421 | https://historysoa.com/items/show/421 | The Author, Vol. 21 Issue 09 (June 1911) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+21+Issue+09+%28June+1911%29"><em>The Author</em>, Vol. 21 Issue 09 (June 1911)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1911-06-01-The-Author-21-9 | | | | | 211–238 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=21">21</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1911-06-01">1911-06-01</a> | | | | | | | 9 | | | 19110601 | The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
VOL. XXI.-No. 9.<br />
JUNE 1, 1911.<br />
[PRICE SIXPENCE.<br />
CONTENTS.<br />
PAGR<br />
211<br />
...<br />
211<br />
211<br />
212<br />
213<br />
215<br />
216<br />
Notices<br />
The Society's Funds<br />
List of Members ...<br />
The Pension Fund<br />
Committee Notes<br />
Books published by Members<br />
Books published in America by Members...<br />
Literary. Dramatic and Musical Notes<br />
Paris Notes ... ...<br />
Academic Committee ...<br />
Dramatic Rights in America<br />
Magazine Contents ...<br />
How to Use the Society<br />
Warnings to the Producers of Books<br />
Wamings to Dramatic Authors<br />
PAOK<br />
223<br />
223<br />
223<br />
223<br />
223<br />
223<br />
224<br />
226<br />
227<br />
229<br />
231<br />
234<br />
235<br />
236<br />
Registration of Scenarios and Original Plays<br />
Dramatic Authors and Agents<br />
Warnings to Musical Composers<br />
Stamping Music ...<br />
The Reading Branch<br />
Remittances<br />
General Notes<br />
Sir Alfred Comyn Lyall<br />
Books and their Published Price<br />
Prize Competitions<br />
Style in Literature ... ...<br />
Short Reviews<br />
Thirty-six Dramatic Situations<br />
Essays on Russian Novelists...<br />
Correspondence ...<br />
217<br />
218<br />
220<br />
:<br />
221<br />
221<br />
222<br />
222<br />
222<br />
237<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report for the current year. 1s.<br />
8. The Author. Published ten months in the year (August and September omitted), devoted especially<br />
to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br />
to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back<br />
numbers from 1892, at 10s. 6d. per vol.<br />
8. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 38.<br />
4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.<br />
8. The Cost of Production. (Out of print.)<br />
1. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br />
papers in the Society's offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the<br />
various kinds of fraud which have been made possible by the different clauses therein. 38.<br />
Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br />
the office of the Society since the publication of the “ Methods.” With comments and<br />
advice. 28.<br />
7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With<br />
Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br />
American Copyright Bill. By J. M. LELY. 18. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br />
(Chairman of Committee, 1888–1892). 18.<br />
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br />
LUNGE, J.U.D. 28. 6d.<br />
10. Forms of Agreement issued by the Publishers' Association; with Comments. By<br />
G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br />
11. Periodicals and their contributors. Giving the Terms on which the different Magazines<br />
and Periodicals deal with MSS. and Contributions. 6d.<br />
12. Society of Authors. List of Members. Published October, 1907, price 6d.<br />
13. International Copyright Convention as Revised at Berlin, 1909. 1s.<br />
[All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S. W.]<br />
<br />
<br />
## p. 210 (#284) ############################################<br />
<br />
ADVERTISEMENTS.<br />
The Society of Authors (Incorporated).<br />
Telographic Address : “ AUTORIDAD, LONDON."<br />
Telephone No. : 314 Victoria.<br />
PRESIDENT.<br />
THOMAS HARDY, O.M<br />
COUNCIL<br />
SIR ROBERT ANDERSON, K.C.B.<br />
AUSTIN DOBSON.<br />
THE REV. C. H. MIDDLETON-WABE<br />
SIBWM.REYNELL ANSON, Bart.,D.C.L. | SIR ARTHUR CONAN DOYLE.<br />
SIR HENRY NORMAN, M.P.<br />
THE RIGHT HON. THE LORD AVE- DOUGLAS FRESH FIELD.<br />
SIR GILBERT PARKER, M.P.<br />
J, M, BARRIE.<br />
[BURY, P.C. SIR W. S, GILBERT.<br />
