SIR ALFRED<br /> LYALL, P.C.<br /> LADY LUGARD (MISS FLORA. L.<br /> SHAw).<br /> SIDNEY LEE.<br /> MRS. MAxwell (M. E. BRADDON).<br /> JUSTIN MCCARTHY.<br /> THE REV. C. H. MIDDLETON-WAKE,<br /> SIR HENRY NORMAN, M.P.<br /> SIR GILBERT PARKER, M.P.<br /> A. W. PINERO.<br /> THE RIGHT HON. SIR HORACE<br /> PLUNKETT, K.P.<br /> ARTHUR RACKHAM.<br /> OWEN SEAMAN.<br /> G. BERNARD SHAW,<br /> G. R. SIMS.<br /> S. SQUIRE SPRIGGE,<br /> FRANCIS STORR. -<br /> SIR CHARLES VILLIERS STANFORD,<br /> Mus. Doc.<br /> WILLIAM MOY THOMAS.<br /> MRS. HUMPHRY WARD.<br /> PERCY WHITE.<br /> FIELD MARSHAL THE RIGHT HON.<br /> THE WISCOUNT WolsFLEY, K.P.,<br /> P.C., &amp;c.<br /> SIDNEY WEB.B.<br /> MAURICE HEWIETT.<br /> SIDNEY LEE.<br /> ARTHUR RACKHAM.<br /> G. BERNARD SHAW.<br /> S. SQUIRE SPRIGGE.<br /> FRANCIS STORR.<br /> SIDNEY WEBB,<br /> Chairman—HENRY ARTHUR JONES.<br /> J. W. COMYNS CARR.<br /> JEROME K. J.EROME.<br /> W. J. LOCKE.<br /> W. SOMERSET MAUGHAM.<br /> CAPT. ROBERT MARSHALL.<br /> PAUL RUBENS.<br /> G. BERNARD SHAW.<br /> Chairman—DOUGLAS FRESHFIELD.<br /> NIORLEY ROBERTS.<br /> |M. H. SPIELMANN.<br /> MRS. ALEC TWEEDIE.<br /> MRS. HUMPHRY WARD.<br /> E. J. MACGILLIVRAY.<br /> SIR. GILBERT PARKER, M.P.<br /> ART sub-COMMITTEE.<br /> JOHN HASSALL, R.I.<br /> J. G. MILLAIS.<br /> } Solicitors,<br /> SIR CHARLES WILLIERS STANFORD,<br /> Mus. Doc.<br /> J.H. H. Yox ALL, M.P.<br /> ARTHUR RACKEIAM.<br /> M. H. SPIELMANN.<br /> Secretary—G. HERBERT THRING,<br /> Solicitor in England to<br /> La Société des Gems de L8ttres,<br /> OFFICES.<br /> Telegraphic Address : “AUTORIDAD, LONDON.”<br /> Telephone No. : 374 Victoria.<br /> G-EBOIERG-EB TMIETRIET).ITIET, O. MI-<br /> SIR ROBERT ANDERSON, K.C.B.<br /> SIRWM.REYNELL ANSON, Bart., D.C.L.<br /> THE RIGHT HON. THE LORD AVE-<br /> J. M. BARRIE. [BURY, P.C.<br /> A. W. A BECKETT.<br /> ROBERT BATEMAN.<br /> F. E. BEDDARD, F.R.S.<br /> THE RIGHT HON. AUGUSTINE BIR-<br /> RELL, P.C. -<br /> MRS. E. NESBIT BLAND.<br /> THE REV. PROF. BONNEY, F.R.S.<br /> THE RIGHT HON. JAMES BRYCE, P.C.<br /> THE RIGHT HON. THE LORD BURGB-<br /> CLERE, P.C.<br /> HALL CAINE.<br /> J. W. COMYINS CARR.<br /> EGERTON CASTLE, F.S.A.<br /> EDWARD CLODD.<br /> W. MORRIS COLLES.<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> F. MARION CRAW FORD.<br /> THE RIGHT HON. THE LORD CURZON<br /> OF KEDLESTON.<br /> AUSTIN DOBSON.<br /> COIMIMITTEE OF MANAGEMENT,<br /> MRS. E. NESBIT BLAND,<br /> J. W. COMYINS CARR.<br /> THE HON. MRS. ALFRED FELKIN<br /> (ELLEN THORNEYCROFT Fowl ER).<br /> Chairman—DOUGLAS FRESHFIELD.<br /> IDRAIMIATIC SUB-COMMITTEE,<br /> WILLIAM ARCHER.<br /> MRS, E. NESBIT BLAND.<br /> H. GRANVILLE BARKER.<br /> PENSION FUND COIMIMITTEE.<br /> ANSTEY GUTHRIE.<br /> ANTHONY HOPE HAWKINS,<br /> COPYRIGHT SUB-COMMITTEE.<br /> HAROLD HARDY.<br /> ANTHONY HOPE HAWKINS.<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> FIELD, Roscoe &amp; Co., 36, Lincoln&#039;s Inn Fields, W.C. -<br /> G. HERBERT THRING, 39, Old Queen Street, Storey&#039;s Gate, S.W.<br /> LAWRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br /> 39, OLD QUEEN STREET, STOREY&#039;s GATE, S.W.<br /> <br /> <br /> ## p. 109 (#153) ############################################<br /> <br /> C be El u t bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FoundED BY SIR<br /> WALTER BESANT.<br /> Vol. XIX.-No. 5.<br /> FEBRUARY 1st, 1909.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> —s—e-e—<br /> NOTICES.<br /> —º-º-º-<br /> OR the opinions expressed in papers that are<br /> signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> THE Editor begs to inform members of the<br /> Authors’ Society and other readers of The Author.<br /> that the cases which are quoted in The Author are<br /> cases that have come before the notice or to the<br /> knowledge of the Secretary of the Society, and that<br /> those members of the Society who desire to have<br /> the names of the publishers concerned can obtain<br /> them on application.<br /> a —º- a<br /> v-u-v<br /> THE SOCIETY&#039;S FUNDS.<br /> —º-º-º-<br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done for<br /> them. The committee, acting on the suggestion<br /> of one of these members, have decided to place<br /> this permanent paragraph in The Author in order<br /> that members may be cognisant of those funds to<br /> which these contributions may be paid.<br /> The funds suitable for this purpose are : (1) The<br /> Capital Fund. This fund is kept in reserve in<br /> case it is necessary for the Society to incur heavy<br /> expenditure, either in fighting a question of prin-<br /> ciple, or in assisting to obtain copyright reform,<br /> WOL, XIX,<br /> or in dealing with any other matter closely<br /> connected with the work of the Society. +<br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover the<br /> needs of all the members of the Society.<br /> — — — —<br /> LIST OF MEMBERs.<br /> —º-º-º-<br /> HE List of Members of the Society of Authors,<br /> published October, 1907, can now be obtained<br /> at the offices of the Society at the price of<br /> 6d., post free 7#d. It includes elections to July,<br /> 1907, and will be sold to members and associates<br /> of the Society only.<br /> A dozen blank pages have been added at the<br /> end of the list for the convenience of those who<br /> desire to add future elections as they are chronicled<br /> from month to month in these pages.<br /> *—º-— a<br /> w--~-w<br /> PEN SION FUND,<br /> —e-º-e—<br /> T the beginning of 1908, the Trustees of<br /> the Pension Fund of the Society, after<br /> the secretary had placed before them the<br /> financial position of the Fund, decided to invest<br /> £230 in the purchase of Irish Land Act 2; per<br /> cent. Guaranteed Stock.<br /> The amount purchased is £258, and is added to<br /> the list printed below.<br /> The investments are steadily increasing from<br /> year to year, the amount varying between £200<br /> and £250.<br /> Consols 23%.............................. 31,000 0 0<br /> Local Loans .............................. 500 0 0<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 291. 19 11<br /> War Loan .............. • * * * * * * * * * * * * * * * e a e 201 9 3<br /> London and North-Western 3% Deben-<br /> ture Stock .............................. 250 0 0<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates ............... 200 () ()<br /> <br /> <br /> ## p. 110 (#154) ############################################<br /> <br /> 110<br /> THE AUTHOR.<br /> Cape of Good Hope 33% Inscribed<br /> tock .......................... ... e º &#039;º e º sº e º e tº 3200<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.................. 228<br /> New Zealand 34% Stock........... 247<br /> Irish Land Act 23% Guaranteed Stock 258<br /> Total … #3,376<br /> Subscriptions.<br /> 1908.<br /> Oct. 10, Macnaughton-Jones,<br /> Oct. 20, Garvice, Charles<br /> Nov. 12, Woods, Miss Mary A.<br /> Nov. 20, Boycott, G. W. M..<br /> Nov. 20, Budgeon, Miss<br /> Nov. 21, Benjamin, Lewis J.<br /> Nov. 21, Coulton, G. G. º *<br /> Nov. 21, Dixon, Miss H. Margaret<br /> Nov. 21, Colquhoun, A. tº<br /> Nov. 23, Holmes, Miss Eleanor<br /> Nov. 23, Hussey, Eyre<br /> Nov. 23, Capes, Bernard<br /> Nov. 23, Hecht, Mrs. Arthur &amp;<br /> Nov. 23, Festing, Miss Gabrielle .<br /> Nov. 23, Carolin, Mrs. . e §<br /> Nov. 23, Bland, Mrs. E. Nesbit<br /> Nov. 23, Hichens, Robert<br /> Nov. 23, Grogan, W. E. e<br /> Nov. 23, Stowell, Mrs. Rodolph<br /> Nov. 23, Gay, Mrs. g<br /> 23, Summers, J. . sº<br /> 23, Bloundelle-Burton, J.<br /> 23, Freshfield, Douglas<br /> 24, Rowsell, Miss Mary<br /> 24, Bell, Lady tº<br /> 24, Sanders, Miss E. K.<br /> 25, Count Plunkett<br /> 25, Victoria Cross &amp;<br /> 25, Cromartie, the Countess of<br /> 25, Sutro, Alfred. o<br /> 25, Kipling, Rudyard .<br /> 25, Pope, Miss Jessie .<br /> 25, Scott, G. Forrester<br /> 25, Carr, Miss Mildred E. .<br /> 25, O’Brien, The Rev. G. E.<br /> 25, Wills, The Rev. Freeman<br /> 25, Lewis, T. C. * &amp;<br /> 25, Fenwick, Miss S. F.<br /> 26, Montgomery, Miss K. L.<br /> 26, Dummelow, The Rev. J. R.<br /> 26, Jopp, Miss E. A. .<br /> 26, Wintle, Harold R..<br /> 26, Malcolm, Mrs. Ian. e<br /> 26, Felkin, The Hon. Mrs. .<br /> 26, Ward, Wilfrid iº º ge<br /> 26, Marks, Mrs. Mary A. M. º<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Noy.<br /> Nov.<br /> Mov.<br /> Now.<br /> Nov.<br /> Noy.<br /> Nov.<br /> Nov.<br /> Now.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> i<br /> .0<br /> 18<br /> 1<br /> l<br /> l<br /> :1<br /> 1<br /> 1<br /> 1<br /> 8.O<br /> Dec.<br /> tº #.<br /> Nov. 26, “E.” . ſe e . ()<br /> Nov. 27, Prideaux, Miss S. T. ()<br /> Nov. 27, Saies, Mrs. F. H. . ()<br /> Nov. 27, Heath, Miss Ella ()<br /> Nov. 27, Thomas, Edward 1<br /> Nov. 27, Shaw, Mrs. Bernard 3<br /> Nov. 27, Smith, Bertram 1<br /> Nov. 27, Niven, Frederick . g ()<br /> Nov. 27, Nembhard, Miss Isabel . ()<br /> Nov. 27, Smith, Miss M. E. . ()<br /> Nov. 28, Brandon, Miss Dorothy. ()<br /> Nov. 28, de la Pasture, Mrs. Henry I<br /> Nov. 28, Scott, Mrs. C. ()<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Nov.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> 28, Harrison, Mrs. Darent .<br /> 28, Logan, The Rev. Robert<br /> 28, Chesterton, G. K. º<br /> 30, Sherwood, Miss A. wº ge<br /> 30, Hutchinson, The Rev. H. N. .<br /> 1, Sachs, E. T. . © tº &amp;<br /> 1, Truman, Miss Olivia<br /> 3, Yolland, Miss E.<br /> 4, Bagnall, Miss L. T. . &amp; *<br /> 4, Humphreys, Mrs. Desmond (Rita)<br /> 4, Anon. . g &amp; &amp;<br /> 7, Westrup, Miss Margaret<br /> 7, Lynch, H. T. B., M.P.<br /> 8, Caillard, Miss E. M.<br /> 8, Askew, Claude<br /> 8, Felkin, A. L. .<br /> 9, Rosetti, W. M. e<br /> 9, Miller, Miss Esther .<br /> 11, Woodward, Miss Ida<br /> 12, Mann, Mrs. Mary E. . ©<br /> 12, Lack, H. Lambert . tº e<br /> 14, Winchilsea and Nottingham<br /> The Countess of ſº<br /> 14, Sinclair, Miss May<br /> 14, Weyman, Stanley .<br /> 17, Macpherson, John F. .<br /> 17, Hills, Mrs. Martha .<br /> Dec. 18, Hands, Mrs. Morris<br /> Dec. 18, Geddes, Mrs. .<br /> Dec. 22, Miles, Bertram<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> Dec.<br /> T)ec.<br /> Dec. 23, Mackenzie, Miss Helen .<br /> 1909.<br /> Jan. 1, Twycross, Miss M . &amp;<br /> Jan. 2, Macquarie, Arthur tº<br /> Jan. 4, Sproston, Mrs. Stanley<br /> Jan. 4, Phipson, Miss Emma *<br /> Jan. 4, Middlemas, Miss Jean .<br /> Jan. 4, Pott, J. A. . gº º<br /> Jan. 7, Marchmont, A. W. .<br /> Jan. 7, Sharwood, T. S. º<br /> Jan. 12, Durand, Ralph<br /> Jan. 12, Laing, Mrs. . º<br /> Jan. 14, Banks, Mrs. M. M. .<br /> Jan. 14, Steel, Richard tº<br /> (<br /> )<br /> lI<br /> ()<br /> 10<br /> i<br /> 1<br /> <br /> <br /> ## p. 111 (#155) ############################################<br /> <br /> TISIES A UITISIOR.<br /> 111<br /> - . 3 s. d. - :# 8.<br /> Jan. 16, Garnett, Edward . 1 1 0 Nov. 27, Simes, Miss O. Kathleen O 5<br /> Jan. 16, Fenn, Frederick 1 1 0 Nov. 27, Penny, The Rev. Frank I 1<br /> Jan. 18, Hering, Henry A. 0 10 6 Nov. 27, Westell, W. P. . e O 1 ()<br /> Jan. 18, Fox, Archibald, D. 0 5 0 Nov. 28, Coolidge, The Rev. W. A. B. 2 2<br /> Jan. 31, Anon . © • 0 5 0 Nov. 28, Tennant, Lady Pamela 2 2<br /> Nº. 28, Nº. H. . . &amp; 1 1<br /> • Wov. 30, Northcote, The Rev. H. O 5<br /> Domations, 1908. Nov. 30, Dexter, Walter . 2 2<br /> July 16, Carolin, Mrs. &amp; * 0 5 0 Nov. 30, Oliver, Miss Selwyn . O 5<br /> July 28, Atherton, Mrs. Gertrude 21 0 0 Nov. 30, Kaye-Smith, Miss Sheila O 5<br /> Aug. 21, Beckett, Arthur W. . 1 1 0 Nov. 30, Bent, Mrs. Theodore 1 0<br /> Sept. 28, “Whitworth Wynne &quot; . 1 1 0 Nov. 30, Atkins, Miss Margaret A. () 5<br /> Oct. 23, Woolf, Miss Bella Sidney 0 5 0 Dec. 7, Hood, Francis te gº O 5<br /> Oct. 31, Robinson, J. R. . gº 0 6 0 Dec. 7, Maunsell, A. E. Lloyd () 10<br /> Nov. 6, Wroughton, Miss Cicely . 1 0 0 Dec. 7, Carolin, Mrs. . () 10<br /> Nov. 7, Sherard, R. H. . g 1 1 0 Dec. 7, Drake, Lady Eliott 1 1<br /> Nov. 7, Cameron, Miss Charlotte 0 10 0 Dec. 7, Parker, Mrs. Nella. 1 I<br /> Nov. 12, Tweedie, Mrs. Alec. . 1 1 0 Dec. 7, Montrésor, Miss F. F. 3 ()<br /> Nov. 17, Tench, Miss Mary F. A. 0 10 0 Dec. 7, Shepherd, George H. 1 I<br /> Nov. 17, Anon. . e © º 1 1 0 Dec. 9, Maartens, Maarten. 5 ()<br /> Nov. 21, Anson, Sir William, Bart. 10 0 0 Dec. 9, Y. F. S. O 5<br /> Nov. 21, Cordeaux, Miss K. M. . . 0 10 6 Dec. 9, Lefroy, Mrs. . &amp; 1 1<br /> Nov. 21, Drewitt, F. Dawtrey, M.D. . 1 1 0 Dec. 9, Bourdillon, Miss Rose () 5<br /> Nov. 21, Delaire, Madame Jean . 1 0 0 Dec. 9, White, Mrs. Woollaston () 5<br /> Nov. 21, Hecht, Mrs. Arthur . 0 10 0 Dec. 10, Gilliatt, The Rev. E. 1 ()<br /> Nov. 21, Collier, The Hon. John 1 1 0 Dec. 13, Evans, Miss C. M. g ... O 5<br /> Nov. 21, Keltie, G. Scott . tº 1 1 0 Dec. 14, Pennell, Mrs. Elizabeth Robins l I<br /> Nov. 21, Shepeard-Walwyn, H. W. 1 0 0 Dec. 14, Oppenheim, E. C. 2 ()<br /> Nov. 21, Church, Prof. A. H. 5 5 0 Dec. 16, Blake, J. P. . I 1<br /> Nov. 21, James, Miss S. Boucher 0 10 6 Dec. 17, Medlicott, Cecil () J ()<br /> Nov. 21, Ramsden, The Lady Gwen- Dec. 18, Tansley, A. G. . tº . 2 2<br /> dolen { } sº . 1 1 0 Dec. 19, Thurston, Mrs. Ratherine Cecil 1 1<br /> Nov. 21, Spielmann, M. H. 1 1 0 Dec. 19, Todd, John L. 1 l<br /> Nov. 21, Saville, Frank 5 0 0 Dec. 21, White, Percy 1 1<br /> Nov. 24, Kennedy, E. B. . 0 5 0 Dec. 23, Vance, Louis J. 0 10<br /> Nov. 24, Bennett, Prof. W. H. 0 5 0 Dec. 28, Guthrie, Anstey . 2 2<br /> Nov. 24, Batty, Mrs. Braithwaite 0 5 0 Dec. 29, Roberts, Miss Edith () 5<br /> Nov. 24, Crouch, A. P. . &amp; 0 5 0 Dec. 30, Coke, Desmond () 1()<br /> Nov. 24, Hawtrey, Miss Walentin 0 5 0 Dec. 30, Mackenzie, Miss J. () 5<br /> Nov. 24, Sedgwick, Miss Anna Douglas 0 5 0 Dec. 30, Lathbury, Miss Eva () 5<br /> Nov. 24, Anon. . © © tº . 1 1 0 Dec. 31, Egbert, Henry () 5<br /> Nov. 25, Page, Herbert W. 2 2 0 1909.<br /> Nov. 25, Brereton, Capt. F. S. . 1 1 0 Jan. 1, Zangwill, Israel 1 I<br /> Nov. 25, Knight, Mrs. Maude C. 0 5 0 Jan. 1, Hamilton, John A. . 0 5<br /> Nov. 25, Bowen, Miss Marjorie . 1 1 0 Jan. 4, Stopford, Francis I 1<br /> Nov. 25, Turner, Reginald 1 1 0 Jan. 4, Falmouth, The Wiscountess 5 ()<br /> Nov. 25, Nash, T. A. 1 1 0 Jan. 4, Carrel, Frederick () 1()<br /> Nov. 25, Trevor, John 0 5 0 Jan. 4, Laws, T. C. . $ O 5<br /> Nov. 25, Wacher, Francis . 0 10 0 Jan. 4, Abercrombie, Lascelles () 5<br /> Nov. 25, Hughes-Gibb, Mrs. 0 5 0 Jan. 5, Bradgate, Mrs. I I<br /> INov. 25, Farmer, Miss A. A. 0 5 0 Jan. 6, Leach, Henry () 10<br /> Nov. 25, Hunt, Holman 1 1 0 Jan. 6, Cullen, H. N. tº * . () 5<br /> Nov. 25, Tuckett, F. F. 1 0 0 Jan. 6, Lyall, The Right Hon. Sir<br /> Nov. 25, Allen, Mrs. Grant 0 1 0 6 Alfred, P.C., etc. I 1.<br /> Nov. 26, Hole, W. G. G 1 1 0 Jan. 7, Underdown, Miss Emily () )<br /> Nov. 27, Granville, Charles 0 10 0 Jan. 8, Omond, T. S. * &amp; 1 1<br /> Nov. 27, Henoch, Miss Emily T. 1 1 0 Jan. 8, Paternoster, G. Sidney 1 1<br /> <br /> <br /> ## p. 112 (#156) ############################################<br /> <br /> 112<br /> DITSIOR,<br /> T<br /> ISIES<br /> 2A<br /> Jan.<br /> Jan,<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> 9, Stockley, Mrs.<br /> 9, Tanner, James T. .<br /> 12, Tighe, Henry<br /> 12, Aitken, Robert<br /> 12, Bolton, Miss Anna<br /> 14, Williamson, W. H.<br /> 16, Furze, Miss Bessie<br /> 16, Shirley, Arthur tº<br /> 18, “Austin Clare &quot; . e<br /> Jan. 22, Williamson, Mrs. C. N.<br /> Jan. 22, Williamson, C. N. © o<br /> The names of those subscribers and donors which<br /> are not included in the lists printed above, are<br /> unavoidably held over to the March issue.<br /> We regret the omission in the January number<br /> among the new subscribers of the names of the<br /> Hon. Mrs. Felkin (£1) and Wilfrid Ward (10s.).<br /> The total amount of annual subscriptions<br /> received and promised since the issue of the<br /> circular amounts to £71. The total amount of<br /> donations to £105.<br /> COMMITTEE NOTES.<br /> —e—º-0–<br /> rTYHE first meeting of the committee in the<br /> year 1909 was held at the offices of the<br /> society on January 11. The New Year<br /> has opened well with the election of thirty-four<br /> members and associates. There were, however,<br /> twenty-three resignations. At the commencement<br /> of the year an increase in the number of resigna-<br /> tions is to be expected. At the same time the<br /> committee would like to call attention to the fact<br /> that when, as is often the case, members who have<br /> resigned for one reason or another desire to return<br /> to the society, they are liable to be called on for a<br /> statement of the reasons for their resignation, and<br /> also for their seeking re-election ; and that the<br /> committee will further consider the amount of<br /> work which the society undertook for the applicant<br /> during his former membership. These matters<br /> will be taken into account by the committee in<br /> determining the payment in respect of arrears to<br /> be called for in each case. It is obviously unfair<br /> that authors who only support the Society when<br /> and while in direct need of its assistance should<br /> reap the benefit of the society&#039;s machinery, which<br /> has been built up mainly through the funds contri-<br /> buted by constant subscribers who, very often<br /> without need of its direct help, have nevertheless<br /> felt it their duty to support the trades union of their<br /> profession. This is not the first time that attention<br /> has been drawn in these notes to this subject ; but<br /> at this period of the year the committee deem it<br /> unable to take up the duties.<br /> desirable to put clearly before our members their<br /> view and the action by which they propose to<br /> enforce it.<br /> The question of the Berlin Conference was<br /> mentioned by the secretary, who reported the<br /> action he had taken since the last meeting of<br /> the committee, and it was decided to write to<br /> the Music Publishers’ Association, the Publishers&#039;<br /> Association, and the Copyright Association with a<br /> view to the formation of a joint sub-committee to<br /> consider the question of copyright legislation, and<br /> to take action, should it be necessary, to bring the<br /> matter before the Government. The committee<br /> appointed two delegates from the copyright sub-<br /> committee (Mr. Anthony Hope Hawkins and Mr.<br /> E. J. MacGillivray) to represent the society. Mr.<br /> MacGillivray has consented to serve, but Mr.<br /> Hawkins has, to the committee&#039;s regret, been<br /> Another delegate<br /> will be selected in his place. The secretary was<br /> instructed to get the matter in train as early as<br /> possible.<br /> A case of infringement of copyright in China<br /> was brought to the notice of the committee. The<br /> Secretary was instructed to make the fullest<br /> inquiries and to ascertain whether it was possible<br /> to stop such infringement by action in the Consular<br /> Courts. It is hoped to place a full report in The<br /> Author at a later date.<br /> Mr. Anstey Guthrie, one of the committee’s<br /> nominees on the pension fund committee, retired<br /> at the beginning of the year under the rules of the<br /> Scheme, and was unanimously re-elected.<br /> The sub-committee appointed, as stated in the<br /> January issue of The Author, on the invitation of<br /> Mr. C. J. Longman, on behalf of his firm and other<br /> publishers, to discuss certain questions relating to<br /> the book trade, have not, as yet, settled their report,<br /> and accordingly, the matter was adjourned to the<br /> next meeting.<br /> The report of the committee on office manage-<br /> ment was considered, and it was decided that, in<br /> View of the increase of work at the office, another<br /> clerk should be engaged and that other steps should<br /> be taken to relieve the present pressure. The<br /> committee have taken an extra room for the storage<br /> of papers at the rent of £10 per annum.<br /> The opinion of the society&#039;s counsel in the<br /> United States on the dramatic case mentioned in<br /> previous committee notes, was read, and it was<br /> decided, as the matter is of great importance to<br /> dramatists, to obtain another opinion. The Chair-<br /> man proposed also to communicate the facts of the<br /> case to the Right Hon. James Bryce, the British<br /> Ambassador at Washington, a member of the<br /> Society&#039;s council, and to ask him whether he<br /> could in any way advise the Society as to its<br /> best course. .