SIR ARTHUR PINERO.<br />
SIR ALFRED BATEMAN, K.C.M.G. EDMUND GOSSE, LL.D.<br />
THE RIGHT Hon. SIR HORACE<br />
ROBERT BATEMAN.<br />
SYDNEY GRUNDY.<br />
PLUNKETT, K.P.<br />
F. E. BEDDARD, F.R.S.<br />
H. RIDER HAGGARD.<br />
ARTHUR RACKHAM.<br />
MRS. BELLOC-LOWNDES.<br />
MRS. HARRISON (“Locas MALET'). OWEN SEAMAN.<br />
THE RIGHT HON. AUGUSTINE BIR. ANTHONY HOPE HAWKINS,<br />
G. BERNARD SHAW.<br />
BELL, P.C.<br />
E. W. HORNUNG.<br />
G. R. SIMS.<br />
MRS. E. NESBIT BLAND<br />
MAURICE HEWLETT.<br />
S. SQUIRE SPRIGGE.<br />
THE REV. PROF. BONNEY, F.R.S.<br />
W. W. JACOBS.<br />
FRANCIS STORR.<br />
THE RIGHT HON. JAMES BRYCE, P.C. HENRY JAMES.<br />
SIR CHARLES VILLIERS STANFORD,<br />
THE RIGHT HON. THE LORD BURGH. JEROME K. JEROME.<br />
Mus. Doc.<br />
CLERE, P.C.<br />
HENRY ARTHUR JONES.<br />
MRS. HUMPHRY WABD.<br />
HALL CAINE.<br />
J. SCOTT KELTIE, LL.D.<br />
SIDNEY WEBB.<br />
J. W. COMYNS CARR.<br />
RUDYARD KIPLING.<br />
H. G. WELLS.<br />
EGERTON CASTLE, F.S.A.<br />
SIR EDWIN RAY LANKESTER, F.R.S. PERCY WHITE.<br />
EDWARD CLODD.<br />
THE REV, W.J. LOFTIE, F.S.A.<br />
FIELD-MARSHAL THE RIGHT Hox.<br />
W. MORRIS COLLES.<br />
LADY LUGARD (M188 FLORA L. THE VISCOUNT WOLSELEY, K.P.,<br />
THE HON. JOHN COLLIER.<br />
SHAW).<br />
P.C., &c.<br />
BIR W. MARTIN CONWAY.<br />
MRS. MAXWELL (M. E. BRADDON).<br />
THE RIGHT HON. THE LORD CORZON AYLMER MAUDE.<br />
• OF KEDLESTON, P.C.<br />
JUSTIN MCCARTHY.<br />
COMMITTEE OF MANAGEMENT.<br />
Chairman-S. SQUIRE SPRIGGE, M.D.<br />
SIR ALFRED BATEMAN, K.C.M.G. | MAURICE HEWLETT.<br />
G. BERNARD SHAW.<br />
MR. BELLOC-LOWNDES.<br />
W. W. JACOBS.<br />
FRANCIR STORR,<br />
MAS. E. NESBIT BLAND,<br />
AYLMER MAUDE.<br />
SIDNEY WEBB,<br />
J. W. COMYNS CARR.<br />
ARTHUR RACKHAM.<br />
RUDOLPH BESIER.<br />
H. GRANVILLE BARKER.<br />
ANSTEY GUTHRIE.<br />
Miss CICELY HAMILTON.<br />
DRAMATIC SUB-COMMITTEE.<br />
Chairman-R. C. CARTON.<br />
| CAPT. BASIL Hood.<br />
| G, BERNARD SHAW.<br />
JEROME K. JEROME.<br />
Miss E. M. SYMONDS.<br />
W. SOMERSET MAUGHAM.<br />
CECIL RALEIGH.<br />
PENSION FUND COMMITTEE.<br />
Chairman-S. SQUIRE SPRIGGE, M.D.<br />
MUXLEY KUBERTS.<br />
MRS. ALEC TWEEDIE.<br />
M. H. SPIELMANN,<br />
| MRS. HUMPHRY WARD.<br />
ANSTEY GUTHRIE.<br />
ANTHONY HOPE HAWKINS,<br />
H. A. HINKSOX.<br />
E. J. MacGILLIVRAY.<br />
SIR GILBERT L'ARKER, M.P.<br />
COPYRIGHT SUB-COMMITTEE.<br />
SIR CHARLES VILLIERS STANFORD, I HERBERT SOLLIVAN.<br />
Mus. Doc.<br />
SIR JAMES YOXALL, M.P.<br />
1 M. H. SPIELMANN.<br />
The Hon. John COLLIER.<br />
SIR W. MARTIN CONWAY.<br />
ART.<br />
JOHN HASSALL, R.I.<br />
| J. G. MILLAIS.<br />
| ARTHUR RACKHAM.<br />
| M. H. SPIELMANN.<br />
FIELD, ROSCOE & Co., 36, Lincoln's Inn Fields, W.C.<br />
Secretary-G, HERBERT THRING,<br />
G. HIKBERT THRING, 39, Old Queen Street, Stre: 's Gate, s.W. ) Soloilors.<br />
Solicitor in England to<br />
Li Société des Gens de Lotures<br />
Legal Adviser in America—JAMES BYRNE, 24, Broad Street, New York, U.S.A.<br />
OFFICES.<br />
29, OLD QUEEN STREET, STOREY'S GATE, S.W.<br />
<br />
<br />
## p. 210 (#285) ############################################<br />
<br />
ADVERTISEMENTS.<br />
Special Announcement to Authors !<br />
- PLAYS -<br />
MR. FORBES DAWSON<br />
Many would-be Competitors in<br />
Messrs. Hodder & Stoughton's<br />
new £1,000 Novel Competition<br />
are prevented from entering simply<br />
because they cannot at once spare<br />
the money to have their MS. typed.<br />
A REMARKABLE OFFER!<br />
(Member of the Society of Authors),<br />
Master of Stage Craft, Technique, and<br />
Play Construction.<br />
Over 25 years' continuous experience upon the<br />
stage itself as an actor in every class of play.<br />
Author of plays produced in England and<br />
America. Adapter of several novels to the stage.<br />
READS AND GIVES PRACTICAL ADVICE<br />
UPON PLAYS.<br />
TURNS SHORT STORIES INTO PLAYS.<br />
Makes no charge for reading and giving a<br />
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If you will send your MS. and<br />
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promise to pay the balance (at<br />
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monthly instalments of £1, I will<br />
undertake to return you a per-<br />
fectly correct type-written copy.<br />
Absolute secrecy guaranteed.<br />
One of my numerous testimonials for Members of the Society of<br />
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Authors-<br />
Knows the best men in the dramatic profession<br />
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Address : 23, MIDMOOR ROAD, WIMBLEDON, S.W. ||<br />
C. HERBERT CÆSAR,<br />
Homefield, Woodstock Road, St. Albans, Herts.<br />
STABLISHED)<br />
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ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br />
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<br />
<br />
## p. 210 (#286) ############################################<br />
<br />
ADVERTISEMENTS.<br />
Just out, 1/- paper, 2/- cloth, net.<br />
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It costs Sixpence, and it can be ordered from any Bookseller, Book.<br />
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## p. 210 (#287) ############################################<br />
<br />
ADVERTISEMENTS.<br />
THE AGENCY WITH INFLUENCE.<br />
Thanks to its straightforward business methods, and its strictly selective principle, the C.L.A. is now<br />
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Below is reproduced one from many hundreds of generous appreciations :-<br />
365, Glossop Road, Sheffield,<br />
DEAR MR. MAGNUS, .<br />
Wednesday, May 10th, 1911.<br />
Please accept my sincere thanks for placing my first novel so quickly and so well after my own<br />
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## p. 210 (#288) ############################################<br />
<br />
ADVERTISEMENTS<br />
meri. soooooooowwe Dodomewoo0000000omuever be<br />
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The Amazing Duchess<br />
Being the Romantic History of Elizabeth Chudleigh.<br />
IN FEAR OF A THRONE . . . R. Andom<br />
2 volumes, illustrated, 248, net.<br />
THE BROKEN BUTTERFLY . . Ralph Deakin<br />
*** Third large edition preparing. In immense demand everywhere.<br />
9 THE TALK OF ENGLAND.<br />
HONOUR'S FETTERS . . . . May Wynne<br />
Over 300 columns of Press notices have already appeared, and<br />
TWO GIRLS AND A MANNIKIN · Wilkinson Sherren<br />
recognised by all as<br />
“A REMARKABLE BOOK."<br />
SUFFRAGETTE SALLY . . . G. Colmore<br />
The Gay King. By Dorothy Senior.<br />
WHEN WE ARE RICH , . Ward Muir<br />
Demy 8vo. Illustrated. 128. 6d. net.<br />
A MAN WITH A PAST . . A. St. John Adcock Evening Standard "An eminently readable book, which gives a<br />
far truer portrait of Charles and a better idea of his Court and<br />
THE LION'S SKIN . . . Rafael Sabatini | times than can be found in many a more pretentious attempt."<br />
CANTACUTE TOWERS . - Cecil Adair<br />
Police and Crime in India.<br />
WHERE TRUTH LIES (2nd Edition). Jane Wardle<br />
By Sir Edmund Cox, Bart.<br />
THE RIDING MASTER (4th Edition) · Dolf Wyllarde<br />
Illustrated. 128. 60, net.<br />
Evening Standard says:-"In perusing the many extraordinary<br />
FOR A WOMAN'S HONOUR · Christopher Wilson<br />
details in which this book abounds, the reader feels as it he had<br />
LYING LIPS (2s. net) - - William Le Queux<br />
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STANLEY PAUL & CO., 31, ESSEX STREET, LONDON.<br />
<br />
<br />
## p. 211 (#289) ############################################<br />
<br />
The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
VOL. XXI.-No. 9.<br />
JUNE 1ST, 1911.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
ADVERTISEMENTS.<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the case.<br />
Although care is exercised that no undesirable<br />
advertisements be inserted, they do not accept, and<br />
never have accepted, any liability.<br />
Members should apply to the Secretary for advice<br />
if special information is desired.<br />
NOTICES.<br />
OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE SOCIETY'S FUNDS.<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 />
TROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done for<br />
them. The Committee, acting on the suggestion<br />
of one of these members, have decided to place<br />
this permanent paragraph in The Author in order<br />
this perma<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