<br /> <br /> <br /> ## p. 113 (#157) ############################################<br /> <br /> TFIES A UTISIOR.<br /> 113<br /> The opinion of the society’s solicitors in a case<br /> of alleged infringement of copyright was then read<br /> to the committee who, after full consideration of<br /> the facts, regretted their inability to take the<br /> matter up, -<br /> During the past year the committee authorised<br /> the inspection of a publisher&#039;s books by their<br /> accountant. The accountant appeared before the<br /> committee, and in his report expressed his inability<br /> to satisfy himself on a good many items in the<br /> accounts owing to the publisher&#039;s reluctance to<br /> produce his books. It was decided to take the<br /> matter up on behalf of the member and to proceed<br /> with an action at law as soon as possible.<br /> One of the dramatic members of the society<br /> brought forward a case which appeared to the<br /> committee to be of great importance to all<br /> dramatic authors. They accordingly decided to<br /> place the matter at once in the solicitors’ hands<br /> and instructed the secretary to report to the<br /> dramatic sub-committee what they had done. It<br /> was impossible to refer the matter to the dramatic<br /> sub-committee in the first instance as immediate<br /> action was essential. -<br /> Mrs. E. Nesbit Bland&#039;s resolution which was<br /> adjourned from last month has now been with-<br /> drawn at her request.<br /> The date of the General Meeting of the society<br /> has been definitely fixed for Monday, the 22nd day<br /> of March. Formal notice, together with the report<br /> for the past year, will be sent round to members in<br /> due course.<br /> The committee have to thank Mrs. Gunn, a<br /> member of the Society, for a donation to the<br /> society’s funds for work which had been carried<br /> through on her behalf.<br /> Mr. S. L. Clemens (“Mark Twain’’) has accepted<br /> his nomination as a member of the council of the<br /> society.<br /> A vote of condolence was passed to the firm of<br /> Messrs. Field, Roscoe &amp; Co. on the loss they sus-<br /> tained by the death of Mr. Basil Field, the senior<br /> partner in that firm. Mr. Field&#039;s connection with<br /> the society was fully set forth in the January issue<br /> of The Author.<br /> —e-º-º-<br /> Cases.<br /> SINCE the last issue of The Author there have<br /> been ten cases in the hands of the Secretary.<br /> Five of this number were claims for money; three<br /> for the return of MSS.; and two for accounts.<br /> Two of the claims for money were against a firm<br /> which is now in liquidation — Messrs. Sisleys.<br /> Other members of the society are involved in this<br /> case. The liquidator is Mr. H. Wingfield, of<br /> 64, Cannon Street, E.C. The secretary will be<br /> obliged if those members who have books published<br /> by this firm will place their papers in his hands<br /> that he may conduct the negotiations for them<br /> through the society&#039;s solicitors. Of the other<br /> three demands for money, one has been settled ; one<br /> has been placed in the solicitors’ hands, and action<br /> will be commenced in the County Court if neces-<br /> Sary. Part of the claim in the last one has been<br /> Settled, but there is still an amount due. One<br /> of the MSS. cases has been settled, and the others<br /> are in the course of negotiation. The cases of<br /> accounts have only recently come into the secre-<br /> tary&#039;s hands and at the time of going to press no<br /> answer has been received to his letters. -<br /> There are five cases still outstanding from the<br /> previous month. One of these has been placed in the<br /> Solicitors’ hands with instructions, to commence<br /> County Court proceedings; one is in the course of<br /> settlement, and the three others being respectively<br /> in Madras, New Zealand and the United States of<br /> America require some time before they can be<br /> brought to a successful issue.<br /> January Elections.<br /> Baring, The Hon. Francis 34, Great Cumberland<br /> Place, W.<br /> Bateman, Sir Alfred, Woodhouse,<br /> R.C.M.G. Wimbledon Park,<br /> S.W.<br /> Biss, Gerald . * . 1, Melina Place,<br /> St. John&#039;s Wood,<br /> N.W.<br /> Carlyle, The Rev. A. J. . St. Edmund&#039;s Hall<br /> House, Oxford.<br /> Clifford, Mrs. W. K. 7, Chilworth Street,<br /> W<br /> Farringdon, Herbert M. . . 18, Queensborough<br /> Terrace, Hyde<br /> Park, W.<br /> Fegan, J. B. 22, Great Marl-<br /> borough Street, W.<br /> Seaforth, Malvern.<br /> 4, Portman Mansions,<br /> W.<br /> 28, Glebe Place,<br /> Chelsea, S.W.<br /> 88, Twyford Avenue,<br /> Fox, Archibald D. ©<br /> Grossmith, George, Junr. .<br /> Hamilton, Miss Cicely<br /> Hamilton, Mrs. C. J.<br /> Acton, W.<br /> Ring, Mrs. Paul H. . Customs House,<br /> Canton.<br /> Lagden, Sir Godfrey, The Croft,<br /> R.C.M.G.<br /> Morton, Michael<br /> Mulliken, Mrs. E. G.<br /> Walton-on-Thames.<br /> Lyceum Club, 128,<br /> Piccadilly, W.<br /> <br /> <br /> ## p. 114 (#158) ############################################<br /> <br /> 114<br /> TRIES A Pſ&quot;TRIOR.<br /> Pigott, J. W. . -<br /> Potter, Frank E. Fairfield, 48,<br /> Broomhouse Road,<br /> Hurlingham, S.W.;<br /> “Branksome,” Bishop-<br /> stoke, Hants.<br /> Newport House, Great<br /> Newport Street,<br /> W.C.<br /> 2, Whitehall Court,<br /> S.W.<br /> 34, Brooke Street,<br /> Holborn, E.C.<br /> Hartford Bridge,<br /> Winchfield, Hants.<br /> Zig Zag Hall, Liscard,<br /> Cheshire.<br /> Acacia House, 10,<br /> A c acia Ro a d,<br /> Regent&#039;s Park.<br /> Shirley, Arthur<br /> Stanley, Lady .<br /> St. Aubyn, F. .<br /> Stayton, Frank<br /> Steel, Richard .<br /> Sutcliffe, Constance .<br /> Tadema, Miss Laurance . The Fair Haven,<br /> Alma Wittersham, Kent.<br /> Taylor, 23, Tottenhall Road,<br /> Miss Elizabeth<br /> Annie . tº tº tº<br /> Unwin, Raymond<br /> Wolverhampton.<br /> “Wyldes,” North End,<br /> Hampstead, N.W.<br /> “Whatrang,” Annan,<br /> French Indo-China.<br /> Vaux, Patrick . . Thundersley, Essex.<br /> Winter, Miss E. Saxon . 3, Lansdone Road,<br /> Holl a n d Park<br /> - Avenue, W.<br /> Four members desire neither their names, their<br /> pseudonyms, nor their addresses published.<br /> Wassal, Mrs.<br /> *—º-—a<br /> w-v-w<br /> Books PUBLISHED BY MEMBERs of<br /> THE SOCIETY.<br /> •-º-º-º-<br /> ART.<br /> THE MEDICI AT FLORENCE. Being Part III. of the<br /> Benaissance in Italian Art and containing a separate<br /> analysis of Artists and their Works in Sculpture and<br /> Painting. By SELwyN BRINTON. 7# × 5%. 149 pp.<br /> Fairbairns. 2s. 6d. n.<br /> MEDIAEVAL SINBALESE ART. By ANANDA IK. COOMAR-<br /> ASWAMY. Fellow of University College, London.<br /> 133 × 10%. 339 pp. The Essex House Press. 43 38. m.<br /> BIOGRAPHY.<br /> THE LIFE STORY OF SIR CHARLES TILSTON BRIGHT,<br /> Civil Engineer. Revised and Abridged Edition. By<br /> C. BRIGHT, F.R.S.E. 8; x 5}. xx + 478 pp. Con-<br /> stable. 12s. 6d. n.<br /> BOOKS FOR THE YOUNG.<br /> MINNIE AND TEDDIE. A true story. By MRs. E. Row-<br /> LAND. Published by the Author, Llwyn-y-Brain,<br /> Whitland, South Wales. 18.<br /> CHILDREN FOR EVER.<br /> 6%. 352 pp.<br /> 6s, n.<br /> By JOHN F. MACPHERSON. 83 ×<br /> Illustrated by TONY SARG. J. Long.<br /> BOOKS OF REFERENCE.<br /> THE CATHOLIC WHO&#039;s WHO AND YEAR-Book, 1909.<br /> Edited by SIR. F. C. BURNAND. 7+ x 43. 555 pp.<br /> Burns and Oates. 3s. 6d. n.<br /> DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br /> SIDNEY LEE. Vol. XI.<br /> 1,335 pp. Smith, Elder.<br /> Kennett-Lluelyn.<br /> 15s, m.<br /> 9; x 6+.<br /> CLASSICAL.<br /> THE YEAR’s WORK IN CLASSICAL STUDIES, 1908. Edited<br /> for the Council of the Classical Association by W. H. D.<br /> ROUSE, M.A., Litt.D. (3rd Year of Issue). 83, X 53.<br /> 176 pp. Murray. 2s. 6d. n.<br /> DRAMA.<br /> HYMENAEUs. A Comedy. Now first printed with an<br /> Introduction and Notes by G. C. MooRE SMITH, Litt.D.<br /> 6# X 5. xvi + 84 pp. Cambridge University Press.<br /> 2s. 6d. m.<br /> ECONOMICS.<br /> LANDHOLDING IN ENGLAND, CONSIDERED IN RELATION<br /> TO POVERTY. By MRS. ALFRED MARKs. 74 × 5.<br /> 193 pp. Fifield. 1s. n.<br /> THE EVIL OF THE MILLIONAIRE. By REV. FRANCIS<br /> MINTON, M.A. X. —H 208 pp. Swan Sonnenschein.<br /> 3s. 6d. n.<br /> FICTION.<br /> MARAMA. By MRS. WOOLLASTON WHITE. 73 × 5.<br /> 196 pp. Washbourne.<br /> LEILA : AND HER RING COPHETUA.. By MRs. E. Row-<br /> LAND. Published by the Author, Llwyn-y-Brain, Whit-<br /> land, South Wales. 2s. 6d.<br /> HARRY OF ATHOL. By R. H. FOSTER.<br /> Long. 68. .<br /> THE WHIPS OF TIME. By ARABELLA KENEALY. 73 × 5.<br /> 384 pp. J. Long. 68.<br /> SARAH VALLIANT&#039;S PROBLEM.<br /> Ouseley. 1s.<br /> LOVE AND A WOMAN. By CHARLOTTE MANSFIELD.<br /> 7} x 5. 330 pp. Werner Laurie. 6s. -<br /> LITTLE MISS MUFFET. By ROSA NOCCHETTE CAREY.<br /> 8} x 5%. 160 pp. The Leisure Hour Library Office. 6d.<br /> GOD&#039;s ABYSS AND A WOMAN. By CHARLES GRAN VILLE.<br /> 7 × 4%. 156 pp. (Cheap Reprint). The Open Road<br /> Publishing Co. 1s. n.<br /> THE GIRL FROM GATFORD. By OLIVIA RAMSEY. 73 × 43.<br /> 307 pp. John Long. 6s.<br /> THE MARRIAGE OF LIONEL GLYDE. By OLIVIA RAMSEY.<br /> 74 × 4%. 316 pp. John Long. 6s. r<br /> THE WAYS OF MEN. By H. F.Low ERDEw.<br /> 344 pp. Unwin. 6s.<br /> THE HOUSE CALLED HURRISH.<br /> 372 pp. Hutchinson. 6s.<br /> THE TESTAMENT OF JUDAS.<br /> 318 pp. J. Long. 68.<br /> THE LONG ARM. By E. PHILLIPs OPPENHEIM. 7# × 53.<br /> 318 pp. Ward, Lock. 6s.<br /> SEPTIMUS. By W. J. LoCKE. 73 × 5. 360 pp. Murray. 6s.<br /> THE GOLDEN KEY: A CoMEDY of TEMPERAMENTs. By<br /> DESMOND COKE. 7# × 5: 312 pp. Chapman and<br /> Hall. 6s.<br /> THE INTERRUPTED KISS.<br /> 328 pp. Cassell. 68.<br /> MERELY MAN. By GERTRUDE WARDEN. 73 x 5. 311 pp.<br /> White, 68.<br /> 315 pp. J.<br /> By H. B. BLAIR. 129 pp.<br /> 7% x 5.<br /> By RITA. 73 × 5.<br /> 7<br /> By H. BYALT.<br /> By RICHARD MARSH. 73 × 5.<br /> <br /> <br /> ## p. 115 (#159) ############################################<br /> <br /> TISIE AUTISIOR.<br /> 115<br /> LITERARY.<br /> THE CHARACTERS OF PARADISE LOST.<br /> 73 × 5. 149 pp. Ouseley. 28.<br /> THE COLLECTED WORKS IN VERSE AND PROSE OF<br /> WILLIAM BUTLER YEATS. Wols. VII. and VIII.<br /> (Bibliography 111 pp.) 9 × 53. 299 + 287 pp. Strat-<br /> ford-on-Avon. The Shakespeare Head Press.<br /> By M. A. WooDs.<br /> HERMES AND PLATO. By FDOUARD SCHURf. Trans-<br /> lated by F. RotRWELL. 73 × 5. 117 pp. W. Rider.<br /> 1s. 6d.<br /> MEDICAL.<br /> THE FOOD INSPECTOR&#039;S HANDBOOK. By FRANCIS WACHER.<br /> 73 × 5. xxiv. -- 268 pp. Fifth Edition. The Sanitary<br /> Publishing Co. 7s.6d. n.<br /> DOCTORS. An Address [9 pp.] delivered to the Students<br /> of the Medical School of the Middlesex Hospital.<br /> 1st October, 1908. Sold for the benefit of the Middlesex<br /> Hospital. By RUDYARD KIPLING. With preface [12<br /> pp.] 7} x 4%. 21 pp. Macmillan. 1S. m.<br /> MISCELLANEOUS. -<br /> LITTLE GAMES FOR LONDON DRAWING-ROOMS. By LADY<br /> BELL. 6 x 43. 30 pp. Humphreys. 6d.<br /> THE CORN LAW&#039;s : A POPULAR HISTORY. By MRS.<br /> ALFRED MARKS. 74 × 5. 166 pp. Fifield. 18. n.<br /> POETRY.<br /> , BEADS FROM A LovER&#039;s ROSARY. By GEORGE F.<br /> WILSON. George Allen. 2s. 6d. n.<br /> THE DAWN OF LIFE, AND OTHER PoEMs. By H. MAC-<br /> NAUGHTON-Jon ES. 83 × 6%. 31 pp. Kegan Paul.<br /> 2s. 6d. In.<br /> REPRINTS.<br /> THE COVENTRY LEET Book, PART I. Edited by MARY<br /> DORMER HARRIS. (Early English Text Society.)<br /> SOCIOLOGY. -<br /> FABIAN ESSAYS IN SOCIALISM. By BERNARD SHAW AND<br /> OTHERs. 8 x 5%. xxi + 233 pp. Walter Scott Pub-<br /> lishing Co. 6d. n.<br /> UTOPIAN PAPERs. Edited by DOROTHEA Holl,INs.<br /> 73 × 5. 208 pp. Masters. 3s.6d. n.<br /> * ~ * TEIEOLOGY.<br /> THE ONE VOLUME BIBLE COMMENTARY. Edited by J.<br /> R. DUMMELOW., M.A. 9 × 6. 1,092 pp. Macmillan.<br /> 7s.6d. n. - &#039;,<br /> FATHER TYRRELL&#039;s MoDERNISM. An Expository<br /> Criticism of “Through Scylla and Charybdis,” in an<br /> open letter to Mr. Athelstan Riley. By HAKLUYT<br /> EGERTON. 7; x 5. 216 pp. Kegan Paul. 5s.<br /> PAUL THE MISSIONARY, AND OTHER STUDIES. By THE<br /> REV. P. W. DE QUETTEVILLE. 73 × 5. 265 pp. P.<br /> Green. 3s. 6d. n.<br /> TRAVEL.<br /> PARIS IN ITS SPLENDOUR. By E. A. REYNOLDS BALL.<br /> Two vols. 8 × 53. 354 + 405 pp. Unwin. 10s. n.<br /> BOOKS PUBLISHED IN AMERICA BY<br /> MEMBERS.<br /> BOOKS FOR THE YOUNG.<br /> THE MONARCHS OF MERRY ENGLAND. (William I. to<br /> Richard III.) By Rol,AND CARSE. Illustrated by W.<br /> HEATH ROBINSON. Fred A. Stokes. $1.50.<br /> GOLDEN SQUARE HIGH SCHOOL.<br /> Lippincott. $1.25.<br /> ROUGHRIDERS OF THE PAMPAs. A Tale of Ranch Life in<br /> South America. By CAPTAIN F. SADLIER BRERETON.<br /> By MARY BALDWIN.<br /> $1.25.<br /> A BOY AND A SECRET. By RAYMOND JACBERNs.<br /> Lippincott. $1.25.<br /> BOOKS OF REFERENCE.<br /> DICTIONARY OF NATIONAL BIOGRAPHY. By SIR LESLIE<br /> STEPHEN AND SIDNEY LAZARUs LEE. New edition.<br /> In 22 vols. Vol. X. Howard—Kenneth. Macmillan.<br /> $4.25 n.<br /> DRAMA.<br /> A MYSTERY PLAY IN HONOUR OF THE NATIVITY OF OUR<br /> LORD. By ROBERT HUGH BENSON. Longmans, Green.<br /> 906.<br /> A MIDSUMMER-NIGHT’s DREAM. By WILLIAM SHAKES-<br /> PEARE. Illustrated by ARTHUR RACKHAM. Doubleday,<br /> Page, $5. n.<br /> FICTION.<br /> LIFE&#039;S HANDICAP. MANY INVENTIONS. THE SEVEN<br /> SEAS. By RUDYARD RIPLING. (Pocket Kipling.)<br /> Doubleday, Page. $1.50 m. each. -<br /> Pº By UNA LUCY SILBERRAD. Doubleday, Page.<br /> 1.50. -<br /> *** By BEATRICE HARRADEN. Fred A. Stokes.<br /> 1.50. -<br /> CAPTAIN MARGARET : A ROMANCE. By JOHN MASEFIELD.<br /> Lippincott. $1.50 m. r<br /> AS MAN LIVES ; OR THE MYSTERY OF THE YELLOW<br /> EIOUSE. By E. PHILLIPs OPPENHEIM. $1.50.<br /> SEPTIMUs. By W. J. LocKE. John Lane. $1.50.<br /> MISCELLANEOUS.<br /> ENGLISH FIGURE SKATING. A Guide to the Theory and<br /> Practice of Skating in the English Style. By E.<br /> FREDERIC BENSON. Macmillam. 2.50, n.<br /> SCIENCE.<br /> A TREATISE ON SPHERICAL ASTRONOMY. By SIR ROBERT<br /> STAWELL BALL. Putnam. $3.75 m.<br /> SOCIOI, OGY.<br /> THE MISERY OF BOOTS. By HERBERT G. WELLs.<br /> Publishing Co. 506. n.<br /> SocIALISM AND THE FAMILY. By HERBERT G. WELLs.<br /> Ball Publishing Co. 500. n.<br /> Ball<br /> —e—º-e—<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> —º-º-º-<br /> N our December number “The Adventures of<br /> Cock Robin and His Mates,” by R. Kear-<br /> ton, F.Z.S., was erroneously announced as<br /> published by Messrs. Macmillan. The actual pub-<br /> lishers are Messrs. Cassell, to whom We beg to<br /> express our regrets for the error.<br /> At the last meeting of the Académie Royale<br /> d’Archéologie de Belgique, Count Plunkett (author<br /> of “Sandro Botticelli”) was nominated a foreign<br /> corresponding member of the Academy.<br /> Messrs. Hodder and Stoughton announce for<br /> early in the Spring a volume of humorous sketches<br /> <br /> <br /> ## p. 116 (#160) ############################################<br /> <br /> 116<br /> TISIES A UITISIOR.<br /> by Mr. Charles Garvice, entitled “The Scribblers’<br /> Club.” Some of these have appeared from time to<br /> time in the Westminster Gazette, and other journals<br /> and magazines. It will be remembered that, by<br /> the courtesy of the proprietors of the Westminster<br /> Gazette, we printed one of these sketches, “The<br /> Transformation of a Great Novelist,” in an issue<br /> of The Author. Mr. Garvice desires to state that<br /> the Scribblers&#039; Club does not exist, excepting in his<br /> imagination. Judging by those sketches we have<br /> read, this fact is rather to be deplored.<br /> E. Nesbit (Mrs. Hubert Bland) has just finished<br /> a novel of a sensational and original kind. It will<br /> be published early this year by Alston Rivers. It<br /> is called “Salome and the Head,” and the heroine<br /> is a famous dancer whose popularity involves her<br /> in intrigue, mystery, and crime.<br /> George Allen and Sons are publishing this month<br /> a collection of E. Nesbit&#039;s stories that have been<br /> written about children, not for them ; and the<br /> author hopes that they may enable some readers to<br /> understand children better. This book is called<br /> “These Little Ones.”<br /> “Daphne in Fitzroy Street” is the story of a<br /> girl’s life among the art students of London, and<br /> has engaged E. Nesbit intermittently during the<br /> past two years. It is being published by G. Allen<br /> and Sons.<br /> E. Nesbit is also contributing a serial story for<br /> children to the Strand Magazine, and has written<br /> the first chapters of a novel to be called “Heron<br /> Hall.”<br /> We have received from Mr. Henry Froude,<br /> “Joseph and his Brethren,” a dramatic poem by<br /> Charles Wells, with an introduction by A. C. Swin-<br /> burne, and a note on Rossetti and Charles Wells,<br /> by Theodore Watts-Dunton. The volume is<br /> No. 143 of “The World’s Classics” series.<br /> Miss Arabella Kenealy&#039;s new novel, “The Whips<br /> of Time ’’ (Mr. John Long), is a study in heredity.<br /> A professor of science, believing that persons are<br /> the resultant of their environment and upbringing,<br /> and that heredity plays no part in the formation<br /> of character, exchanges the child of a notorious<br /> murderess for that of a cultured, highly-bred<br /> mother. The American publishers of the book are<br /> Messrs. Little, Brown, of Boston.<br /> The “Treatise on Zoology,” edited by Sir E.<br /> Ray Lankester and published by Messrs. A. and C.<br /> Black, in now nearing completion. Five volumes<br /> have already been issued, and two more will appear<br /> immediately, viz., Part I. Introduction and Pro-<br /> tozoa by Prof. F. J. Hickson and others, and<br /> Part VII., Crustacea, by W. T. Calman, D.Sc.<br /> Mr. Werner Iaurie is publishing shortly “Nights<br /> with the Gods,” by Dr. Emil Reich. It is a study<br /> of present day social, religious, literary and political<br /> features, clothed in form of humorous criticism of<br /> things and persons. The gods of ancient Greece<br /> are depicted discussing modern England from the<br /> standpoint of Hellenic and Roman civilisation with<br /> Plato, Aristotle, Julius Cæsar, and other great<br /> Greeks and Romans of the past.<br /> “The Burglars&#039; Club,” by Henry A. Hering,<br /> which first came out in Cassell&#039;s Magazine, is now<br /> appearing in a Paris Weekly. It has been trans-<br /> lated into German, Italian, Spanish, Swedish and<br /> Dutch.<br /> In “Trees and Shrubs of the British Isles,<br /> Native and Acclimatised,” the authors, Messrs.<br /> C. S. Cooper, F.R.H.S., and W. Percival Westell,<br /> F.L.S., have produced a work which deals popularly<br /> and authoritatively with over 550 species. The<br /> book includes a glossary, a lengthy introduction,<br /> and eighty-six illustrations, of which sixteen are in<br /> colour. Messrs. Dent are issuing it in sixteen<br /> parts at a shilling each part.<br /> In connection with the recent award of the<br /> Nobel Prize for Literature, it may be noted that<br /> “Rudolf Eucken&#039;s Philosophy of Life,” by Prof.<br /> W. R. Boyce Gibson, is already in a second<br /> edition. Professor and Mrs. Gibson have almost<br /> ready for publication in the Spring Eucken&#039;s<br /> “The Meaning and Value of Life.” The<br /> publishers are Messrs. A. and C. Black.<br /> “Love and a Woman,” a new novel by Charlotte<br /> Mansfield, has just been brought out by Mr.<br /> Werner Laurie.<br /> Mrs. Irene Harborough-Sherard (Irene Osgood)<br /> has gone to Jamaica to obtain materials for a new<br /> novel.<br /> We have received the following books from Mr.<br /> John Ouseley : —“The Characters of Paradise<br /> Lost,” by M. A. Woods; “Girl-life in the Harem,”<br /> by Annie Reichardt ; “Little Dorothy,” by T. H.<br /> Chetwynd ; “Sarah Walliant&#039;s Problem,” by H. B.<br /> Blair ; “Paul Richards, Detective,” by Duncan<br /> Dallas.<br /> Mrs. E. Rowland has just brought out “Leila :<br /> and her King Cophetua.” and “Minnie and Teddie :<br /> a True Story.” They may be obtained of the<br /> author, Llwn-y-Brain, Whitland, South Wales.<br /> Messrs. Crewsher&#039;s latest issues in their School<br /> Series of Songs by L. Budgen are “King Frost,”<br /> “Early June,” “Spring Weather,” and “The<br /> Scent of the May.”