The funds suitable for this purpose are: (1) The<br />
Capital Fund. This fund is kept 'in reserve in<br />
case it is necessary for the Society to incur heavy<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reform,<br />
or in dealing with any other matter closely<br />
connected with the work of the Society.<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
needs of all the members of the Society.<br />
ARTICLES AND CONTRIBUTIONS.<br />
THE Editor of The Author begs to remind<br />
members of the Society that, although the paper<br />
is sent to them free of cost, its production would<br />
be a very heavy charge on the resources of the<br />
Society if a great many members did not forward<br />
to the Secretary the modest 58. 6d. subscription for<br />
the year.<br />
Communications for The Author should be<br />
addressed to the Offices of the Society, 39, Old<br />
Queen Street, Storey's Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
Communications and letters are invited by the<br />
Editor on all literary matters treated from the<br />
standpoint of art or business, but on no other<br />
subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
VOL. XXI.<br />
LIST OF MEMBERS.<br />
M HE List of Members of the Society of Authors,<br />
1 published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 71d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society only.<br />
A dozen blank pages have been added at the<br />
<br />
<br />
## p. 212 (#290) ############################################<br />
<br />
212<br />
THE AUTHOR.<br />
end of the list for the convenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
·<br />
·<br />
·<br />
THE PENSION FUND.<br />
·<br />
·<br />
· ·<br />
· ·<br />
· ·<br />
· ·<br />
·<br />
·<br />
· ·<br />
· ·<br />
N February 1, the trustees of the Pension<br />
Fund of the society-after the secretary<br />
had placed before them the financial<br />
position of the fund—decided to invest £250 in<br />
the purchase of Consols.<br />
The amount purchased at the present price is<br />
rice is<br />
£312 13s. 4d.<br />
This brings the invested funds to £4,377 198. 4d.<br />
The trustees, however, have been unable to recom-<br />
mend the payment of any further pensions, as the<br />
as the<br />
income at their disposal is at present exhausted.<br />
They desire to draw the attention of the members<br />
of the society to this fact, in the hope that by<br />
additional subscriptions and donations there will<br />
be sufficient funds in hand in the course of the<br />
gear to declare another pension in case any im-<br />
portant claim is forthcoming.<br />
Consols 21%.............................. £1,312 13 4<br />
Local Loans ............................... 500 0 0<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
London and North-Western 3% Deben-<br />
ture Stock .......<br />
..... 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates .... 200 0 0<br />
Cape of Good Hope 32% Inscribed<br />
Stock .............................<br />
....... 200 0 0<br />
Glasgow and South-Western Railway<br />
4% Preference Stock........... 228 0 0<br />
New Zealand 3% Stock...............<br />
Irish Land Act 27% Guaranteed Stock 258 0 0<br />
Corporation of London 21% Stock,<br />
1927-57 ........<br />
438 2 4<br />
Jamaica 31% Stock, 1919-49 .......... 132 18 6<br />
Mauritius 4% 1937 Stock. ............... 120 121<br />
Dcminion of Canada C.P.R. 31% Land<br />
Grant Stock, 1938........... ....... 198 3 8<br />
· · ·<br />
3<br />
3<br />
£ 3. d.<br />
Feb. 21, Rhys, Ernest<br />
0 10 6<br />
Feb. 21, Cameron, Mrs. (Charlotte) 110<br />
Feb. 21, Mulliken, Mrs. .<br />
March 9, Boughton, Rutland<br />
0 5<br />
March 10, Somers, John ..<br />
0 5 0<br />
April 6, Rawlings, Burford<br />
. 0 10 6<br />
April 11, Wicks, Mark . . . 0 5 0<br />
May 2, Walter, J. . .<br />
2 2 0<br />
Donations.<br />
1911.<br />
Jan. 2, Northcote, The Rev. H.. 0 5 0<br />
Jan. 2, Mackenzie, Miss J. . . 0 5 0<br />
Jan. 3, Church, Sir Arthur H. . . 1 1 0<br />
Jan. 3, Wasteneys, Lady.<br />
0 5 0<br />
va<br />
Jan. 4, P. H. and M. K. .<br />
· 2 2 0<br />
Jan. 4, Randall, F. J. .<br />
. 1 1 6<br />
Jan. 5, W.<br />
0 10 0<br />
Jan. 5, Crellin, H. N.<br />
0 5 0<br />
Jan. 5, S. F. G..<br />
0 10 0<br />
Jan. 6, Blake, J. P...<br />
1 1 0<br />