<br /> The Kingsgate Press are publishing a definitive<br /> edition of “Poems” by Mackenzie Bell. Mr. Bell<br /> dedicates the book to Mr. Theodore Watts-Dunton.<br /> Mrs. Florence Gay is at present engaged on a<br /> new romance, entitled “ Brude the Pict,” which<br /> will be published by Mr. John Ouseley. Sir<br /> Gilbert Parker will contribute an introduction to<br /> the book, which deals with the same early period<br /> of British history as Mrs. Gay&#039;s recent publication,<br /> “The Druidess.”<br /> <br /> <br /> ## p. 117 (#161) ############################################<br /> <br /> TRIE AUTISIOIR,<br /> 117<br /> Miss Emily Baker has contributed to the Occult<br /> Review for January a biographical article on<br /> “Two Famous Astrologers of the 17th and 18th<br /> Centuries—Vincent and Tycho Wing.”<br /> Mr. John Lane will issue shortly a new colour<br /> book by Miss Agnes Herbert, with illustrations by<br /> Mr. Donald Maxwell. Miss Herbert is the author<br /> of “Two Dianas in Somaliland,” and “Two Dianas<br /> in Alaska.”<br /> Mr. Robert Machray, who is busy this winter on<br /> the biography of his uncle, the late Archbishop of<br /> Rupert&#039;s Land, the first Primate of Canada, will<br /> publish in mid-February his new novel, “The<br /> Disappearance of Lady Diana,” which has been<br /> running for the past six months in the Novel<br /> Magazine.<br /> On January 9, at the Comedy Theatre, a<br /> comedy in three acts by W. Somerset Maugham<br /> was produced. It is entitled “Penelope,” and<br /> concerns the efforts—finally crowned with success—<br /> of a young wife to reclaim her erring husband.<br /> The cast included Miss Marie Tempest, Miss Kate<br /> Bishop, Miss Norma Whalley, Mrs. Calvert, Mr.<br /> Eric Lewis, and Mr. Graham Browne.<br /> The Afternoon Theatre Company are producing<br /> in a series of matinées at His Majesty&#039;s Theatre,<br /> “The Admiral Bashville,” by Bernard Shaw, and<br /> “Tilda’s New Hat,” by George Paston. The latter<br /> is a revival, while the former has previously only<br /> been privately staged. The first performances were<br /> given on January 26.<br /> “Diana of Dobson&#039;s,” by Cicely Hamilton, was<br /> revived at the Kingsway Theatre by Miss Lena<br /> Ashwell last month.<br /> “The Hypocrites” has been produced with<br /> success at the Teatro Principal at Barcelona.<br /> There were seven curtains after Act III. “The<br /> Liars ” will be produced at the same theatre in<br /> April.<br /> January 23 was the first night of “Our Miss<br /> Gibbs,” by J. T. Tanner and “Cryptos” at the<br /> Gaiety Theatre. The plot concerns the adventures<br /> of an assistant at Garrod&#039;s Stores, who is engaged<br /> to an earl disguised as a bank clerk. Miss Gertie<br /> Millar in the name part was supported, among<br /> others, by Miss Jean Aylwin, Miss Denise Orme,<br /> Mr. O. B. Clarence, Mr. George Grossmith, and<br /> |Mr. Edmund Payne. The music is by Ivan Caryll<br /> and Lionel Monckton. -<br /> *—º- a<br /> w-v-w<br /> PARIS NOTES.<br /> —e—sº-º-<br /> &amp; 6. A Mort de Philae,” by Pierre Loti, is a<br /> book on Egypt, dedicated to his friend<br /> “Moustafa Kamel Pacha, who died in<br /> February, 1908, in the midst of his admirable<br /> attempt to uphold the dignity of his country and<br /> of Islam.” The volume contains twenty chapters,<br /> each one describing in Loti’s exquisite language<br /> and poetical style the various places and scenes<br /> which made the most impression on him. Among<br /> these chapters are the following :-‘Minuit d&#039;hiver<br /> en face du grand sphinx,” “La mort du Caire,”<br /> “Un centre d’Islam,” “La Race de bronze,” “La<br /> déchéance du Nil,” “A Thébes, la nuit,” “Thebes<br /> au Soleil,” and “La mort, de Philae.” In these short<br /> chapters the author succeeds in giving the atmo-<br /> sphere of Egypt, with all its poetry, its mystery,<br /> and its antiquity. From the first line to the last,<br /> though, it is very evident that he resents the in-<br /> vasion of the “modernists,” and perhaps more than<br /> all the sans géne of the English, in Egypt. He<br /> tells us that behind the Chéops pyramid a huge<br /> hotel has been built which is “full of snobs and<br /> elegant women, befeathered like so many Red<br /> Indians for their scalp dance.” Later on he<br /> describes a mosque and the evening prayer dis-<br /> turbed by a band of tourists laughing and talking.<br /> Pierre Loti asks, in what European church, when<br /> people were at prayer, would Mussulman tourists<br /> be allowed to disport themselves “like these<br /> Savages &quot; ? At Abydos everything is spoilt once<br /> more for Loti by the arrival of another band of<br /> English tourists. “Oh, poor temple !” he ex-<br /> claims, “to be profaned by anything so grotesque<br /> is a greater insult than to be pillaged by bar-<br /> barians.” A table for about thirty men and<br /> Women is arranged for luncheon, and these guests<br /> belong to “that special race of humanity which<br /> frequents Thos. Cook &amp; Son.” He goes on to<br /> describe the meal of whisky-and-soda and sand-<br /> wiches, and the pieces of greasy paper strewed<br /> about the marble flags afterwards. “And the ladies<br /> of the party,” he says, “ oh, the ladies, what scare-<br /> crows for the birds !” After this scene Abydos<br /> and the desert no longer exist for Loti. He is<br /> haunted by the faces of these women and by their<br /> hats. He says that he has heard an explanation<br /> given for the peculiar ugliness of the women who<br /> travel with Cook&#039;s tickets. It appears that all<br /> English women who are not considered pretty<br /> enough to marry receive an unlimited amount of<br /> money to be spent in Cook&#039;s tickets. They are<br /> doomed, therefore, to travel for the rest of their<br /> lives, so that they may not have time to think of<br /> other things. This arrangement is made in order<br /> that the English race of women may not deteriorate.<br /> “Cette explication m&#039;await séduit d&#039;abord,” says<br /> Loti : “mais un examen plus attentif des bandes<br /> qui infestent du Nil m&#039;a permis de constater que<br /> toutes ces Anglaises y Sont d&#039;un age notoirement<br /> canonique ; done la catastrophe de la procréation,<br /> si tant est qu’elle ait pu se produire chez elles<br /> doit remonter a des époques bien antérieures à leur<br /> enrôlement. Et je demeure perplexe . . . .” It<br /> <br /> <br /> ## p. 118 (#162) ############################################<br /> <br /> 118<br /> THE AUTHOR.<br /> is very evident, from nearly every chapter of the<br /> book, that the beauty and harmony of all that is<br /> sacred in Egypt was completely destroyed for Loti<br /> by the horde of tourists he met at every turn.<br /> “Mémoires de la Cour de Louis XIV., by<br /> Primi Visconti,” is an extremely entertaining<br /> volume in which the author gives an account of<br /> the every-day events which took place at the Court<br /> of the “Great Monarch.”<br /> Primi Visconti was born in 1648 in Italy. At<br /> the age of nineteen he published a novel, and in<br /> 1672 he went to France. He was very much<br /> interested in the occult sciences, and before very<br /> long became quite famous as a graphologist and<br /> a diviner of future events. Very soon after his<br /> arrival in France the Court ladies were most eager<br /> to have the lines of their hands told by him.<br /> In 1682 Primi published the first volume of his<br /> “History of the Dutch War.” As he gave details<br /> about the visit of Madame to Dover for the pur-<br /> pose of negotiating an alliance between England<br /> and France against Holland, the English ambas-<br /> sador Preston took offence, and the consequence was<br /> that Louis XIV. wrote to La Reynie requesting that<br /> the book should be withdrawn from circulation.<br /> The King&#039;s orders were obeyed, and Primi was<br /> imprisoned in the Bastille for six months. At<br /> the end of that time, though, we are told that the<br /> King took him back into favour, so that the im-<br /> prisonment was evidently merely diplomatic policy.<br /> In 1687 Comte Primi Visconti married Mar-<br /> guerite, the daughter of Frédéric Leonard, one of<br /> the first publishers in Paris. Marguerite had<br /> translated, from the Italian, a work on the state of<br /> the Republic of Naples—rather a remarkable feat<br /> for a woman in those days.<br /> Marguerite was first married to a M. Herbin,<br /> and on consulting Wisconti about her future lot<br /> in life, the latter prophesied her husband&#039;s death<br /> and her second marriage. When M. Herbin died<br /> she was accused of poisoning him, and was not<br /> acquitted for several months. She was shortly<br /> after engaged to Wisconti, but her father would<br /> not hear of the marriage, and although she was at<br /> that time thirty-two years old he obtained a decree<br /> of Parliament to prevent it and to send his daughter<br /> to a convent. Leonard published various pamphlets<br /> endeavouring to prove that Wisconti was an<br /> impostor, and the accused man on his side did all<br /> he could to influence his protectors at Court, and<br /> in the end he won his cause. The marriage was<br /> celebrated in 1688.<br /> Comte Primi Visconti seems to have been a<br /> privileged person at Court and to have come into<br /> contact with a great number of the historical<br /> personages of his times. He tells anecdotes about<br /> Mademoiselle de la Vallière, Madame de Montespan,<br /> the Chevalier de Rohan, Mademoiselle de Fontanges,<br /> Madame de Maintenon, and very many other<br /> members of Louis XIV.&#039;s Court. -<br /> The “Mémoires du Géneral Griois” cover the<br /> period from 1792 to 1822. He tells of his edu-<br /> cation at Châlons, of his family, of the early days<br /> of the Revolution, the emigration of the aristocrats,<br /> the September massacres. He then describes his<br /> military career, his departure for Elba and life<br /> there. He gives details about the Italian campaign.<br /> The charm of the book is its extreme simplicity.<br /> It is just a soldier&#039;s account of his life and its<br /> everyday events, told without any seeking-after<br /> effect but in the most natural manner possible.<br /> The description of Calabria is particularly<br /> interesting just now. The author speaks of the<br /> terrible earthquake which had devastated it in<br /> 1788. He tells that the shocks continued for<br /> Several months, and he relates some of the stories<br /> told by the survivors.<br /> The Académie Goncourt prize for 1908 has<br /> been awarded to Francis de Miomandre for his<br /> novel “Ecrit sur de l&#039;Eau.” Among other new books<br /> are the following:—“L’Idylle de Marie Biré,”<br /> by Gustave Geffroy ; “La Montée,” by Pierre<br /> Willetard ; “Un grand homme,” by Gaston Rageot.<br /> “Cyrène,” by Ossit, is a novel which, in reality,<br /> is the love story of a somewhat enigmatic man and<br /> woman. Cyréne from her childhood has a strange<br /> passionate nature. She is married at an early age<br /> to a man whom she afterwards despises and detests.<br /> After her husband&#039;s death she meets again a man<br /> who has always interested her, and this time her<br /> love ends in tragedy. The minor characters of<br /> the book are well drawn, the interest sustained,<br /> and the whole story very real and living.<br /> “La Jolie Princesse,” by Marie Anne de Bovet,<br /> is a volume of short stories told in the vivacious<br /> style peculiar to this author. “Le Sabre et la<br /> Plume” is a very clever psychological study told<br /> with distinct dramatic effect. “Saint Cyriens,”<br /> “La Proie et l&#039;Ombre,” and “Le Tabernacle,” are<br /> the other stories in the book.<br /> In the latest numbers of La Revue hebdomadaire<br /> M. Henry Van Dyke writes on “L&#039;esprit d&#039;inde-<br /> pendance et la République des Etats-Unis’’;<br /> M. André Beaunier publishes some of Gounod&#039;s<br /> letters, and André Chaumeix writes an article on<br /> the new Academician, M. Francis Charmes, who<br /> succeeded Brunetière as editor of the Revue des<br /> Deua Mondes. Frédéric Masson gives an interest-<br /> ing account of Sir Hudson Lowe and his earlier<br /> life before he was made Governor of St. Helena ;<br /> Jean Izoulet writes on “J. J. Rousseau, aristo-<br /> crate ’’; Guglielmo Ferrero writes a curious article<br /> on “Le Vin dans l&#039;histoire de Rome,” and finishes<br /> by applying what he has said of Rome to the Paris<br /> of to-day. “Paris,” he says, “is the modern<br /> Rome, the metropolis of the Latin world.”<br /> /<br /> <br /> <br /> ## p. 119 (#163) ############################################<br /> <br /> TFIES A DITFIOR.<br /> 119<br /> In the recent numbers of La Revue de Paris<br /> Richard Wagner&#039;s letters to Otto Wesendonk are<br /> published. There are articles by Victor Bérard on<br /> “Autriche et Servie,” and by Louis Houllevigne on<br /> Da Synthèse de la Lumière. Ernest Lavisse Con-<br /> tinues his account of his visit to Berlin, and Clara<br /> Wiebig her novel, “Pécheresse.” There are also<br /> articles on “L’Accord Américain-japonais,” by<br /> Louis Aubert ; and on “Discipline et Silence,” by<br /> Comte Leonce Abeille. g<br /> At the Théâtre Français “Le Foyer” is still<br /> being played. - *<br /> “Le Poussin,” by M. Edmond Guirand, is being<br /> given at the Odéon. M. Guirand is well known to<br /> the public by his clever adaptation of “Anna<br /> Rarenina,” which was also given a short time ago<br /> by M. Antoine.<br /> The opening of a new theatre, the Théâtre<br /> Michel, was quite a Parisian event. A comedy by<br /> M. Tristan Bernard was given, entitled “Le<br /> Poulailler.” -<br /> ALYS HALLARD.<br /> “La Mort de Philae&#039;&#039; (Calmann Lévy).<br /> “Mémoires de la Cour de Louis XIV.” (Calmann Lévy).<br /> “Mémoires du Général Griois’’ (Plon).<br /> “Cyrène,” by Ossit (Lemerre).<br /> “L&#039;Idylle de Marie Biré” (Fasquelle).<br /> “La Montée’” (Fasquelle).<br /> “Un grand homme &quot; (Calmann Lévy).<br /> “La Jolie Princesse,” by Marie Anne de Boret (Lemerre).<br /> —e—º-e—<br /> SPANISH NOTES.<br /> &lt; 4 A Ciudad de la Niebla’’ (The City of Fog),<br /> L by Pio Baroja, shows that this Spanish<br /> author is a keen observer, and his descrip-<br /> tions of London, to which he gives the above title,<br /> are interesting as the impressions our Capital<br /> make on a Southern character. The policeman&#039;s<br /> power in the order of the traffic, the dreary fogs,<br /> the aspects of a boarding-house in Bloomsbury, are<br /> all well noted. The father and daughter, the chief<br /> characters in the book, seem to have escaped from<br /> Spain as they were suspected of being concerned<br /> in the Bomb outrage. The girl is stimulated to<br /> make her own living by the sight of the industry<br /> of her English acquaintances. But energy at last<br /> dies down in the Southerner, especially as her father<br /> forsook her on his marriage with a flighty French-<br /> woman in the boarding-house. A Spaniard Sets<br /> before the heroine the hard conditions of a life of<br /> independence in a foreign country compared to<br /> the ease of a marriage in her own Sunny Spain.<br /> The advocate for “submission ” prevails, and the<br /> girl returns to Madrid, where she becomes the wife<br /> of her cousin, and occasionally dreams of the<br /> experiences she so<br /> England.<br /> Bernardo Morales Sam Martin has just published<br /> a dramatic novelette called “Alma de Artista”<br /> (The Soul of an Artist). The hero, Michael de la<br /> Huerta, justifies the hopes and sacrifices of his<br /> peasant parents by taking a very high place in the<br /> world of art. A marriage with a lady of high<br /> degree seems to complete the artist&#039;s happiness.<br /> But the lady wearies of her husband and starts a<br /> flirtation with Michael’s best pupil, and, as he<br /> thought, his staunchest friend. Finding a letter<br /> from this man making an appointment with his<br /> wife, Michael, after the storm of indignation and<br /> sorrow had swept his soul clean of love, determines<br /> that he himself will make the way free to the<br /> intriguing pair. So the dénouement comes in a<br /> most original way. The wife is bidden to take a<br /> drive with her husband. Fear fills the shallow<br /> lady&#039;s heart when she finds herself at the spot<br /> where the tryst had been arranged. But Michael,<br /> Seeing his traitor friend, quietly walks up to him<br /> and, after putting the hand of his wife in his,<br /> turns his back on them both ; his delicate soul<br /> could brook no tampering with loyalty, and with<br /> his own hand he set the seal on his wife&#039;s course<br /> which proved her to be no longer worthy to be<br /> queen of his soul.<br /> Morales San Martin has written another story, to<br /> which I will refer next month, showing the effect<br /> of the same sort of treachery on a mind uncultured<br /> and undisciplined; for the author is essentially a<br /> psychologist.<br /> Doctor Garcia Harta has just published an<br /> “Essay on Social Pathology,” and its pages, which<br /> throw much light on how the poor live, draw<br /> attention to the necessary prevention of pauperism<br /> by education,<br /> Señor Luca de Tena, the energetic proprietor of<br /> A. B. C., is Organising a special number of his<br /> paper with contributions from those ranking high<br /> in politics, art, and science, in aid of those suffer-<br /> ing from the disaster in Messina. Señor Luca de<br /> Tena has just been appointed a life Senator<br /> (Senador Vitalico) by the King&#039;s order, and the<br /> palatial hall of the paper was the scene the other<br /> day of an enthusiastic ovation of congratulation to<br /> the chief by his immense staff of employees.<br /> The death of Don Cayo Lopez leaves a blank in<br /> the company of those who worked loyally for the<br /> Restoration, and who was an enthusiastic follower<br /> of the great Sagasta, and as Civil Governor of<br /> Barcelona he did much useful work.<br /> La Avellaneda, the renowned Spanish poetess, was<br /> compared by Juan Valera to Victoria Colonna, so<br /> the publication of her letters and autobiography<br /> has excited much interest. In the letters of 1840<br /> to Cepeda there is a falling off of the primal fervour,<br /> graphically describes in<br /> <br /> <br /> ## p. 120 (#164) ############################################<br /> <br /> 120<br /> TISIE AICſ’’INFIOR.<br /> and it is noteworthy that the public now owe this<br /> collection of letters to the widow of this great friend<br /> of the poetess.<br /> The cession of the Island of Cortegada, off the<br /> coast of Galicia, to H.M. King Alfonso of Spain<br /> has now finally been completed, says El Mundo<br /> (The World). The Galicians are delighted, for the<br /> visit of their Majesties of Spain to this beautiful<br /> neighbourhood is announced for the Spring, and it<br /> is hoped that Mondariz will be included in the<br /> royal tour of the Region. Her Majesty Queen<br /> Victoria of Spain has just united a large number of<br /> illustrious ladies into a working party for the poor<br /> under the appellation of Society of Saint Victoria.<br /> Much sympathy is expressed in Madrid with<br /> Señor Moret, the leader of the Liberal party, on<br /> the death of his wife at Biarritz after a short illness.<br /> The centenary of the death of Sir John Moore<br /> was celebrated last month with enthusiasm. The<br /> army and navy both took part in the ceremonies,<br /> and after General Arpe had delivered an eloquent<br /> oration he placed on the tomb of the hero a magnifi-<br /> cent wreath of flowers tied with the colours of<br /> France and Spain ; and all Corunna was en fête.<br /> A book entitled “Anthropologia Criminal” has<br /> just been published by Don Fructuoso Carpena.<br /> The author gives the histories of many criminals,<br /> and scientifically shows that their deficient morality<br /> is for the most part due to physiological reasons.<br /> When visiting the chief prison of Madrid I was<br /> much struck with the attention given to this side of<br /> criminality. Policemen attend regularly lectures<br /> on physiology, and in another department the eyes,<br /> ears, hands, heads, etc. of criminals are put under<br /> the examination of a clever scientist.<br /> RACHEL CHALLICE.<br /> —e—º-e—<br /> COPYRIGHT IN MUSICAL COMPOSITIONS.<br /> MABE v. CONNOR.