Jan. 7, Douglas, James A..<br />
1 0 0<br />
Jan. 9, Grisewood, R. Norman . . 0 5 0<br />
Jan. 10, Wharton, Leonard C. . . 0 10 0<br />
Jan. 12, Tanner, James T..<br />
Jan. 16, Kaye-Smith, Miss Sheila : 0 5 0<br />
Jan. 17, Kemp, Miss Emily G.. 1 1 0<br />
Jan. 21, Greenstreet, The Rev. W.J.. 0 5 9<br />
Jan. 26, Blundell, Miss Alice . .<br />
Jan. 28, Benecke, Miss Ida . . 0 5 0<br />
Jan. 30, Wilkinson, The Rev. C.J. 1 1 0<br />
Feb. 2, Lawes, T. C. . . . .<br />
0 5 0<br />
Feb. 3, Dawson, Mrs. T. .<br />
05<br />
Feb. 3, Tweedie, Mrs. Alec<br />
Feb. 10, Dale, T. F. .<br />
0 5 0<br />
Feb. 13. Machen, Arthur<br />
0 10 0<br />
Feb. 21, Strachey, Lady i<br />
2 2 0<br />
Feb. 25, Humphreys, Mrs. (Ri<br />
2 0 0<br />
March 3, Gibbs, F. L. A. .<br />
0 10 0<br />
March 6, Haultain, Arnold.<br />
1 1 0<br />
March 9, Hardy, Harold<br />
0 100<br />
March 9. Hutton, E. . .<br />
05<br />
March 10, Wilson, Albert .<br />
0 5 0<br />
March 16, Ward, Dudley.<br />
0 10 6<br />
March 30, Coke, Desmond.<br />
April 1, The XX Pen Club<br />
0 1<br />
April 6, Channon, Mrs. E. M. . : 0 5 0<br />
April 7, Henry, Miss Alice . .<br />
0 5 0<br />
April 10, Ralli, Scaramanga<br />
.<br />
.<br />
. . 2 2 0<br />
April 11, Robins, Miss Alice . . 1 1 0<br />
April 20, MacEwan, Miss.<br />
. 010 0<br />
April 20, C. N. and Mrs. Williamson . 5 5 0<br />
April 21, Shirley, Arthur . . . 1 1 0<br />
April 22, H, A. and Mrs. Hinkson . 1 0 0<br />
April 24, Toplis, Miss Grace . . ( 10 0<br />
May 19, An Old Member. . . 1 0 0<br />
·<br />
· ·<br />
·<br />
· · ·<br />
·<br />
· ·<br />
· ·<br />
· ·<br />
Total ............... £4,377 19<br />
4<br />
· ·<br />
wa<br />
·<br />
· ·<br />
Anger<br />
Subscriptions.<br />
1911.<br />
Jan. 3, Yolland, Miss E. .<br />
Jan. 3, Bowen, Miss Marjorie .<br />
Jan. 9, Bolton, Miss Anna. .<br />
Jan. 13, Edginton, Miss May .<br />
Feb. 11, Canpan, Gilbert . .<br />
Feb. 15, Reynolds, Mrs. Baillie .<br />
· ·<br />
£ &<br />
0 5<br />
1 1<br />
0 5<br />
( 5<br />
0 10<br />
0 5<br />
er mer<br />
d.<br />
0<br />
0<br />
0<br />
0<br />
6<br />
0<br />
·<br />
· ·<br />
<br />
<br />
## p. 213 (#291) ############################################<br />
<br />
THE AUTHOR.<br />
213<br />
COMMITTEE NOTES.<br />
of the society. The committee had already taken<br />
counsel's opinion and found themselves unable to<br />
depart from the conclusion they had already come<br />
M HE May meeting of the committee was held to on a previous occasion. It was quite clear that<br />
on Monday, May 1st. After the minutes there was very little chance of the author<br />
of the previous meeting had been signed a establishing a legal right to stop publication.<br />
vote of thanks was passed to Mr. Maurice Hewlett, The Copyright Bill was next considered by the<br />
reference being made to the good work accom- committee. The chairman stated that since the<br />
plished during his chairmanship. The present last meeting it had been necessary for himself and<br />
chairman, Dr. S. Squire Sprigge, was authorised the secretary to move rapidly and independently,<br />
to write to Mr. Hewlett and convey to him the as otherwise it would not have been possible to get<br />
feeling of the committee.<br />
the necessary amendments settled and into shape.<br />
Twenty-three members and associates were Fortunately the opinions of both the committee and<br />
elected, bringing the total elections for the current the sub-committee on copyright had been fully<br />
year up to 115. One resignation was accepted. ascertained, as well as those of important members<br />
The committee then considered the cases. The of the society. The chairman stated that after<br />
first related to an infringement by cinematograph the meeting of the Joint Committee, chronicled in<br />
performance in America. The opinion of the the May issue of The Author, the Copyright Sub-<br />
society's American lawyers, with full information Committee met and settled a report dealing with<br />
obtained from America respecting the infringe- the points brought forward at the Joint Committee<br />
ment, was laid before the committee, who decided meeting :—That Mr. E. J. MacGillivray, a<br />
to take the case up subject to the member con- member of the Copyright Sub-Committee, had<br />