<br /> HE question in this case, which came before<br /> the Divisional Court, was whether a per-<br /> forated music roll, adapted for use on an<br /> instrument called a Cecilian piano player, so as to<br /> produce the music of a copyright song entitled<br /> “Bandolero,” was a pirated copy of a musical<br /> work, in respect of which remedies are provided<br /> by the Musical (Summary Proceedings) Copyright<br /> Act, 1902. The perforated music roll had been<br /> offered for sale in the street, and on behalf of the<br /> owner of the copyright the roll was seized by a<br /> constable, and the vendor was summoned before the<br /> magistrate to show cause why the roll should not<br /> be forfeited or destroyed, in accordance with the<br /> provisions of the statute. The magistrate, follow-<br /> ing the decision in Boosey v. Whight, decided that<br /> the perforated music roll was not a copy of the<br /> musical composition, and dismissed the summons,<br /> but he stated a case for the opinion of the High<br /> Court. -<br /> In the more recent Act relating to summary<br /> remedies for infringement of copyright in musical<br /> compositions—the Musical Copyright Act, 1906–<br /> it is expressly provided that “pirated copies”<br /> referred to therein do not include perforated music<br /> rolls used for playing mechanical instruments, or<br /> records used for the reproduction of sound waves,<br /> or the matrices or other appliances by which such<br /> rolls or records are made. It was contended, how-<br /> ever, that as there was no such clause in the Act<br /> of 1902, the Legislature must have intended such<br /> rolls to be considered as pirated copies. There is<br /> no definition of “pirated copies” in the Act of<br /> 1902. A “pirated musical work&quot; is mentioned in<br /> the interpretation clause, but not elsewhere in the<br /> Act, and is declared to mean any musical work<br /> written, printed, or otherwise reproduced, without<br /> the consent of the copyright owner. It was urged<br /> that any reproduction, whether a copy or not,<br /> àmounted to a piracy, and that the roll in question<br /> was a reproduction to which the provisions of the<br /> Act of 1902 applied.<br /> The Lord Chief Justice, in delivering judgment,<br /> pointed out that the Act of 1902 was passed two<br /> years after the decision in Boosey v. Whight, and<br /> it must be taken that Parliament knew that for an<br /> action for infringement of copyright perforated<br /> music rolls were not copies of a musical work. It<br /> had been argued that the Act of 1906 had altered the<br /> position by saying that “pirated copies” for the<br /> purposes of that Act should not include perforated<br /> music rolls, and so implying that for the purposes<br /> of other Acts they should be included. He knew<br /> of no rule by which he would be justified in<br /> drawing that inference.<br /> The Court held that they were bound by the<br /> decision in Boosey v. Whight, and the appeal was<br /> dismissed.<br /> Leave to appeal was given.<br /> THE DRAMATISATION OF NOVELS.<br /> AMERICAN CASE.<br /> RECENT case in the United States brings<br /> into prominence the peculiarity of English<br /> law relating to the dramatisation of novels,<br /> and the more generous treatment accorded to<br /> authors in other countries.<br /> The widow of the late Henry J. W. Dam<br /> brought an action against the Kirke La Shelle<br /> Company in respect of the infringement of the<br /> <br /> <br /> ## p. 121 (#165) ############################################<br /> <br /> THE AUTHOR.<br /> 121<br /> dramatic rights in a story entitled “The Trans-<br /> mogrification of Dan,” of which her husband was<br /> the author, and which was published in the Smart<br /> Set in 1901. The defendant company, some four<br /> years afterwards, produced in New York a play<br /> called “The Heir to the Hoorah,” by Paul<br /> Armstrong, and it was alleged that the play had<br /> been taken from the story. No part of the<br /> dialogue in the play had been copied from the<br /> magazine ; but the judge found that there was a<br /> substantial similarity between the literary com-<br /> position, which was duly copyrighted, and the<br /> play. He held, therefore, that the author&#039;s<br /> exclusive right, according to American law, to<br /> dramatise his work had been infringed, and that<br /> the plaintiff was entitled to an injunction and an<br /> account of the profits arising out of the per-<br /> formances of the play produced by the defendant<br /> company.<br /> The following passages in the judgment may be<br /> quoted:—“The theme or subject of the story is<br /> substantially imitated in the play. . . . It is true<br /> the dialogue of the drama is not in the words of<br /> the story, but its exact phraseology is not neces-<br /> sary to the adaptation of the plot or subject, or<br /> the portrayal of the different characters of the<br /> play. The actors imitate or portray the characters<br /> in the story, and make use of the incidents and<br /> situations, which apparently give expression to the<br /> central theme or purpose of the author. . . .<br /> The story is not strictly a dramatic composition,<br /> although its special features, its incidents, per-<br /> sonages, and episodes, plainly indicate that it is<br /> not without dramatic interest, and can, by appro-<br /> priate dialogue, scenes, and stage business, be<br /> transformed into a drama. . . . It is enough that<br /> the essence of the play has been taken from the<br /> story.”<br /> Now, it may be observed that if this action had<br /> been brought in England the plaintiff must have<br /> failed, because according to English law the author<br /> of a novel or story is not entitled, as in other<br /> countries, to the exclusive right of dramatising<br /> his work. This right is given to authors not only<br /> by the law of the United States, but it is recognised<br /> by all the countries of the Union constituted by the<br /> Berne Convention, with the exception of Great<br /> Britain. It is also given to authors in Australia<br /> by the Copyright Act, 1905 (Commonwealth of<br /> Australia).<br /> With regard to the dramatisation of novels, the<br /> position of Great Britain is unique among the<br /> sixteen countries comprising the Copyright Union<br /> under the Berne Convention. One of the aims of<br /> the recent Berlin Conference was to bring Great<br /> Britain into line with the other countries in this<br /> respect. In order to achieve this end, however, it<br /> will be necessary to amend the domestic law of Eng-<br /> land by an Act of Parliament. This was one of the<br /> difficulties which led to the refusal of Great Britain<br /> to assent to the Declaration of Paris in 1896 ; but<br /> now that the British delegates have accepted the<br /> principle under the Berlin Convention,” there is<br /> reason to hope that the law will be amended, and<br /> that this country will no longer deny to authors<br /> the exclusive right of dramatising their works,<br /> which is recognised by all the other countries<br /> within, and even by countries outside, the Copy-<br /> right Union.<br /> HAROLD HARDY.<br /> * See Article 12 of the Revised Convention, made at<br /> Berlin, November 13, 1908, of which a translation<br /> appeared as a supplement to the January issue of the<br /> Author.<br /> —e—º-e—<br /> A BILL TO ABOLISH THE POWERS OF<br /> THE LORD CHAMBERLAIN IN RESPECT<br /> OF STAGE PLAYS AND TO TRANSFER<br /> TO THE LOCAL AUTHORITY THE<br /> POWERS OF THE LORD CHAMBERLAIN<br /> IN RESPECT OF THE LICENSING OF<br /> THEATRES IN LONDON. -<br /> MEMORANDUM.<br /> HE object of this Bill is to abolish the censor-<br /> ship of plays exercised in Great Britain<br /> under the authority of the Lord Chamber-<br /> lain and to transfer to the London County Council<br /> as the local authority the power of licensing<br /> and controlling theatres exercised by the Lord<br /> Chamberlain in the central parts of the metropolis.<br /> As to the censorship of plays it is proposed to<br /> make theatrical performances subject to the same<br /> control as performances in music halls. In the<br /> case of music halls no censorship exists, but any<br /> impropriety can be dealt with by the police or by a<br /> refusal of the licence by the licensing authority,<br /> which in London is the London County Council.<br /> The censorship of plays does not exist in Ireland.<br /> As to the licensing of theatres this power is now<br /> exercised by or under the control of the local<br /> authority in practically the whole of Great Britain<br /> where theatres are found, except the central<br /> district of London, the University cities of Oxford<br /> and Cambridge, and places where His Majesty<br /> resides. Further, even in the central district of<br /> London, the London County Council as the local<br /> authority has already extensive powers over the<br /> structure of theatres under the Metropolis Manage-<br /> ment Act, 1878.<br /> Arrangement of Clauses.<br /> 1. Abolition of censorship of Lord Chamberlain.<br /> 2. Transfer to local authority of power of Lord<br /> <br /> <br /> ## p. 122 (#166) ############################################<br /> <br /> 122<br /> TISIES A UITISIOR,<br /> Chamberlain to license theatres in parts of<br /> the county of London.<br /> . Saving of Lord Chamberlain’s jurisdiction in<br /> places of royal residence outside London.<br /> Repeals.<br /> . Definitions.<br /> Short title.<br /> Schedule.<br /> 3<br /> ;<br /> Be it enacted by the King&#039;s most Excellent<br /> Majesty, by and with the advice and consent of<br /> the Lords Spiritual and Temporal, and Commons,<br /> in this present Parliament assembled, and by the<br /> authority of the same, as follows:—<br /> 1. Abolition of Censorship of Lord Chamberlain.<br /> —It shall not be necessary to submit any stage<br /> play to the Lord Chamberlain before the first<br /> acting or presenting thereof, whether for hire or<br /> otherwise, and it shall not be lawful for the Lord<br /> Chamberlain to forbid the acting or presenting in<br /> Great Britain of any stage play.<br /> 2. Transfer fo Local Authority of Power to Lord<br /> Chamberlain to License Theatres in Parts of the<br /> County of London.—(1.) The powers of the Lord<br /> Chamberlain under the Theatres Act, 1843 (6 &amp; 7<br /> Vict. c. 68), in respect of the licensing and closing<br /> of theatres within the ancient parliamentary<br /> boundaries of the cities of London and West-<br /> minster and of the boroughs of Finsbury and<br /> Marylebone, the Tower Hamlets, Lambeth, and<br /> Southwark, shall be transferred to the London<br /> County Council. -<br /> (2) The licence of the Ilondon County Council<br /> shall be required in respect of a theatre within the<br /> said ancient parliamentary boundaries authorised<br /> by virtue of letters patent from His Majesty or his<br /> predecessors (in this Act called a patent theatre) in<br /> the same manner as if no letters patent had been<br /> granted in respect thereof.<br /> (3) The licence of the London County Council<br /> shall be for such period not exceeding one year as<br /> the Council may think proper. -<br /> (4) The London County Council may delegate<br /> its powers under this Act with or without any<br /> restrictions or conditions as may be thought fit to<br /> a committee (or to the justices of the county of<br /> Ilondon in the same manner as if these powers had<br /> been transferred to the Council by virtue of the<br /> Local Government Act, 1888 (51 &amp; 52 Wict. c.41).<br /> (5) The fees payable to the Lord Chamberlain<br /> under section four of the Theatres Act, 1843<br /> (6 &amp; 7 Vict. c. 68), shall be payable to the London<br /> County Council and shall apply to patent theatres.<br /> 3. Savinſ of Lord Chamberlain&#039;s Jurisdiction in<br /> Places of Royal Residence outside London.—Nothing<br /> in this Act shall affect the powers of the Lord<br /> Chamberlain under the Theatres Act, 1843 (6 &amp; 7<br /> Vict. c. 68), in respect of the licensing and closing<br /> of theatres in those places outside the adminis-<br /> trative county of London in which His Majesty,<br /> his heirs and successors, shall in their royal persons<br /> Occasionally reside.<br /> 4. Repeals.-The enactment mentioned in the<br /> schedule to this Act is hereby repealed to the<br /> extent specified in the third column of that<br /> schedule.<br /> 3. Definitions. – In this Act the expression<br /> “theatre’ means any house or other place of<br /> º resort for the public performance of stage<br /> playS.<br /> The expression “stage play” has the same<br /> º as in the Theatres Act, 1843 (6 &amp; 7 Vict.<br /> C. 68). -<br /> 6. Short Title.—This Act may be cited as the<br /> Theatres Act, 1908.<br /> SCHEDULE.<br /> Jºnactment Repealed.<br /> s<br /> Session and<br /> Chapter. Short Title.<br /> Extent of Repeal.<br /> The Theatres Act, Sections twelve, thirteen,<br /> 1843. fourteen, and fifteen.<br /> 6 &amp; 7 Vict.<br /> c. 68.<br /> -º-º:<br /> —e—º-e—<br /> MAGAZINE CONTENTS.<br /> —º-º-º-<br /> BIBLIOPHILE.<br /> Edgar Allen Poe, 1809-1849. By F. C. Owlett.<br /> The Poetry of James Thomson. By Bertram Dobell.<br /> BLACKWOOD.<br /> By Oliver Elton.<br /> CONTEMPORARY.<br /> By Professor Richard M. Meyer.<br /> Crabbe.<br /> German Literature.<br /> CORNHILL.<br /> By Frederic Harrison.<br /> By Jane H. Findlater.<br /> Charles Eliot Norton.<br /> The Novels of Fogazzaro.<br /> FORTNIGHTLY.<br /> Daniel Defoe. By John Masefield.<br /> The New Poetry. By Filson Young.<br /> The Writing of Books of Sport. By F. G. Aflalo.<br /> MONTH.<br /> John Milton. By the Rev. Herbert Thurston.<br /> NATIONAL.<br /> The Oxford Thackeray. By Austin Dobson.<br /> The Shakespearean Problem. By George Hookham.<br /> PUTNAM&#039;S.<br /> Edgar Allen Poe : From an English Point of View. By<br /> Norman Douglas.<br /> Poe as a Critic. By Sherwin Cody.<br /> 3alsac in Brittany. By W. H. Helm.<br /> Israel Zangwill. By Clarence Rook.<br /> <br /> <br /> ## p. 123 (#167) ############################################<br /> <br /> THE AUTHOR.<br /> 123;<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> ——e——<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 /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement). • -<br /> In this case the following rules should be attended to :<br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author.<br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> (5.) Not to give up serial or translation rights.<br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor |<br /> III. The Royalty System.<br /> This is perhaps, with certain limitations, the best form<br /> of agreement. &quot;It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> IV. A Commission Agreement.<br /> The main points are :—<br /> (1) Be careful to obtain a fair cost of production.<br /> (2) Keep control of the advertisements.<br /> (3.) Keep control of the sale price of the book.<br /> General.<br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> Such combinations are generally disastrous to the author.<br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> Stamp all agreements with the Inland Revenue stamp.<br /> Avoid agreements by letter if possible.<br /> The main points which the Society has always demanded<br /> from the OutSet are :–<br /> (1.) That both sides shall know what an agreement<br /> In 622. IlS. º<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. tº<br /> (3.) Always avoid a transfer of copyright.<br /> e—º-0<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> —e-Q-0--<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority. -<br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager, -<br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts:—<br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date.<br /> and for proper publication of his name on the<br /> play-bills.<br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> grOSS receipts. Percentages vary between 5.<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts,<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be.<br /> performed.<br /> (c.) Sale of performing right or of a licence to.<br /> perform on the basis of royalties (i.e., fixed<br /> nightly fees). This method should be always.<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (b.) apply<br /> also in this case.<br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and,<br /> time. This is most important.<br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction is.<br /> of great importance.<br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager.<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English.<br /> agreements without the author obtaining a substantiał<br /> consideration.<br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of .<br /> delay and a breakdown in the fulfilment of his contract,<br /> He should therefore guard himself all the more carefully in ,<br /> the beginning.<br /> 11. An author must remember that the dramatic market,<br /> is exceedingly limited, and that for a novice the first object .<br /> is to obtain adequate publication.<br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> —e—Q–e—<br /> WARNINGS TO MUSICAL COMPOSERS.<br /> —e—sº-0–<br /> ITTLE can be added to the warnings given for the<br /> L assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as .<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> <br /> <br /> ## p. 124 (#168) ############################################<br /> <br /> 124.<br /> TFIE A CITISIOR.<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> HOW TO USE THE SOCIETY.<br /> —e-S-0–<br /> 1. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor, but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion. All this<br /> without any cost to the member.<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> 3. 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 /> 4. Before signing any agreement whatever, send<br /> the document to the Society for examination.<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 /> 6. The Committee have now arranged for the reception<br /> of members&#039; agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> —(1) To 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 /> 7. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> This<br /> 8. Many agents neglect to stamp agreements. Th<br /> €<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<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 /> 10. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> TO MUSICAL COMPOSERS.<br /> HE 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&#039; stamps are kept in the<br /> Society&#039;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 /> a—º- a<br /> wº - w<br /> THE READING BRANCH,<br /> —º-º-º-<br /> EMBERS will greatly assist the Society in the<br /> M branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic Works, and when it is possible, under<br /> Special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> —e—º-e—<br /> NOTICES.<br /> —e—º-0–<br /> HE Editor of The Author begs to remind members of<br /> | the Society that, although the paper is sent to them<br /> free of charge, the cost of producing it would be a<br /> very heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 5s. 6d. Subscription for the year.<br /> Communications for “The Author” should be addressed<br /> to the Offices of the Society, 39, Old Queen Street, Storey&#039;s<br /> Gate, S.W., and should reach the Editor not later than the<br /> 21st of each month.<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 /> 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 /> —º-º-º-<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 /> —e—º-e—<br /> LEGAL AND GENERAL LIFE ASSURANCE<br /> SOCIETY.<br /> —e-O-0–<br /> ENSIONS to commence at any selected age,<br /> either with or without Life Assurance, can<br /> be obtained from this Society.<br /> Full particulars can be obtained from the City<br /> Branch Manager, Legal and General Life Assurance<br /> Society, 158, Leadenhall Street, London, E.C.<br /> <br /> <br /> ## p. 125 (#169) ############################################<br /> <br /> TFIES A [Cſ’INFIOR.<br /> 125<br /> GENERAL NOTES.<br /> —º-º-º-<br /> AUTHORS’ AGENTS.