cerned, when the full facts of the position were before kindly consented to draft a report in the form of<br />
him, fixing the figure which he desired to claim as amendments. This was done, and as the com-<br />
damages. The next case referred to the cancellation mittee of the House of Commons was commencing<br />
of a right to publish. The author had given its sittings immediately it became necessary for<br />
notice to terminate the agreement, but had found the secretary to see one of the members in order<br />
it impossible to get the book republished owing to to get the amendments put down. This also was<br />
the action of the original publisher who claimed done in time, the secretary attending at the House<br />
that he still had rights under the contract. After of Commons on one or two occasions and discussing<br />
discussing the legal aspects and hearing the matters with Mr. H. D. M‘Laren, in whose name<br />
opinion of the society's solicitor, the committee the society's amendments are now placed. The<br />
decided they were unable to take the matter chairman further reported that at a meeting of the<br />
further. A claim of a member against the English Joint Committee, consisting of representatives of<br />
Review under the old management was considered, the Publishers' Association, the Copyright Associa-<br />
and it was decided to put the facts of the case tion and the Society of Authors, appointed<br />
before the present proprietor, in order to see some time ago to watch the bill through Parlia-<br />
whether any sum could be obtained on behalf of ment, the society's amendments had been read<br />
the member.<br />
and were, on the whole, approved ; but that the<br />
The solicitor then reported the action taken up society's proposal in regard to Clause 4 of the<br />
by the society since the last meeting in regard to Bill had been overruled owing to an amendment<br />
the bankruptcy of Mr. H. Drare., The solicitor which, it was understood, the Government were<br />
mentioned to the committee a suggested proposal going to put down in regard to the clause.<br />
of settlement. It was decided to leave the matter The chairman reported fully all the steps that<br />
in his hands as sixteen or seventeen members had been taken, and laid on the table copies of the<br />
of the society were involved. The solicitor then various documents which had been settled. He<br />
reported a case which had been taken against an added that letters had been written to various<br />
agent who had neglected to pay over moneys he had members of the society, who were also members<br />
receired for contributions placed by him for the of the Committee considering the Bill, asking for<br />
author. It was decided to take what steps might' their support to the society's amendments when<br />
be necessary to throw the agent into bankruptcy. they came before the committee. The chairman<br />
A claim against the proprietor of an Indian paper stated that the work had been exceedingly heavy,<br />
was next considered, and the committee determined but that he was pleased to hear that the result, so<br />
with the approval of the author to take action in far, had proved distinctly satisfactory.<br />
the Indian Courts if the claim was not satisfied. The question of the settlement of an agency<br />
The committee regretted they were unable to take agreement, owing to the discussion of the Copy-<br />
up the next case which was a question of republi- right Bill having taken up much of the committee's<br />
cation by a publisher of an old work by a member time, was adjourned.<br />
--<br />
- -<br />
<br />
<br />
## p. 214 (#292) ############################################<br />
<br />
214<br />
THE AUTHOR.<br />
The committee sanctioned the payment of a<br />
bill for rugs for the society's offices. They<br />
tendered a vote of thanks to Mr. C. Scaramanga<br />
Ralli for his donation of £3 38. to the capital<br />
fund of the society.<br />
The secretary reported the receipt of a letter<br />
from the secretary of the Board of Trade touching<br />
a proposal made by the Dramatic Sub-Committee<br />
that the Consuls at the various ports should send<br />
records of dramatic performances of English<br />
pieces. He reported that £170 78. 11d. of consols<br />
had been bought with the £140 which the Com-<br />
mittee had instructed him to invest.<br />
meeting for revision, not as to their substance,<br />
but as to their drafting. The remaining clauses,<br />
which were of a contentious nature, will be dis-<br />
cussed at the next meeting, one by one, until the<br />
draft is completed.<br />
A long letter from Mr. Cecil Raleigh to the<br />
chairman on the treaty, was read to the sub-<br />
committee.<br />
DRAMATIC SUB-COMMITTEE.<br />
The meeting of the Dramatic Sub-Committee<br />
for May was held at the offices of the society on<br />
Friday the 19th. After the minutes of the<br />
previous meeting had been read and signed the<br />
sub-committee turned to the agenda.<br />
The first matter was the question of sketch pro-<br />
duction, and the secretary read an opinion he bad<br />
received from the solicitors, obtained on the instruc-<br />
tions of the committee at their last meeting, with<br />
regard to sketch prosecutions. Some discussion<br />
followed as to the line of action the committee<br />
should take.<br />
The next question was the practicability of<br />
stopping infringement of performing rights in<br />
America by criminal prosecution. The secretary<br />
read a letter he had received from the counsel of<br />
the National Association of Play-Producing<br />
Managers of America, and he was instructed to<br />
write to the counsel for further information.<br />
Certain vacancies having occurred in the sub-<br />
committee, the secretary was instructed to write to<br />
Mr. Justin Huntley McCarthy and Mr. C. Haddon<br />
Chambers, and inquire whether they would be will-<br />
ing to undertake the duties of the post. Subject<br />
to their acceptance their names were approved.<br />
The secretary reported the work during the past<br />
month on the Copyright Bill, stating what clauses<br />
had been inserted in the Board of Trade draft and<br />
what amendments had been set down.<br />
Finally, the question of the General Treaty<br />
between dramatists and managers was discussed.<br />
It may be remembered that the Dramatic Sub-<br />
Committee received authority from the dramatists<br />
assembled at the meeting held on March 31 to<br />
draft such a treaty, and to negotiate with the<br />
managers on their behalf. The secretary had<br />
drafted a series of clauses for the consideration of<br />
the sub-committee, and of these twelve were passed<br />
without any discussion. The secretary was in-<br />
structed to have these typed and sent to all the mem-<br />
bers of the sub-committee to be laid before the next<br />
Cases.<br />
THIRTEEN cases have been placed in the secre-<br />
tary's hands since the last issue. Three of these<br />
relate to accounts. In one the accounts have been<br />
rendered and forwarded to the author, and the<br />
other two are still in course of negotiation.<br />
Though the publishers have answered the secre-<br />
Though the publishe<br />
tary's letters, they have not had time as yet to get<br />
out the accounts. There have been five cases for<br />
the return of MSS. One of these lying with the<br />
publisher in the United States is still unsettled,<br />
two are lying with agents and will be returned in<br />
due course : one has been returned, but the last<br />
demand has only just come into the office. Of<br />
three applications for money two have been settled,<br />
the cheques having been received and forwarded to<br />
the authors. The third is still unsettled and it<br />
may be necessary to place it in the hands of the<br />
Society's solicitors. There is one case dealing with<br />
the settlement of terms of a contract. This is in<br />
course of negotiation ; and one case for infringe-<br />
ment of copyright which has only just come into<br />
the office. There are still several cases open from<br />
former months but there is not one in which<br />
negotiations are not going forward satisfactorily.<br />
It is hoped that they will be closed before the July<br />
number is printed.<br />
May Elections.<br />
Allen, Lily L. .... . “ Bryngoleu," Ilfra-<br />
combe.<br />
Arnold, Thomas Walker 24, Launceston Place,<br />
Kensington, W.<br />
Cator, Mrs. R. B. P. : c/o His Hon. Judge<br />
Cator, British<br />
Consulate, Con-<br />
stantinople.<br />
Chatterton, E. Keble . 195, Ladbroke Grove,<br />