<br /> ONCE again it is necessary to call the attention<br /> of the members of the society to the position of<br /> authors’ agents. Authors&#039; agents are no doubt<br /> absolutely essential to many authors, if they are<br /> to obtain the best price for their work, the best<br /> contracts, and numerous markets, but an author&#039;s<br /> agent, in order to do his best for the author, must<br /> be in a position of great trust.<br /> It is, therefore, much more important that the<br /> author should supervise with the greatest care and<br /> stringency a contract with an agent than a contract<br /> with a publisher.<br /> No agent should be allowed such a hold over<br /> the author&#039;s property that he can destroy his<br /> market. No agent should be allowed to insert<br /> a clause in an agreement between author and<br /> publisher:<br /> 1. That the agent alone can collect the monies<br /> due to the author under that agreement :<br /> 2. That the agent alone is entitled to settle<br /> disputes arising under that agreement.<br /> An author should be very careful when an<br /> agent, who is not his regular agent, approaches<br /> him with an offer from a publisher, for in that<br /> case the agent may be acting merely as the<br /> publisher&#039;s tout.<br /> The agent in many cases, it must be said with<br /> regret, acts for the benefit of the publisher, and<br /> prefers the easier solution of a difficulty by placing<br /> a contract with a publisher with whom he is on<br /> friendly terms, than trying if he can obtain a<br /> better market elsewhere.<br /> No agent should be allowed to bind the author<br /> for a settled period to take the author&#039;s work or<br /> should be allowed to obtain his fees on any contract<br /> beyond the one he actually fixes on an author&#039;s<br /> behalf.<br /> If in a contract there is a clause binding the<br /> author to offer other books to the same publisher,<br /> the agent should not be allowed to draw his fees<br /> on the other books unless the further transaction,<br /> with the author&#039;s consent, passes through his<br /> hands.<br /> The mere fact that he has allowed the author to<br /> sign such a clause tends to show he is a bad<br /> agent. The period over which, under any agree:<br /> ment, an agent draws his fees, and the amount of<br /> his fées, should, if possible, be limited.<br /> If on a contract the author allows the publisher<br /> the exclusive right to deal with his foreign rights,<br /> his dramatic rights, and his serial rights, an agent<br /> should not be allowed his agency fees under such<br /> a clause, especially when, as in some cases, the<br /> publisher takes 50 per cent. of the returns.<br /> The mere fact that an agent has allowed the<br /> author to assign this exclusive right tends to show<br /> he is a bad agent, that he has allowed the pub-<br /> lisher to do his work and the unfortunate author<br /> to pay a double fee, first to the publisher, and,<br /> Secondly, to himself.<br /> . An agent, too, who, when brought to book, fails to<br /> give full information or return MSS. and then<br /> Writes : “We assume no responsibility beyond<br /> that of accounting to the author in the event of<br /> sales,” is like Lady Clara Were de Vere, “not one<br /> to be desired.”<br /> These are some of the reasons, shortly stated,<br /> why an author must be most careful about his<br /> dealings and contracts with an agent. We make<br /> these statements as certain matters in their usual<br /> cycle have again become prominent.<br /> It is at the same time almost unnecessary to<br /> state that a good agent is often essential, may<br /> double an author&#039;s income, and leave him time<br /> and rest for the more important, the artistic, side<br /> of his work.<br /> SCHOLZ v. AMASIS, LD.<br /> A CASE of interest to all dramatic authors was<br /> decided by Mr. Justice Jelf last month—Scholz v.<br /> Amasis, Ld. It was a case of infringement of<br /> dramatic copyright.<br /> As the matter is going to the Court of Appeal<br /> we refrain from making a detailed comment. One<br /> or two remarks, however, may not be out of place.<br /> The first point to be determined is the date of<br /> the first production of each piece, or the date when<br /> each completed piece first came within the baneful<br /> influence of the Copyright Statutes. When this<br /> has been settled, it then remains a question of<br /> fact whether piece No. 2 is an infringement of piece<br /> No. 1.<br /> The Judge remarked, when going through the<br /> evidence, “that there was ample opportunity for<br /> leakage ’’; in other words, that it was possible<br /> that author No. 2 might have seen the play of<br /> author No. 1. But there appears to have been no<br /> direct evidence on this point.<br /> Now direct evidence of or ample opportunity for<br /> leakage might, in a case where the infringement<br /> of copyright was doubtful, be a strong factor in<br /> determining the issue ; but if there is a clear<br /> infringement we submit that there is no need of<br /> evidence of leakage at all; in other Words, that<br /> an innocent infringer is always liable. The real<br /> difficulty that arises in a case of this kind is<br /> whether book No. 2, or drama No. 2, or poem<br /> No. 2, is a copy or colourable imitation of book<br /> No. 1, drama No. 1, or poem No. 1. This can<br /> only be decided by those who have read both and<br /> <br /> <br /> ## p. 126 (#170) ############################################<br /> <br /> 126<br /> TISIE A CITISIOR.<br /> have sufficient literary and legal acumen to weigh<br /> the facts.<br /> We cannot discuss the evidence, not only for the<br /> reason stated, that the case is going to the Appeal<br /> *Courts, but also for the better reason that as yet<br /> we have not had an opportunity of carefully<br /> digesting it. All dramatic members of the society<br /> will await the result of the appeal with anxiety.<br /> WE publish in another column of The Author<br /> the Bill for the Abolition of the Censorship, which<br /> was introduced by Mr. R. Vernon Harcourt, and<br /> is backed by the following names —Mr. A. E. W.<br /> Mason, Sir Gilbert Parker, Mr. Ponsonby, Mr.<br /> T. P. O&#039;Connor, and Mr. Ramsay Macdonald, and<br /> was ordered to be printed on the 17th December,<br /> 1908.<br /> It would be interesting to know whether the<br /> JBill, before it was drafted, was submitted to any<br /> representative gathering or committee of dramatic<br /> authors.<br /> The dramatic committee of the Society of Authors<br /> sees it now for the first time.<br /> COLONIAL SALES.<br /> WE print the following cutting from the Australian<br /> paper, Z&#039;he Book Lover :-<br /> The American publishers have taken the matter of push-<br /> ing their goods into the Australian markets very seriously<br /> of late. Besides the selling of large editions of special<br /> books, a number of firms have appointed Messrs. Nott and<br /> Ramsay as their agents, and Mr. E. A. Woodd is represent-<br /> ing them in Melbourne. Among those firms who have so<br /> acted may be mentioned the Century Co.; Dodd, Mead and<br /> Co.; Harper and Bros. ; Little, Brown and Co.; Chas.<br /> Scribner&#039;s Sons, etc. This looks like a team which might<br /> -do a great deal that is very much needed—from the reader&#039;s<br /> point of view.<br /> New books will shortly be coming in, and at last the<br /> libraries will be able to have specimens of the best<br /> American literature. It has been thought that we were<br /> amply supplied ; but in reality our choice has been con-<br /> trolled by the edicts of one or two men, and the freedom of<br /> choice has been abolished altogether. It is the way of<br /> trade ; and we hasten to say that it is not the fault of<br /> individuals, but the perfectly normal working of the absurd<br /> system which judges for us all as if we were so many sheep.<br /> While that lasts, our only chance is to see that no single<br /> man has power to flood our markets with rubbish and to<br /> “exclude the smallest specimens of high-class work.<br /> The question of colonial sales is one of growing<br /> importance to English authors. If the English<br /> publishers, through lack of energy and enterprise,<br /> are being ousted from the colonial markets by the<br /> American publishers, it is time that the English<br /> author made some alteration in his business<br /> methods.<br /> What have the publishers to say ? Have they<br /> any proposals to make Will they—to use a<br /> colloquial phrase—take it sitting 2<br /> It appears that their organisation in the colonies<br /> must be very defective, to judge from the accounts<br /> that come to the office.<br /> It would be a good thing for authors to try and<br /> get into touch with some enterprising houses in<br /> Canada, South Africa, Australia, New Zealand,<br /> and see if by obtaining a contract direct they<br /> cannot obtain higher royalties and larger sales.<br /> MRS. MYALL.<br /> MEMBERS of the society may remember that in<br /> November the Pension Fund Committee awarded<br /> a pension at the rate of £25 per annum to Mrs.<br /> Myall (Laura Hain Friswell) under clause 16 of<br /> the Pension Fund Scheme. By this clause the<br /> committee may grant a pension if and while a<br /> member is totally incapacitated for work, even<br /> though he or she has not attained the age limit.<br /> We regret to state that in the last few days of<br /> 1908 Mrs. Myall succumbed to that illness which<br /> had stopped her from pursuing her literary labours.<br /> Mrs. Myall—she wrote under her maiden name of<br /> Laura Hain Friswell—was the daughter of the<br /> well-known author of “The Gentle Life.” In<br /> 1898 she published a record of his life. One of<br /> her last Works was a book of Reminiscences, pub-<br /> lished in 1905, under the title of “In the Sixties<br /> and the Seventies.” -<br /> OP-e—4<br /> ARTHUR WILLIAM A BECKETT.<br /> —t—sº-º–<br /> E have to regret the loss of an old and<br /> prominent member of the Society of<br /> Authors in the person of Mr. A. W. a<br /> Beckett, whose death occurred on Thursday,<br /> January 14, in the Home attached to St. Thomas&#039;s<br /> Hospital. The news came as a great shock to<br /> Mr. a. Beckett&#039;s friends and acquaintances, few of<br /> whom had heard of the distressing circumstances<br /> under which an operation had become necessary,<br /> while an additional note of sadness was caused by<br /> the fact that his death nearly synchronized with<br /> the marriage in India of his elder son.<br /> Arthur William a Beckett was the member of a<br /> Wiltshire family claiming descent on good grounds<br /> from the father of St. Thomas à Beckett. He was<br /> the third son of Gilbert Abbott à Beckett, the<br /> well-known metropolitan magistrate and humorist,<br /> who wrote, among other things, the “Comic<br /> History of England,” and the “Quizziology of the<br /> British Drama,” and was one of the original staff<br /> of Punch. He was born sixty-four years ago and<br /> educated in that excellent old Eastern County<br /> School, Felstead, whence at the age of eighteen he<br /> <br /> <br /> ## p. 127 (#171) ############################################<br /> <br /> TISIES AICTEIOR,<br /> 127<br /> obtained a clerkship in the War Office. After<br /> three years&#039; service in the War Office he was trans-<br /> ferred to the Post Office, and even in these early<br /> days the hereditary instinct towards literature began<br /> to tell. He proceeded to dabble in journalism, wrote<br /> a comic guide to the Royal Academy in collabora-<br /> tion with his brother Gilbert, edited a small paper<br /> called the Glowworm, started and edited another<br /> small paper called the Britannia-—these were the<br /> days when small individual efforts in journalism<br /> had a chance—-wrote a novel, and at least one<br /> play. In 1870 he was sent to the seat of the<br /> Franco-German war as special correspondent to<br /> the Standard and Globe, his knowledge of war<br /> being derived from keen work both in the militia<br /> and the volunteers. On his return he became<br /> private secretary to the then Duke of Norfolk, and<br /> in 1874 joined the staff of Punch, of which he<br /> remained a member for no less than twenty-eight<br /> years, acting as assistant editor to Sir Francis<br /> Burnand. Among his most successful contribu-<br /> tions to Punch was a series called “Papers from<br /> Pump-handle Court,” the topical knowledge being<br /> due to the fact that he was now called to the bar.<br /> During these years he wrote four or five novels<br /> and several plays, which duly made their appear-<br /> ance in West End theatres, while for five years<br /> (1891–1895) he found time to edit the Sunday<br /> Times, in which he also wrote copiously. His<br /> early connection with the War Office gave him<br /> particular interest in military affairs, and he was<br /> for a short time editor of the Naval and Military<br /> Aſagazine. -<br /> Mr. a Beckett&#039;s connection with the Society of<br /> Authors was a long one. Joining the Society in<br /> 1890, he was elected almost immediately, upon the<br /> motion of his friend, the late Mr. J. M. Lely, a<br /> member of the managing committee, upon which<br /> he sat without intermission for seventeen years,<br /> serving for a time as vice-chairman—a post since<br /> abolished as unnecessary. He was a member for<br /> varying periods of the copyright sub-committee,<br /> the pension fund committee, and the dramatic sub-<br /> committee, and ungrudgingly responded to the<br /> calls upon his time which all this entailed. His<br /> associates of the society throughout his long official<br /> tale of work found in him a colleague who was<br /> alike industrious, adaptable and tactful, and we<br /> take this opportunity of recording our sense of the<br /> value of his services. It is an open Secret that<br /> during recent discussions which arose among those<br /> then responsible for the government of the society.<br /> Mr. A. Beckett considered eventually that Wrong<br /> counsels prevailed. He attended, however, meetings<br /> both of the committee and council after the differ-<br /> ence of opinion had been made public, and showed<br /> in all possible ways his desire to remain at one<br /> with the main objects of the Society, even while<br /> differing, in company with other members, from the<br /> Course pursued in certain instances. He welcomed<br /> cordially the reconstitution of the society which<br /> took place recently, and in the bringing about of<br /> which he had no small share.<br /> Mr. a. Beckett was also at different times<br /> president and chairman of the council of the<br /> Institute of Journalists and president of the News-<br /> paper Society.<br /> In his many capacities as journalist, author,<br /> dramatist, littérateur, and man of affairs, he<br /> showed great activity and versatility, and possessed<br /> bright and varied qualities which served him well<br /> throughout a long and hard-working life. In<br /> private he was a well-known club man, with much<br /> that was amusing and piquant to say of the very<br /> many interesting people he had been intimate<br /> with during his career.<br /> —e—º-e—-<br /> BRITISH AUTHORS AND AMERICAN<br /> COPYRIGHT.<br /> —º-º-º-<br /> HE business of book production in Great<br /> Britain and the Empire is being more and<br /> more seriously affected by the working of<br /> American copyright law, as at present constituted.<br /> It is therefore imperatively necessary that all those<br /> concerned with the business should study the<br /> question and, being convinced of its urgency,<br /> should take such action as may appear to them<br /> the likeliest to safeguard their various interests.<br /> Emphatically I am convinced that it is high time<br /> the attitude and probable action of the authors, as<br /> primal factors in this business, were known.<br /> Investigation has convinced me that, of the three<br /> main bodies of men concerned in British book pro-<br /> duction—authors, publishers, printers and men of<br /> allied trades—certain amongst the two latter bodies<br /> will shortly propose definite and drastic action.<br /> Of the probable course of this action I shall speak<br /> later : meantime I shall give, broadly, my reasons<br /> for thinking that it is the duty, and very much to<br /> the interest, of authors, to make haste and join<br /> the leaders of the other two bodies of men.<br /> Copyright, as a measure for the safeguarding of<br /> an author&#039;s interests, is precisely on all fours with<br /> Patent, as a measure of protection for the inventor;<br /> in this connexion, certain recent legislation suggests<br /> reflection, too obvious to call for more than<br /> suggestion. In U.S.A., pre-copyright days were<br /> the days of let us be moderate, and say—whole-<br /> sale annexation. But even in those primitive<br /> times, certain American publishers recognised that<br /> <br /> <br /> ## p. 128 (#172) ############################################<br /> <br /> 128<br /> TRIES A. LITISIOR.<br /> prevailing conditions savoured somewhat of free-<br /> booting : these, to their lasting honour, extended to<br /> British authors certain courtesy rights, the fruits<br /> of which appeared in, occasional, considerable<br /> returns. Ultimately, after some fifty odd years of<br /> agitation, in 1891 the American Copyright Law,<br /> substantially as it exists to-day, was passed.<br /> This law, the best—say, the only thing—we<br /> could get, embodies the notorious industrial clause,<br /> which provides that before a British author can<br /> get copyright in U.S.A. his book must be set up<br /> in type by American workmen. There are, of<br /> course, other restrictions upon British authors.<br /> At the outset, however, I want to emphasise the<br /> mischief wrought upon us by this industrial clause.<br /> Firstly, it is the worst we have to bear ; and<br /> secondly, any author who cannot or will not<br /> recognise the mischief, and do his part in curing<br /> it is, in my opinion, past praying for. Now, the<br /> direct consequences of this American Copyright<br /> Act, with its industrial clause, were mainly<br /> these :—<br /> 1. It became possible, as it was not before, for<br /> a British author to obtain copyright in America.<br /> 2. A substantial proportion of the production of<br /> books commanding a sale on both sides of the<br /> Atlantic has been done in America, and is being<br /> so done to a greater and greater extent.<br /> 3. It has given the American author copyright<br /> throughout the British Empire, irrespective of the<br /> country wherein his copyright is manufactured.<br /> 4. It has, of course, materially improved the<br /> position of the American author in his own country,<br /> by greatly checking, if not altogether putting an end<br /> to, the issue of unauthorised reprints of popular<br /> British books.<br /> (Referring to 4, of course, even now, popular<br /> authors who command big royalties do very well<br /> in both countries. Incidentally, the popular author<br /> does very well in any case by commanding his<br /> home market—even as, in pre-copyright days, such<br /> as Dickens, Thackeray, Scott, Byron, George<br /> Eliot, and the rest did very well. But )<br /> 5. Where the present law bears—once again, to<br /> put it mildly—with gross injustice, and while it<br /> prevails will continue to bear, is upon the rank<br /> and file of British authors. These have not fame,<br /> or notoriety ; yet amongst them are to be found, it<br /> is likely, the most faithful and painstaking workers:<br /> maybe the coming giants of imaginative literature;<br /> also workers in the technical branches, and in<br /> science; the infinitely patient, who devote their<br /> lives to research work, mayhap invaluable of its<br /> kind—in short, all the meritorious obscure. Upon<br /> these, who most deserve and need protection and<br /> encouragement, this law presses with the most<br /> relentless severity.<br /> It presses upon these, because of the expense,<br /> delay and infinite complexity involved in getting<br /> their work set up in America, according to this<br /> utterly inequitable law.<br /> Here, the position bristles with technicalities;<br /> broadly speaking, however, the practical results<br /> of these complex obstructions are perfectly clear.<br /> They are, chiefly —<br /> 1. The author, not being able to afford American<br /> copyright, leaves his book unprotected ; if it turns<br /> out to be worth reprinting, it is promptly issued<br /> in America, giving him no return. It would be<br /> an extensive and a striking list—that of British<br /> books annexed in this manner: no doubt the<br /> Authors’ Society could easily furnish the same. On<br /> the other hand, the American author gains pro-<br /> tection, not only in his own country, but through-<br /> out the British Empire, by the simple and quite<br /> inexpensive business of registering at Stationers’<br /> Hall, and fulfilling other simple conditions.<br /> (This state of things, of course, gives a healthy<br /> impetus to American book-production, and accounts,<br /> amongst many other things, for their successful<br /> raiding of our colonial markets.)<br /> 2. On the commercial and industrial side, these<br /> complications necessarily and inevitably drive the<br /> British author and publisher, in many instances,<br /> simply to hand over a large proportion of British<br /> books to America. Here, the Publishers’ Associa-<br /> tion would, I believe, be ready to draw up a list of<br /> British books, by British authors, wholly or in part<br /> produced beyond the Atlantic. Certain master-<br /> printers also, to my certain knowledge, can unfold<br /> a tale of steady and growing loss of British work.<br /> So, the work of producing British books is being<br /> given more and more to American workmen. If<br /> Our own men and our rivals worked on level terms,<br /> Sportsman or business-man would say, “Let the<br /> best man win &quot;; as it is, the Americans are<br /> entrenched and armed ; our men are in the open<br /> and, under present conditions, defenceless.<br /> Our transatlantic rivals have wit enough to<br /> make the most of these conditions aforesaid ; more<br /> and more they study English taste in type, paper<br /> and the rest of it ; and so the loss of British<br /> book-production to British workmen goes on with<br /> ever-increasing momentum.<br /> Here, then, is the central problem. Unless past<br /> and present damage is to eventuate in ultimate<br /> disaster, there can be but one solution, we must<br /> have open competition—the “square deal &quot; of<br /> President Roosevelt—or equal laws.<br /> Certain publishers recognise these as the only<br /> possible alternatives. Certain printers, and others<br /> concerned in the business of book-production,<br /> recognise them also. The trade unions, rank and<br /> file, are becoming aware of this steady and growing<br /> loss of work and wages; and the present trouble,<br /> together with its only possible remedy, is shortly<br /> <br /> <br /> ## p. 129 (#173) ############################################<br /> <br /> TISIES A UTISIOR,<br /> 129<br /> to be definitively stated to certain associations of<br /> workmen.<br /> Granted permission, I shall have more to say of<br /> this. So far as I am aware, authors as a body, or<br /> even singly, have not as yet testified in this, their<br /> recognised organ, where they stand as regards this<br /> vital and urgent affair. As I said in the beginning,<br /> they are the primal factors in the business of book-<br /> production ; and it is high time they were heard<br /> from. I trust I have said enough to induce at<br /> least some expression of opinion on their part, an<br /> expression to my mind distinctly overdue.<br /> HERBERT C. MACILWAINE.<br /> —e—º-0–<br /> ON RENDERING ACCOUNTS.<br /> —º-º-º-<br /> T used to be the custom of all publishers to pay<br /> royalties on every copy of a book sold, the<br /> wording of the clause running, “undertake<br /> to pay per cent. on every copy sold.”<br /> This custom has been broken through by some<br /> of the younger publishers, who desired to make an<br /> extra percentage ; and some of the older houses<br /> have followed their example. The new method is<br /> to pay a percentage on every copy sold, with a<br /> proviso ; the wording of the clause running some-<br /> what as follows: “In estimating the royalty on<br /> copies sold thirteen copies shall be reckoned as<br /> twelve.”<br /> It is manifest from these two arrangements that<br /> publishers clearly understood the difference<br /> between paying the royalty on every copy sold, in<br /> whatever quantities they were sold and at what-<br /> ever price, and paying the royalties on thirteen<br /> copies as twelve. This would be apparent to the<br /> meanest capacity, but particular attention has been<br /> drawn to the point and to the different form of<br /> the agreement in order to elucidate the position in<br /> the following instance.<br /> A publisher entered into a contract with an<br /> author and agreed to pay a royalty on every copy<br /> sold, but in rendering the royalty accounts he took<br /> the whole number sold, deducted the thirteenth<br /> copies, and paid the royalties on the lower figure.<br /> The author naturally objected to this method,<br /> and when he remonstrated by letter the publisher<br /> replied as follows:—<br /> “With regard to the difference between . . . copies and<br /> ... on which your royalty is computed, we beg to say the<br /> odd copies are not sold but given away to the booksellers,<br /> in order to induce them to buy 12 copies, and we give to<br /> the booksellers 7 as 6% and 13 as 12.”<br /> There is no excuse for a statement of this kind.<br /> It is quite clear from the wording in the clauses<br /> referred to above that publishers are well aware of<br /> the difference in the results, and that they do not<br /> reckon the thirteenth copy as being given away, or<br /> 7 as 6% when they undertake to pay on every copy<br /> Sold. . A customer, buying oranges, when he is<br /> offered 7 for 2d., supposing the price is 3 for 1d.,<br /> does not reckon that he is given the extra orange,<br /> but that the Oranges are sold to him at that price<br /> because he is taking a quantity. The publisher&#039;s<br /> answer is a mere quibble in order to avoid pay-<br /> ment of the royalty.<br /> It is to be hoped that it will be possible to bring<br /> this point into Court. The opinion of the judge<br /> and jury would be interesting.<br /> We should like to add a further remark about<br /> this method of cutting down the author&#039;s royalty.<br /> The only way to counteract the loss is by asking<br /> for a higher royalty. If the author would usually<br /> get 10 per cent. On every copy sold he should get<br /> 11 per cent. On 13 copies being reckoned as 12, or<br /> refuse to sign the agreement. (Full details as to<br /> the different percentages were printed in the<br /> December Author, 1907.) If the author chooses to<br /> sign, then he alone is responsible for the consequent<br /> depreciation of his income. He must, however, in<br /> no circumstances, having signed the agreement<br /> that he is to receive a royalty on every copy sold,<br /> be content to receive it on 12 copies out of 13. If<br /> the accounts are rendered on this basis he had<br /> better place all the papers before the society.<br /> ——e—Q–0—<br /> TO BE OR NOT TO BE.<br /> —º-º-º-<br /> 7 E happened to be glancing through the<br /> V V pages of Wol. I. of The Author, and came<br /> across the following paragraph from the<br /> pen of our founder —<br /> “‘I have never yet had any disagreement with my pub-<br /> lisher,’ said a well-known man of letters the other day,<br /> ‘therefore, I have not joined the society.’ The remark and<br /> the inference alike illustrate a common disposition to look<br /> on the Society as one which exists for the purpose of patch-<br /> ing up or even of creating quarrels and grievances with<br /> publishers. That is not the case, of course, only one is well<br /> nigh tired of repeating the fact. It suits certain persons<br /> who regard us with natural hostility to keep this delusion<br /> alive. The Society has no quarrel with publishers as such,<br /> and never has had any. It maintains continually that the<br /> services which publishers render to literature are solid, and<br /> must be substantially paid for. The Society exists, however,<br /> mainly for the purpose of maintaining the rights, the<br /> sacredness and the reality of literary property. Therefore<br /> it fights the battle of all authors, and should be supported<br /> by all who approve of its principles.”<br /> We print it for various reasons. It recalls to<br /> our mind a little verse that was printed in a later<br /> number, which ran somewhat as follows:—<br /> Author : The agreement&#039;s signed the profits we divide,<br /> A half to each applaud a just decision.<br /> Publisher : Peace and goodwill to all at Christmastide,<br /> Surely &#039;twixt you and me there&#039;s no<br /> division.<br /> <br /> <br /> ## p. 130 (#174) ############################################<br /> <br /> 130<br /> THE AUTHOR,<br /> That was no doubt merely meant as a jest, but<br /> there is a more serious side to the author&#039;s original<br /> remark, “I have never yet had any disagreement<br /> with my publisher, therefore I have not joined the<br /> society.” This remark is still made, and will pro-<br /> bably continue to be made so long as human<br /> nature remains the same.<br /> There are two kinds of authors:–<br /> 1. Authors that know the value of their property<br /> and the nature and variety of the rights they<br /> possess.<br /> 2. Those authors who don’t.<br /> If the first do not join the society they ought to<br /> for the following reasons: Firstly, the altruistic and<br /> unselfish reason that they ought, by their support,<br /> to strengthen the position of their less fortunate<br /> fellow craftsmen. By their less fortunate is not<br /> meant, those who flood the market with their<br /> illiterate effusions, but those who turn out good<br /> work with but poor return. Bacon put this point<br /> in a more practical way when he said, “Every man<br /> is a debtor to his own profession.”<br /> Secondly, the practical reason that though they<br /> have no dispute with their own pet publisher, yet<br /> their property may be attacked by thieves and<br /> pirates, of whom they have but little knowledge.<br /> sé1 1s. a year insurance Inay save them from £100<br /> law costs when the crisis comes. This fact becomes<br /> more self-evident year by year.<br /> A dramatist has his work pirated on the<br /> Continent. He thinks twice before he enters into<br /> a long and costly lawsuit. While he is thinking<br /> his property has gone. A writer of books, or<br /> contributor to magazines, cannot get his money<br /> from an American publisher or editor. It is<br /> a cheap investment if he gets the amount for<br /> £1 1s. a year. With a composer the matter is even<br /> of greater importance, for music is a universal<br /> language. Piracy and infringement is therefore<br /> so much easier.<br /> For selfish, as well as altruistic reasons, therefore,<br /> the author who knows ought to become a member.<br /> For the author who does not know the reasons<br /> are of greater importance. There are many<br /> authors making a pretty income by their work,<br /> who are in absolute ignorance of the true value of<br /> literary property. This sometimes occurs even<br /> with writers of fiction.<br /> The following case came to the notice of the<br /> Secretary:—A novelist who had been a member for<br /> Some years was at length persuaded by a friend to<br /> place his contracts for review. The terms he was<br /> receiving were quite absurd. This was pointed<br /> out to him.<br /> publisher. As he was able to bring some pressure<br /> to bear by a threat to remove his books, he was in<br /> rather a strong position. The publisher doubled<br /> his royalties.<br /> He in turn pointed it out to the<br /> In this case no charge was brought against the<br /> publisher. He had made no false assertions—as.<br /> unfortunately sometimes occurs when publishers<br /> write, “My reader reports favourably on your MS.,<br /> and I am ready to publish it on the payment of<br /> 3.150.” He had merely made a good bargain.<br /> This author then had no dispute with his<br /> publisher, but was merely ignorant of cost of<br /> production, publishers&#039; profits, and literary values.<br /> The ignorant author is, however, much more.<br /> frequently found in the ranks of technical writers,<br /> and among those who write more solid books.<br /> These books are generally published at a larger.<br /> price compared with the cost of production than<br /> works of fiction, and are almost always published net.<br /> Many think that they are dealt with liberally if<br /> they get #50, on a 10 per cent. royalty on a £1 1s.<br /> net book, and would be astonished if, on looking<br /> through the returns, they were told that the book<br /> could have easily paid 20 per cent. They are<br /> ignorant, too, as to the many rights that exist<br /> outside the mere publication in the British Empire,<br /> and consequently give all their rights or an<br /> exclusive licence to publish when asked to do so,<br /> and the publisher takes what he can get with an<br /> easy conscience. -<br /> In the case of dramatists this gift of an exclusive.<br /> licence to perform is more disastrous still. When<br /> once a manager gets holds of it he does not let it.<br /> go, and the piece may practically be killed all over<br /> the world save in the one West End theatre where<br /> the actor-manager exhibits himself. The ignorance<br /> of the dramatist is fatal to his success.<br /> The musical publisher takes from the composer—<br /> such is his business capacity, or rather rapacity—<br /> both his copyright and performing right, for in<br /> much music the double right is profitable. In a<br /> book the primary right is of course copyright. In<br /> a theatrical piece the primary right is of course<br /> performing right, but in a musical composition the<br /> two often exist side by side, and might bring in<br /> large sums to the composer if practically marketed.<br /> To the ignorant author, whether of a book, of a<br /> drama, of a piece of music, it should be essential<br /> to join the ranks of his fellow members. Every<br /> author with a little understanding can gauge his<br /> own ignorance or knowledge. The buyer of a<br /> horse does not purchase without the certificate of<br /> a veterinary surgeon, nor the purchaser of a motor<br /> car without the opinion of an expert. y<br /> When we first made the quotation from Vol. I. of<br /> The Author it was not our intention to write more<br /> than a few words, but the subject started by Sir<br /> Walter Besant and his lucid remarks, not all of<br /> which are contained in the paragraph, brought a<br /> fresh train of thought on what unfortunately is not<br /> to every author, dramatist, or composer, a self-<br /> evident proposition. %<br /> <br /> <br /> ## p. 131 (#175) ############################################<br /> <br /> THE AUTHOR.<br /> 131<br /> THE DECADENCE OF THE NOVEL.<br /> -—º-º-º-<br /> TS it permitted to have doubts regarding the<br /> decadence of the novel ? -<br /> “Where are your Dickens, your Thackerays,<br /> and your Scotts P” immediately retorts the<br /> impugner of contemporary fiction.<br /> To which the best reply is,<br /> “And Fieldings P’’ .<br /> Because, sad to say, it is ten to one that the<br /> detractor has not read Fielding. In consequence<br /> of which he will at once proceed to entangle him-<br /> self in efforts either, to conceal his ignorance, which<br /> will be impossible, or to justify his neglect, which<br /> will put him out of court.<br /> If “Tom Jones” is to be the standard, the<br /> English novel has been certainly on the down<br /> grade since February 28, 1749. But this is not<br /> a reasonable way of regarding any phenomenon of<br /> literary production. For some reason, not yet<br /> explained, the superlatively best in every literary<br /> form makes its appearance very soon. Greece<br /> never produced anything to rival the Iliad; nor,<br /> indeed, has it been approached by any work in any<br /> one of the Western literatures, all of which are<br /> essentially offshoots of the supreme Homeric torrent<br /> spreading itself in the divergent winding streams<br /> and backwaters of a delta. No Greek dramatist<br /> rose to the height of the Orestea. No Roman lyric<br /> ‘Successor of Horace,<br /> “Princeps Aeoleum carmen ad Italos.<br /> Deduxisse modos,”<br /> wever equalled him. Quintilian opined “Lyricorum<br /> Horatius fere solus legi dignus.” Had time, and<br /> the Byzantine monks, spared us the works of<br /> Terpander and of the other early Greek lyric poets,<br /> should we have found in them things not surpassed<br /> by Pindar 2 It is certain that the poetess who can<br /> rival Sappho has still to make her appearance ; and<br /> seems very unlikely to appear. No Englishman<br /> has written such blank verse as Milton. And so<br /> on. Indeed, that the best is soon reached<br /> appears to be a phenomenon dominant in all pro-<br /> vinces connected with letters. No document is so<br /> indestructible as a Babylonian tablet. The Script<br /> of the oldest inscriptions and manuscripts is the<br /> handsomest. The Mazarine Bible still remains<br /> an unrivalled example of letterpress ; and no<br /> printer has ever produced pages and type of more<br /> beautiful proportions than those presented by the<br /> “Hypnerotomachia Pamphili.”<br /> Possibly a partial explanation of this dominant<br /> phenomenon is to be found in the fact that for those<br /> who came first<br /> “The world was all before them where to choose :”<br /> and they chose the best. Afterwards their less<br /> fortunate successors had either to tell the same<br /> story, to use the same form, or to take what the<br /> first comers had prudently eschewed. But seeing<br /> how far-reaching is this phenomenon of the best<br /> being very soon reached, it is evidently always an<br /> easy thing for anyone who wishes to insist upon<br /> literary decadence to prove his point.<br /> At the same time it is open to question whether<br /> the works of authors whose writings are adduced to<br /> shame the labours of their successors are in all<br /> cases so perfect as they are represented to be. This<br /> does not apply to the very greatest, to such novelists<br /> as Fielding and Cervantes. But Sir Walter Scott<br /> has certain longueurs. It would be difficult entirely<br /> to exonerate Dickens of exaggeration and “playing<br /> to the gallery.” And will any one defend “her eyes<br /> were full of almost tears,” “different to,” “many<br /> opprobrious epithets in the English and French<br /> language,” all which flowers of speech are to be<br /> found in “Pendennis” Is it possible to find the<br /> parallels of these in the pages of any novelist of<br /> 1908 who is careful about his style 2<br /> “But many are disgracefully careless. You<br /> must judge by an average.”<br /> Oh, but there were novelists who were not<br /> Scotts nor Thackerays even when Scott and<br /> Thackeray were living ! And it is instructive to<br /> peruse on the fly-leaves of fiction of fifty years ago<br /> the press notices of the novels of the day. They<br /> are generous, those press notices; exactly as are<br /> many press notices now. And if what they said<br /> was to be taken “au pied de la lettre” those stories<br /> ought still to be favourites. They are not. Their<br /> titles are forgotten ; and it is often difficult to find<br /> any one who can say who the authors were. But<br /> these writers were the contemporaries of Dickens<br /> and Thackeray and ought to count. In effect, the<br /> comparison of all that is being written to-day with<br /> the exceptional work of fifty and more years ago<br /> which has been found worthy to survive is essentially<br /> unjust.<br /> A smaller number of novels than might be sup-<br /> posed survives a decade : only a fraction survives<br /> a century. It is not entirely the fault of the work.<br /> Sir Walter Scott remarked very justly that after<br /> fifty years a novel to be rightly understood requires<br /> notes. Or if it does not require notes, it demands<br /> of the reader some such knowledge of a state of<br /> society that has passed away as only Well-informed<br /> people possess. In consequence to obtain anything<br /> resembling a lucid view of the actual situation it is<br /> not only requisite first of all to distinguish novels<br /> of very various merit published at the same date, but<br /> also no less necessary to distinguish the various<br /> classes to which these novels appeal.<br /> Are the “serials” at present running in half-<br /> penny prints, and (whatsoever may be their merits<br /> <br /> <br /> ## p. 132 (#176) ############################################<br /> <br /> 132<br /> TISIES A UITISIOR.<br /> or demerits) devoured with avidity by a certain<br /> class of readers, inferior to the tales in the “Penny<br /> Readers” of fifty years ago 2 Those “Penny<br /> Readers” had a public. Had they not had one<br /> they would not have been published. It seems not<br /> at all improbable that their publishers reaped a<br /> larger profit than is at present reaped by the pub-<br /> lishers of the penny fiction at the present day offered<br /> to a public of about the same intellectual level.<br /> There were then by far fewer publications of this<br /> kind ; and it is now many years since a news-<br /> vendor observed to the present writer “If there<br /> were only one or two of these weekly penny fiction<br /> periodicals they would be a gold mine. But there<br /> are so many that they are of no value to any one.”<br /> And since then the competition for the penny of<br /> the reader of cheap weekly fiction has certainly not<br /> diminished.<br /> Here we probably touch the secret of the<br /> “decadence,” if there is a decadence. Undeniably<br /> the conditions favour decadence. And the condi-<br /> tions are not to be justly charged against either<br /> authors or publishers. They are in no small degree<br /> results of human nature. -<br /> Now, it is useless to quarrel with human nature.<br /> Human nature is a phenomenon of the same kind.<br /> as gravitation and magnetism, and, whether it is<br /> What any one would wish it to be or not, it has to<br /> be accepted as it is. Neither does it help to say,<br /> “It is, but hadn’t ought to be.”<br /> In “Don Quixote’ Marcela justly excuses her-<br /> self for having turned the head of Grisostomo by<br /> remarking, “As the viper deserves no blame for its<br /> sting, although it be mortal, because it is the gift<br /> of nature, neither ought I to be reviled for being<br /> beautiful.” And it is one of the gifts of nature to<br /> humanity to scramble for halfpence ; or, if the coin<br /> be of any larger worth, to scramble with propor-<br /> tionately keener ardour. That has to be accepted<br /> as the viper&#039;s “sting ” has to be accepted, howsoever<br /> much it “hadn’t ought to be.”<br /> A publisher is a man who hopes to make an<br /> income by bringing out books. To do that he has<br /> first to get the copy, and afterwards to purchase<br /> paper, to pay the printer and binder, and—this last<br /> is the rub—to sell the books. It is said that there<br /> are people who will give away copy; and it is cer-<br /> tain that mechanical inventions have reduced the<br /> Cost of paper, printing, and binding, to prices that<br /> Would once have been considered impossible,<br /> though these prices may still not be so small as a<br /> publisher could wish. In fact, none of the pre-<br /> liminary expenses are very serious. But to sell the<br /> book demands genius. Books do not sell them-<br /> selves; publishers wish they would. Nor will the<br /> public part with their money for any book that is<br /> offered them. If the public would do that, the<br /> situation would become too sunny. Every author<br /> would bring out his own works, and there would be<br /> no publishers. But the public will purchase, by<br /> no means generously, if their expectations have<br /> been properly tickled, if they can be persuaded (no<br /> matter how) that they are going to have a little<br /> more than their money&#039;s worth for their money,<br /> and, this is the chief thing, if the humour takes<br /> them. What they ought to purchase is a problem<br /> for the critic, not for the publisher. What they<br /> will purchase the publisher desires to supply in the<br /> largest quantity saleable at a profit. If the public<br /> wanted the “Rig-Veda” in the original, the pub-<br /> lishers would be delighted to sell them the “Rig-<br /> Veda” up to any number of hundreds of thousands;<br /> and some publisher would no doubt offer the com-<br /> plete Sanscrit text, edited by a first-class scholar,<br /> for fourpence-halfpenny—to “cut out&quot; the other<br /> publishers.<br /> Well, the public do not want the “Rig-Veda.”<br /> And they do want a certain number of novels.<br /> How many they want no one knows. But they<br /> Would like them at cheaper rates. This also is<br /> of a piece with the viper&#039;s “sting” and Marcela&#039;s<br /> beauty, a gift of nature. But no matter how<br /> ingeniously the cost of production may be manipu-<br /> lated, as the selling-price is ruthlessly diminished<br /> at the bidding of a furious competition, the actual<br /> profits tend towards a vanishing point. Many<br /> Small profits now become the remedy for shrinking<br /> returns; and the publisher plays for a profit<br /> Q?<br /> Of 3<br /> One. That multiplies the output of novels; not<br /> necessarily of volumes, 500 of A, and 500 of B,<br /> and 500 of C, taking the place of 1,500 of A.<br /> Next the author does the same ; and, be it<br /> noted, with by far less excuse. Publishing three<br /> books instead of one, as above, means only spend-<br /> ing rather more on composition. It is true that<br /> the modification is one that leads to sinister effects<br /> upon percentages of gain, more capital being in-<br /> Wested to earn the same return. But if a man<br /> has the capital, and particularly when he can<br /> invest the same capital thrice successively in three<br /> small ventures, the result may be merely a con-<br /> siderably increased production of books with no<br /> very great corresponding extra expenditure. But,<br /> the author who, because he finds the value of copy<br /> */ *<br /> 2’<br /> two novels in place of one is committing literary<br /> suicide. The time necessary to write a novel,<br /> and still more the all-important period of incuba-<br /> tion that must precede the invention of any story,<br /> will be very different in the case of different indi-<br /> viduals; just as the final result will differ in con-<br /> Sequence of their different abilities. But no writer<br /> on three novels instead of a profit of a upon<br /> reduced from y to #, coolly sets to work to write<br /> <br /> <br /> ## p. 133 (#177) ############################################<br /> <br /> TFIES A UITISIOR.<br /> 133<br /> can “put on steam ” and run out two novels in<br /> the time that he would normally spend upon one,<br /> without incurring an enormous risk of drifting into<br /> mere journeyman work. No man can in such<br /> circumstances do his best. And the novelist who<br /> is not writing his best would be by far better<br /> advised in not writing at all. It is, however, no<br /> secret that some men have been trying to remedy<br /> a reduction in prices by an increased output.<br /> Such tactics would certainly make for decadence.<br /> But the mischief does not end with the probable<br /> deterioration of the work of the individual. When<br /> publisher and author deliberately combine to play<br /> a double game of forced production at low profits,<br /> the output must be inevitably exaggerated. Pro-<br /> bably it is already grossly exaggerated ; and the<br /> books exceeding the demand stand in one another&#039;s<br /> way. So much is this avowedly the case that it<br /> will not be indiscreet to hazard a conjecture that a<br /> certain proportion of the much wider popularity of<br /> some of the novels of the past was due to the fact<br /> that the tales got a wider reading in consequence<br /> of there not being others that could be taken up<br /> instead. At present of ten novels that are pub-<br /> lished, seven never have a fair chance. The<br /> numerous others that succeed them week by Week<br /> rob them immediately of their claim to be new<br /> novels. And the new novel is the biggest of all<br /> the fetiches of the novel-reading public. Swept<br /> headlong by the combined forces of feverish pro-<br /> duction and demand for nothing but what is “new,”<br /> “newest,” and “only just out,” fiction is threaten-<br /> ing to become purely ephemeral. If that should<br /> arrive, if the novelist is to know that as the jour-<br /> ºnalist&#039;s work has a life of a day only, his is to exist<br /> but for a month, is it possible, is it in human<br /> nature, that he should put into his book the quali-<br /> ties that a man might labour to compass in a work<br /> that might hope to be a favourite with a genera-<br /> tion, that had a chance of being remembered when<br /> its writer had passed away ? If there is a deca-<br /> dence, if less and less of the work at present done<br /> has permanent value, to what extent is that due to<br /> the novelist&#039;s labouring for the moment only<br /> because he has lost hope of a future ?<br /> It is possible enough that when time shall have<br /> sifted the work, and shall have brought a date from<br /> which the literature of to-day can be viewed in<br /> due perspective, the fiction of the present genera-<br /> tion may be found quite worthy to reckon with<br /> that of the generations that have preceded it. If<br /> in all but the very best a distinct decadence) is<br /> visible that will have been in no small degree the<br /> result of idiotic competition.<br /> -º-e<br /> ©<br /> THE LITERARY YEAR BOOK.<br /> –0-º-º-<br /> LAW AND LETTERS.<br /> HE article devoted to Law and Letters in 1909<br /> differs but slightly from the article dealing<br /> with the same subject in 1908.<br /> The fresh cases that have been tried in the past<br /> year which are of any importance have been<br /> epitomised ; among the number, the case of<br /> Humphreys v. Thomson. The writer of the<br /> article remarks at the end —“An interesting<br /> feature in the case was the opinion expressed by<br /> certain authors, editors and others connected with<br /> literature, that in the absence of any specific<br /> agreement to the contrary the editor or other<br /> purchaser of a story for serial use may alter it to<br /> almost any extent, while the author can do nothing<br /> to prevent it. The jury thought otherwise, and<br /> took a common-sense view of the matter.”<br /> It is impossible to understand the mental attitude<br /> of an author who would allow his work to be ruth-<br /> lessly altered. He cannot care for his art, he<br /> cannot value his own work ; he must live without<br /> ideals. But still, looking at the issue from the<br /> Sordid point of view, it is dangerous to risk your<br /> reputation as a writer by allowing others to alter<br /> your work. Such alteration may damage the<br /> financial returns in the future.<br /> Of the editors and others who gave testimony<br /> there is but little to be said. If they appreciated<br /> their own style and the value of their own pen<br /> they ought to have recognised those points in<br /> others; if they did not, then their little minds<br /> could not rise above the level of cash value. This<br /> is by the way, and has nothing to do with the<br /> Literary Year Book.<br /> The epitome of the Copyright Laws has been<br /> carefully and accurately done, and as far as it is<br /> possible within twenty-three pages to deal with so<br /> vast a subject, so far has it been dealt with satis-<br /> factorily. The very contentious Section XVIII.<br /> is fairly explained, but will this explanation convey<br /> much to the minds of the uninitiated P<br /> The paragraph on “The Assignment of Right&quot;<br /> should be studied. Is it possible that the perusal<br /> of it will carry any information to the unstudied<br /> reader ? We should like to assert strongly that the<br /> grant of an exclusive licence to print and publish<br /> is totally distinct at law from an assignment of the<br /> copyright.<br /> It would have been as well also to point out<br /> clearly in the article dealing with the Fine Art<br /> Copyright the danger of the artist&#039;s rights falling<br /> into the public domain, though this may be deduced<br /> it is nowhere positively declared, and the positive<br /> declaration is much more likely to carry con-<br /> viction with those who do not know.<br /> <br /> <br /> ## p. 134 (#178) ############################################<br /> <br /> 134<br /> TISIES ALTISIOR.<br /> We cannot, however, unreservedly cengratulate<br /> the author on the second section of his article,<br /> “Author, Publisher, and Agent.”<br /> By far the best part is that which deals with the<br /> relation between author and agent.<br /> In the pages of The Aufhor it has been stated<br /> Over and over again, that the position between<br /> author and agent is in many cases most dangerous.<br /> An author will naturally, until the agreement is<br /> signed, keep the publisher more or less at arms’<br /> length ; but with an agent, if he is to be of any<br /> use, the author must be on the most intimate and<br /> confidential footing from the first ; agents are<br /> inclined to take advantage of this position and<br /> protect their own interests at the expense of the<br /> author. It is therefore with the utmost care that<br /> the latter must bind himself to the former. He<br /> must make no contract which will prejudice the<br /> proper marketing of his literary efforts, nor agree<br /> to any terms that hamper his action if the work<br /> with his agent is irksome or intolerable. The Year<br /> Book says: — “The author should be warned<br /> against a clause which requires him to pay the<br /> agent a commission, not merely on the book under<br /> discussion but on future books which the author<br /> may write during a stated number of years.” Let<br /> the author take this to heart : the agent may claim<br /> On all books under one contract. To save himself<br /> trouble he may bind the author under that most<br /> iniquitous form of contract, for one, two, or three<br /> books to one publisher. The author will, unless he is<br /> careful, be bound to pay the agent on each of those<br /> books as they are delivered to the publisher. An<br /> agent has even been known to claim commission on<br /> any books placed with that publisher under any<br /> contract during the author&#039;s life. If he becomes<br /> displeased with the agent&#039;s work and wishes to with-<br /> draw his business he may find in the agreement an<br /> agency clause which entitles the agent to collect<br /> and receive all monies due under the terms of the<br /> agreement. The danger of this is explained on<br /> page 501. But the clause often goes further than<br /> the mere collection and receipt of monies, and<br /> empowers the agent to settle all disputes that may<br /> arise under the contract. “Such clause,” the<br /> writer of the article says, “should be signed only<br /> with the utmost caution.” It is necessary to<br /> state in the strongest terms that such clause<br /> should never be signed at all.<br /> If the author desires to put his business into the<br /> hands of another agent, he may have to pay twice<br /> OVer On One COntract.<br /> The reasons for this advice have been set forth<br /> In the columns of The Author over and over again.<br /> But still, it is difficult to get to all authors who<br /> employ agents, and oftentimes an agent impresses<br /> upon the author that it is not to his advantage to<br /> join the Society.<br /> If the agent is not financially sound, he has been<br /> known to retain the money due to his client, and<br /> in some cases play for the interests of the publisher<br /> rather than the author.<br /> The advice given in the pages of the Year Book<br /> is sound and most important, and the editor is quite<br /> right when he states that the protection of the<br /> Authors&#039; Society is almost as frequently sought<br /> against agents as against publishers.<br /> We have emphasised the article on Agents; for in<br /> some cases the agent is useful, in others he is<br /> absolutely essential. But if they intend to hold so<br /> large a control of the author&#039;s property, they<br /> must be bound by contract to act only for the<br /> benefit of that property. Their control must not<br /> be such as to hamper the author&#039;s action or damage<br /> him financially.<br /> But little space is left to criticise the forms of<br /> agreement. . This part of the article is, perhaps,<br /> the least satisfactory, and shows less experience and<br /> knowledge than is contained in the first section.<br /> For example, under the commission agreement,<br /> why should the books be accounted for to the<br /> author at the lowest prices charged to wholesale<br /> booksellers and exporters ? To account for every<br /> book at the actual price received might complicate<br /> the accounts and be irksome to the publisher. It<br /> would be easy to arrive at an average. -<br /> Again, the book should never be sold at reduced<br /> prices without the author&#039;s sanction ; for as he has<br /> paid for the book he has a right to control the<br /> price lest it is sold at a figure which could not<br /> possibly bring him any profit.<br /> In the Sale of Copyright one most important<br /> point has been omitted : the date of publication.<br /> If the book is not published by a certain date the<br /> publisher should be penalised. Publication is as<br /> important to an author as public performance to<br /> a dramatist ; that either should allow his property<br /> to be buried for ever would be a gross error of<br /> judgment. .<br /> Further, for a sale outright no author should<br /> take less than £1 per thousand words; to encourage<br /> lower prices is to encourage sweating.<br /> On the Profit-sharing Agreement the advice is<br /> given, “Authors should only enter upon it with<br /> the utmost caution.” We would go further, and<br /> advise that authors should never accept these<br /> terms. Constant experience shows that the result<br /> is eminently unsatisfactory to the author.<br /> On the Royalty Agreement and the remarks<br /> passed upon this system of publication we should<br /> have liked to write an entire article, but space will<br /> not permit. This is the most important of all<br /> agreements. It is a pity that the comments upon<br /> it and the clauses included in it should be the<br /> least satisfactory part of the whole review. The<br /> writer seems to have had the publisher&#039;s influence<br /> <br /> <br /> ## p. 135 (#179) ############################################<br /> <br /> TISIES A UTISIOR,<br /> 135°<br /> strongly upon him ; but his review ought to be<br /> for the author. The publisher, if he knows his<br /> business, ought to know all details of the legal<br /> aspect, and to need no coaching. But the author<br /> holds a different position, and as other parts of<br /> the book are written generally for the author, this<br /> portion should be particularly so.<br /> It is curious that in the parties to the agreement<br /> the publisher is mentioned as the party of the first<br /> part, and not the author. This may be a sign of<br /> the influence to which we have referred. -<br /> The successors and assignees of the publishers are<br /> included, without any remark. Some comment on<br /> this form was absolutely necessary; a contract for<br /> publication should, if possible, be a personal con-<br /> tract. The writer then states:—“A royalty agree-<br /> ment proceeds thus, or to this effect : “That in<br /> consideration that the copyright and plant, includ-<br /> ing therein such foreign and colonial rights of<br /> translation and reproduction as the author may<br /> arrange to part with,&#039; shall forthwith belong<br /> to and become the property of the publisher,<br /> etc.” -<br /> He then proceeds, by way of comment: “He<br /> (the publisher) will commonly be willing to con-<br /> sent to accept ‘the exclusive right of printing &#039; in<br /> lieu of the copyright. Should he demur to this<br /> variation, and should the author genuinely prefer<br /> it—in practice it has no real significance—the advice<br /> of an intermediary should be sought.”<br /> The italics are ours. In practice the difference<br /> is very real, and the result to an author of the<br /> conveyance of copyright to a publisher is disas-<br /> trous. One case is quoted, that of Mr. Warwick<br /> Deeping. This case alone ought to have made<br /> some further advice to the author essential.<br /> Another case was tried last year bearing on the<br /> same issue.<br /> In plain words, an author should never con-<br /> vey his copyright to a publisher even if it is<br /> limited to England, her colonies and depen-<br /> dencies, or to the English language. An author,<br /> if forced to . convey an exclusive licence to<br /> publish, should still safeguard himself by other<br /> clauses and limitations, and should never go<br /> beyond the licence to publish in book form in the<br /> English language. Enough has been said to<br /> show the danger in this most common form of<br /> agreement as propounded by the Literary Year<br /> Book.<br /> We do not propose—nor is this the place—to<br /> draft a model agreement on the royalty basis, but<br /> it is our duty to warn authors to avoid the present<br /> example.<br /> We regret that, in an otherwise good review of<br /> “Law and Letters,” this form should have been<br /> included unless it was done so purposely to assist<br /> the publisher rather than the author. In that<br /> by Messrs. Harper.<br /> Case a note, should have been appended for the<br /> author&#039;s guidance.<br /> G. H. T.<br /> Note:-We regret that the review of the other<br /> Rººts of the Year Book has been unavoidably<br /> delayed. We hope to print it in the March.<br /> number.—EDITOR.<br /> à. -º-<br /> w -º-<br /> CORRESPONDENCE.<br /> –0-0-0–<br /> PROPERTY IN TITLES.<br /> SIR,-My novel, “The Inner Shrine,” appeared<br /> Serially in the weekly edition of the Times. In<br /> 1900 it was published in volume form in London.<br /> Accounts relating to its sales<br /> have passed between us ever since, and I think the<br /> last copy was sold about a year ago. I am<br /> informed that Messrs. Harper are now publishing<br /> a novel called “The Inner Shrine,” by a new<br /> author, in their magazine, and I understand, not<br /> only that I have no redress, but that if my novel,<br /> “The Inner Shrine,” comes out in a cheap reprint.<br /> I shall have to find a new title. I admit that for<br /> my novel “The Inner Shrine &quot; was a poor title,<br /> but I had always supposed it to be my own.<br /> Yours truly,<br /> CECILY SIDGWICK.<br /> —t—cº-e—<br /> METHODS OF CRITICISMI.<br /> SIR,--I enclose herewith, not for publication, a<br /> “review,” clipped from Truth, of a recent novel of<br /> mine—a “review º&#039; which, except for a single.<br /> critical adjective, consists of an inaccurate synopsis<br /> of my story.<br /> Had Truth any right to supply its readers with<br /> any synopsis at all ? On the title-page of the book<br /> is the printed caution: “All rights reserved.” If<br /> Truth had that right, was it dealing fairly with<br /> either author or publishers in treating thus a novel<br /> entrusted to it in all good faith and dependent on<br /> its plot for a possible sale 2<br /> As to the latter point, may I quote the Dundee.<br /> Courier :—“. events culminate in a most<br /> exciting climax, which of course it would be most<br /> wnfair to give away here.”<br /> The italics within the quotation are mine. And,<br /> I am), sir,<br /> Your obedient servant,<br /> ROBERT AITREN.<br /> —t-sº-0–<br /> “THE WRITERS’ YEARBOOK.”<br /> SIR,-As a U.S.A. contributor may I be per-<br /> mitted to make a few observations on the review<br /> of the “Writers&#039; and Artists&#039; Yearbook” in last.<br /> <br /> <br /> ## p. 136 (#180) ############################################<br /> <br /> 136<br /> TISIES A UTISIOR,<br /> month&#039;s Author. Some of “Z.&#039;s &quot; statements are<br /> erroneous, and a few calculated to mislead the<br /> Britisher essaying sales to certain U.S.A. monthlies<br /> and weeklies. The periodicals published through-<br /> out the United States are not “over 20,000 °–<br /> but 25,000. His short list of “ leading periodi-<br /> cals” is just what I reckon the “Writers&#039; and<br /> Artists’Yearbook” editors have wisely eschewed, for,<br /> as I personally know, the majority of them do not<br /> desire English contributions except in so far as<br /> they deal directly with American subjects. . An<br /> American might as well send contributions in to<br /> Punch as a Britisher into Life, Scrip, Theater, and<br /> others. I have yet to learn that there is a U.S.A.<br /> Strand which is not the same as the English one !<br /> Technical World uses material based only on some<br /> phase of engineering or invention. ... Living Age is<br /> a compilation of quoted matter. Spare Moments,<br /> a species of American London Journal, is a<br /> particularly American production, and uses only one<br /> short story every month. Its material is especially<br /> indigenous. People Popular Monthly is a 5 cent.<br /> magazine, and no more a leading production than<br /> Home Notes, London, is Sunset Magazine pays<br /> for matter in transportation over its proprietary’s<br /> railways, except in a few instances, and accepts<br /> work and fiction dealing only with the Californian<br /> Slope and Further America on the Pacific.<br /> For the English contributor, who knows not the<br /> States in an intimate manner, it is a waste of<br /> stamps and time to send in MSS. to Holland&#039;s<br /> Magazine, another indigenous monthly, that<br /> occasionally uses British matter from fictionalists<br /> of the highest rank. Youth, Philadelphia, has<br /> been dead a considerable time, and the American<br /> Boy and Practical Young America cry for American<br /> matter written in an American manner. As for<br /> the religious papers given by “Z.,” if he had wasted<br /> as many stamps as I have on our religious Weeklies<br /> —$1—$2 at 1,000 words — that crib most<br /> courageously, and pay abominably low rates as<br /> a whole for original matter, he would not have<br /> quoted them<br /> Regarding the list of U.S.A. publishers, what is<br /> wanted is not a complete one, but one that<br /> represents the most creditable firms in the States,<br /> those known for probity and right dealing.<br /> I the more espouse the cause of the “Year-<br /> book &quot; because it is such a help to one. If the<br /> English list was in its details as full as the<br /> American one, i.e., as to length of stories wanted,<br /> character, setting, etc., it would be an ideal pro-<br /> duction ; plus, of course, a dependable list of<br /> U.S.A. publishers—not all the sharks and<br /> crocodiles of the trade. “Z.,” I think, must have<br /> done his review with Sell’s World’s Press, U.S.A.<br /> section, lying to his eye. Yours, etc.,<br /> M.<br /> SIR,-In reply to “M.&#039;s&quot; extraordinarily minute<br /> criticism of my review of “The Writers&#039; Year<br /> Book,” which you have kindly permitted me to see,<br /> I would in turn remark that some of his statements<br /> are erroneous and a few calculated to mislead.<br /> With regard to the number of periodicals pub-<br /> lished in the States, my expression was “well over<br /> 20,000.” How far this differs from 25,000 in<br /> general terms perhaps “M.” will explain.<br /> The list of periodicals I gave (which, by the<br /> way, did not come from the source he suggests)<br /> was inspired by the desire to make the list<br /> thoroughly representative, as it ought to be. On<br /> the other hand, does “M.” seriously mean to say<br /> that all the American journals and magazines<br /> given in “The Writers&#039; Year Book” are “leading”<br /> —for one instance, “5 cent productions * such<br /> as the Family Story Paper, Housekeeper, People&#039;s<br /> Home Journal, Vick&#039;s Magazine, and the Wasp 2<br /> Can he affirm that a quarter of the American<br /> magazines given in the “Year Book” are likely to<br /> accept English MSS. 2 The Sunset Magazine used<br /> to pay good cash in pre-earthquake days, to my<br /> own knowledge, and even now is quite a “leading ”<br /> magazine out West. - -<br /> As to U.S.A. publishers, if “M.” will be<br /> personally responsible for the probity and right<br /> dealing of the “Year Book&quot; list, I will undertake<br /> responsibility for mine.<br /> Finally, if “M.” has not yet discovered the<br /> difference between the Strand published in America<br /> and that published on this side, he should put<br /> himself wise at once. Yours, etc.,<br /> THE AUTHORS&#039; CLUB AND WORKS OF MEMBERS<br /> OF THE SOCIETY OF AUTHORS.<br /> SIR,-No doubt there are many members of the<br /> latter who belong to the former. As I understand<br /> there is a small circulating or permanent library<br /> in the Club, the following suggestion is respect-<br /> fully made for the favourable consideration of the<br /> committee : That authors of the society might<br /> loan or present works which have been well<br /> reviewed, with, of course, approbation of the Com-<br /> mittee, to above library. A young author&#039;s Works<br /> might receive a glance during a spare half-hour&#039;s<br /> lounge in the library, might take the interest of a<br /> member, and perhaps lead to his work becoming<br /> known over the head of a capricious public library<br /> or bookseller, who acquire works simply by the<br /> writer&#039;s name, irrespective of contents.<br /> Why should leaflets, which cost the editors<br /> nothing, be tabooed from the pages of The Author?<br /> A MEMBER OF THE SOCIETY.<br /> <br /> <br /> ## p. 136 (#181) ############################################<br /> <br /> AD VERTISEMENTS. iii<br /> TYPEWRITING.<br /> Authors’ MSS. copied from 9d. per 1,000<br /> words; in duplicate, 1/-. Plays and General<br /> Copying. List and specimen of work on appli-<br /> cation. -<br /> ONE OF NUMEROUS TESTIMONIALS.<br /> SIRES and SIPKES,<br /> The West Kensington Typewriting 0ffices,<br /> (Established 1893)<br /> 223a, Hammersmith Road, LONDON, W.<br /> Authors&#039; MSS. ; Translations; Duplicating; Plays and Actors&#039; Parts ;<br /> Legal, General and Commercial Documents. Private Rooms for<br /> Dictation. Usual Terms. References.<br /> TYPEVVRITING<br /> OF EVERY DESCRIPTION, 9d. PER 1,000 WoRDs.<br /> Two COPIEs, 1s. PER 1,000 WORDS.<br /> Authors’ MSS., Legal Documents, Reports, &amp;c., carefully and<br /> accurately copied. Orders by Post promptly attended to.<br /> Mrs. SOUTHEE, 273, Francis Rd., LEWION, LONDON, E.<br /> TYPEWRITING.<br /> AUTHORS’ MSS. FROM 10d. PER 1,000 WORDS<br /> WORKMANSHIP AND NMATERIALS OF THE BEST.<br /> Accurate and Prompt. —<br /> Jºccellent Testimonials,<br /> ERNEST PEARCE, 30, College Road, READING.<br /> “Miss M. R. HORNE has typed for me literary matter to the<br /> extent of some hundreds of thousands of words. I have nothing<br /> but praise for the accuracy, speed, and neatness with which she<br /> does her Work,-FRANIK SAVILLE.” - .<br /> MISS M. R. HORNE,<br /> ESKDALE, WEST DRAYTON, MIDDLESEX.<br /> MRS. GILL, Typewriting Office,<br /> (Established 1883.) 35, LUDGATE HILL, E.C.<br /> Authors&#039; MSS. carefully copied from 1s, per 1,000<br /> words. Duplicate copies third price. French and German<br /> MSS. accurately copied ; or typewritten English trans-<br /> lations supplied. References kindly permitted to Messrs.<br /> A. P. Watt &amp; Son, Literary Agents, Hastings House,<br /> Norfolk Street, Strand, W.C. Telephone 84.64 Central.<br /> WE have pleasure in announcing that we have made an arrange-<br /> ment with Mr. William Archer by which, upon request of<br /> the author, he undertakes to read, criticise, and advise upon any<br /> plays entrusted to us, and he will read no manuscript plays which do<br /> not reach him through us.<br /> The reading fees are fixed as follows:– # S. d.<br /> For scenarios of not over 2,000 words 1 10 0<br /> For plays of one or two acts ... l 10 0<br /> For plays of three or more acts ... ... 2 10 0<br /> The payment of these fees entitles the author to a written opinion<br /> from 300 to 800 words in length, dealing with the theme, con-<br /> Struction, characterisation, and diction of his play, suggesting altera-<br /> tions where they seem called for, and (so far as possible) conveying<br /> both theoretical criticism and practical advice.<br /> The fact that a play has been submitted to Mr. Archer will be<br /> treated by him, and by us, as confidential. On the other hand, the<br /> author is at liberty to show Mr. Archer&#039;s opinion to managers, actors,<br /> etc., if he so desires. It would manifestly be misleading, however,<br /> to quote detached phrases or make garbled extracts from a detailed<br /> criticism. Mr. Archer therefore leaves it to the author&#039;s sense of fair-<br /> mess to show to managers, etc., the whole opinion if he shows any<br /> part of it.<br /> If, in addition to the opinion, the author should desire a personal<br /> interview with Mr. Archer, a further fee of two guineas would be<br /> charged.<br /> Plays re-submitted after alteration are subject to the same fees as<br /> plays submitted for the first time.<br /> Manuscripts should be addressed to :-<br /> Messrs. Curtis Brown &amp; Massie, 5, Henrietta, St., Covent Garden, W.C.,<br /> and, if Mr. Archer&#039;s opinion is required, they should be accompanied<br /> by the reading fee in advance. Cheques should be made payable to<br /> Messrs. Curtis Brown &amp; Massie. If, as may sometimes happen, a<br /> play does not seem to call for serious consideration, but can be<br /> adequately dealt with in three or four lines, half the reading fee will<br /> be returned.<br /> Plays should in all cases be type-written (or printed), and a copy<br /> should be retained by the author. While all reasonable care will be<br /> taken of manuscripts, we cannot be responsible for their loss in the<br /> post, or otherwise.<br /> Mr. Archer will endeavour to give his opinion of any play within two<br /> weeks of receiving the manuscript.<br /> It is not necessary that plays entrusted to us for placing with<br /> managers should be submitted to Mr. Archer, and, on the other hand,<br /> it is not necessary that plays sent to us for Mr. Archer&#039;s inspection<br /> should be entrusted to us for placing, although we have many open-<br /> ings for good plays. Our agency for playWrights, and our arrange-<br /> ments with Mr. Archer are not interdependent.<br /> Especial attention is called to the advantage of expert criticism on<br /> scenarios. On the other hand, we find it practically, impossible to<br /> interest managers in plays not complete in every detail. It is our<br /> practice to send to actors and managers only plays of which it can be<br /> said they are worth the manager&#039;s personal and immediate attention.<br /> Plays placed by us are subject to a commission of ten per cent of the<br /> receipts. We can undertake arrangements for only such plays as are<br /> left exclusively in our hands.<br /> CURTIS BROWN &amp; MASSIE.<br /> BRADBURYAGNEW.&amp; Cº.L.<br /> The Whitefriars Press,<br /> LONDON and TONBRIDGE,<br /> IBIAVING LARGELY INCREASED THEIR<br /> Printing and B00kbinding Plant<br /> (which is now one of the most complete in<br /> the British Isles), are prepared to undertake,<br /> — at short notice, the production of —<br /> Works of Fiction,<br /> Legal and Medical Text Books,<br /> {<br /> High-class Magazines,<br /> Newspapers, etc.<br /> ESTIMATES FREE.<br /> An Illustrated Booklet descriptive of the Country<br /> Branch of the Firm sent on receipt of a Post Card,<br /> Telegrams: Chariwari, London; Chariwari, Tonbridge,<br /> Telephones: 28 Holborn ; 19 Tonbridge ; 9108 Central,<br /> <br /> <br /> ## p. 136 (#182) ############################################<br /> <br /> fiv AD VERTISEMENTS.<br /> BREEly Wºlſ|NG PMS.<br /> 44&#039;IO J S AU 1. HORS, anxious to diverge from the<br /> beaten track, should read the following new guides :—<br /> | n ;I.:<br /> tº a ſ tº-<br /> shall I Write about?<br /> , , ess. Plots, and How to Find Them.<br /> By R. A. H. GOODYEAR.<br /> 2. Tale-Writing for Money.<br /> Bright Stories: How to Write and Where<br /> to Sell Them at Best Prices. -<br /> By R. A. H. GOODYEAR.<br /> 3. 101 Money-making<br /> Recipes for Authors.<br /> From the Private Papers of Eminent<br /> Writers.<br /> SEVENPENCE EACH,<br /> Two for Is. I d., or three for Is. 6d., post free,<br /> of THE MAGAZINE SYNDICATE, Publishing<br /> Office, Southport, Lancs.<br /> THE TIDE MILL SEC2&#039; Tºr.<br /> By PERCY YoUNG. Handsomely<br /> paper, with Frontispiece. 320 pps. r<br /> A novel of exceptional originality al.g.,,,,…. . . *I&#039;yºf , ;<br /> *The book has a fascination all its own.&quot; The Aiii}r. &quot;&#039;t it. ...<br /> \. -<br /> ºted on antique<br /> 5: ºº ºr tº:<br /> WHEN THE WOMEN REIGN : 193O.<br /> (With Queen Alexandra as Front&#039;spiece.) 2s. net. Hand-<br /> somely bound in cloth, with bevelled boards d gold lettering.<br /> “A lively tale of the future by a writer who holds strong<br /> views. The ladies come into power . . .”—The Times.<br /> OWEN GLYN DWR - and other Poerms.<br /> By CHAs. II. PRITCHARD. Dound attractively in cloth, with<br /> bevelled boards, 2s. 6d. Inet.<br /> “Mr. Pritchard’s ode is inspiriting and will appeal to lovers<br /> of the heroic muse. There is much good work in his volume.”<br /> Dundee Advertiser.<br /> *TIS WE MUSICANS KNOW.<br /> By Jocer,WN IRENE RAINEY. A capital story, well and<br /> attractively produced. With Frontispiece on art paper, 2s. met.<br /> “A story of love and music.”—The Globe.<br /> “The lives of the four principal people in this story become<br /> interwoven in a network of love, tragedy and music.”—Literary<br /> JJ’orld. -<br /> SINNER AND JUDGE, and other Stories.<br /> JBy Rosſ. PERKINs. Bound in cloth covers, with pretty<br /> design, black and gold lettering, Is... net.<br /> “These stories have pathos and beauty and literary skill.<br /> Will be remembered after they are read.”—Baptist.<br /> Authors should forward MSS. of any description<br /> (Novels, Stories, Poems, Essays, &amp;c.) direct to Mr.<br /> STOCIXWELL, who will immediately advise, free<br /> of charge, as to publication.<br /> LONDON :<br /> AERTHUR. H. STO CRVVELL,<br /> 29, LUDGATE HILL, IE.C.<br /> Full lists on application, post free.<br /> Al UTE [O] RS &gt;<br /> AIVI [ RI[G] HIT 2<br /> I TAKE it that you require your MSS. to be neatly and ‘accurately typed on a good paper and by a competent Operator;<br /> for which Service you are prepared to pay a reasonable price.<br /> SPECIAL NEW YEAR OFFER.<br /> Am I right 2 If so, write at once for my Price List and<br /> C. HERBERT CAESAR, Homefield, Woodstock Road, St. Albans.<br /> Numerous Testimonials from First Novel Competitors.<br /> Please mention this Paper<br /> ESTABLISHED]<br /> The Wessex Press,<br /> [XVIII. CENT.<br /> Taztººto22.<br /> BARNICOTT &amp; PEARCE<br /> INVITE ENQUIRIES RESPECTING PRINTING.<br /> ESTIMATES<br /> OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br /> AUTHORS’ TYPEWRITING.<br /> Novel and Story Work 9d. per 1,000 words; 2 Copies, 1ſ-<br /> *General Copying - e. ... 1 - 73 3 y 35 1/3<br /> Plays, ruled (a Speciality) ... 1)- 5 y 3 * 3 y 1/4<br /> Specimens and Price List on application.<br /> MISS A. B. STEVENSON, Yew Tree Cottage,<br /> SUTTON, MACCLESFIELD.<br /> TYPEWRITING OFFICES.<br /> (Established 1897.)<br /> #Fºr COVENTRY. — Please note Change of<br /> r ##### { % rry r Tºn ??<br /> #º Address to “WESTLEIGH,” KING RICHARD<br /> ºW t STREET, T from Oswald House, Queen<br /> Aft; 21%;&quot; Victoria Road. TyphºwRITING OF EVERY<br /> º º DESCRIPTION, from 9d. per 1,000 words.<br /> Jºcellent Testimonials from Play Writers.<br /> ‘‘ TELE AUTIEIOIER.”<br /> SCALE FOR AD VERTISEMENTS.<br /> [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]<br /> Front Page ...#4 0 ()<br /> Other Pages<br /> Half of a Page ..., tº e a &amp; e a e e e is tº - e - tº tº - - ... 1 10 0<br /> Quarter of a Page ... ... ... ... ... ... ... 9 13 9<br /> Eighth of a Page is $ tº * * * it tº º tº ſº º • * * ... . ... Q 7 %<br /> Single Column Advertisements per inch 0 6 0<br /> Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent. for<br /> Twelve Insertions.<br /> Advertisements should reach the Office not later than the 20th for<br /> insertion in the following month&#039;s issue. -<br /> All letters respecting Advertisements should be addressed to the<br /> ADvERTISEMENT MANAGER, The Author Office, 39, Old Queen Street,<br /> Storey&#039;s Gate, S.W.<br /> Printed by BRADBURy, AGNEw, &amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED),<br /> at 10, Bouverie Street, London, E.C.	https://historysoa.com/files/original/5/390/1909-02-01-The-Author-19-5.pdf	publications, The Author