W.<br />
Cochran, The Rev. A. H. . Merryhall, Ashstead,<br />
Surrey.<br />
Colville, Mrs. Arthur . 3, Eaton Place, S.W.<br />
Cox, Robert . . . 59a, South Audley<br />
Street, W.<br />
Eaton, Mrs. Florence . Maryville, Blackrock,<br />
Dublin.<br />
<br />
<br />
## p. 215 (#293) ############################################<br />
<br />
THE AUTHOR.<br />
215<br />
Fernald, C. B. . . 4. Marlborough Road.<br />
N.W.<br />
Ghosh Sarath Kumar , 18, Elgin Avenue, W.<br />
Hartree, Clarence . . Havering, Tunbridge<br />
Wells.<br />
Higgins, Clifford . . 3, Derby Street,<br />
Poulton - le - Gylde,<br />
Lancs.<br />
Stephen Knott<br />
Rachel Martyn<br />
Martin, Miss C. I.<br />
Mathews, Gregory M. Langley Mount, Wat-<br />
ford.<br />
Pedler, Margaret (Mrs. W. Barons Wood Bow,<br />
J. Q. Pedler)<br />
N. Devon.<br />
Philips, F. C. . . . 12, King's Bench<br />
Walk, E.C.<br />
Romanné-James, Mrs. C.<br />
(George Rayne) Lyceum Club, London,<br />
W.<br />
Sheane, Hubert . . The Residency, Tife,<br />
N.E. Rhodesia.<br />
Virgo, Eustace F. A. . c/o Messrs. Cook &<br />
Son, Place de la<br />
Constitution,<br />
Athens.<br />
Wallace, G. Carlton . 27, Golder's Gardens,<br />
Golder's Green,<br />
N.W.<br />
(Two members object to the publication either<br />
of their name, pseudonym, or address).<br />
THE LIFE, TRIAL, AND DEATH OF FRANCISCO FERRIER.<br />
By WILLIAM ARCHER. 9 x 58. 332 pp. Chapman &<br />
Hall, 108. 6d. n.<br />
FRIENDLY FACES OF THREE NATIONALITIES. By M.<br />
BETHAM-EDWARDS. 9 x 54. 294 pp. Chapman &<br />
Hall. 108, 6d, n.<br />
DRAMA.<br />
QUEEN HERZELEID, OR SORROW-OF-HEART. An Episode<br />
in the Boyhood of the Hero, Parzival. A Poetic Play in<br />
Three Acts. By ISABEL HEARNE. 78 pp. David<br />
Nutt.<br />
THREE PLAYS BY BRIEUX, With a Preface by BERNARD<br />
SHAW. The English Versions by MRS. BERNARD SHAW,<br />
ST. JOHN HANKIN, and JOHN POLLOCK. 78 X 5.<br />
321 pp. Fifield. 58. n.<br />
THE TRAGEDY OF NAN. By JOHN MASEFIELD. 7 X 41.<br />
71 pp. Grant Richards. is. 6d. n.<br />
THE BRASS BOTTLE. A Farcical Fantastic Play in Four<br />
Acts. By F. ANSTEY.. 7 X 5. 212 pp. Heinemann.<br />
18. 6.<br />
ENGINEERING.<br />
IMPERIAL TELEGRAPHIC COMMUNICATION. By CHARLES<br />
BRIGHT, F.R.S.E. 74 x 5. 212 pp. P.S. King. 38.60.n.<br />
FICTION.<br />
THE LAST GALLEY. Impressions and Tales. By A.<br />
CONAN DOYLE. 74 x 5. 298 pp. Smith, Elder. 68.<br />
A TRUE WOMAN. By BARONESS ORCZY. 74 x 5. 351 pp.<br />
Hutchinson. 68.<br />
WHEN WE ARE Rich. By WARD MUIR. 74 x 5. 318 pp.<br />
Stanley Paul. 68. n.<br />
THE KING OVER THE WATER, OR THE MARRIAGE OF<br />
MR. MELANCHOLY. By JUSTIN HUNTLY MCCARTHY.<br />
8 X 5. 328 pp. Hurst & Blackett. 68.<br />
JUSTUS WISE. By ALFRED WILSON BARRETT. 74 x 5.<br />
320 pp. Ward, Lock. 68.<br />
A CHARITY GIRL. By EFFIE ADELAIDE ROWLANDS.<br />
81 x 54. 190 pp. (Cheap edition.) Stanley Paul. 6d.<br />
AT THE CROSS ROADS. By F. F, MONTRESOR. 320 pp.<br />
Hutchinson. 7d. n.<br />
TIM BOBBIN RESURRECTED. By TEDDY ASHTON. 47 pp.<br />
Blackpool : Teddy Ashton. 3d. n.<br />
THE SHIP OF CORAL. By H. DE VERE STACPOOLE.<br />
7% X 5. 368 pp. Hutchinson. 6s.<br />
THE CELESTIAL OMNIBUS AND OTHER STORIES. By<br />
E.M. FORSTER. 74 x 51. 164 pp. Sidgwick & Jackson.<br />
38. 60. n.<br />
THE HORSE SHOE. By MRS. FRED REYNOLDS. 78 x 5.<br />
334 pp. Chapman & Hall. 68.<br />
LILAMANI: A STUDY IN POSSIBILITIES. By MAUD<br />
DIVER. 74 x 5. 424 pp. Hutchinson. 68.<br />
TABLE D'HOTE. By W. PETT RIDGE, 74 x 5. 248 pp.<br />
Hodder & Stoughton. 68. n.<br />
SAM'S KID, By F. E. MILLS YOUNG. 71 X 5. 372 pp.<br />
Lane. 68.<br />
Ivor. A Tale of Lundy Island and the West Country. By<br />
GEORGE HANSBY RUSSELL, 77 x 5. 333 pp. Murray. 68.<br />
THAT WICKED Miss KEANE. By F. C. PHILIPS. 78 x 5.<br />
247 pp. F. V. White. 28. n.<br />
THE JOB SECRETARY. By MRS. WILFRID WARD.<br />
78 x 51. 275 pp. Longmans. 48.6d. n.<br />
REBECCA OF SUNNYBROOK FARM. By KATE DOUGLAS<br />
WIGGIN. 71 x 5. 347 pp. (Cheap edition.) Gay &<br />
Hancock. ls. n.<br />
MULTITUDE AND SOLITUDE. By JOHN MASEFIELD,<br />
64 x 47. 286 pp. Nelson. 7d.<br />
MEN-AT-ARMS. Stories and Sketches. 236 pp. THE<br />
SHADOW OF THE QUARTER DECK. 308 pp. By MAJOR<br />
W. P. DRURY. New and cheaper editions. 71 X 5.<br />
Chapman & Hall. 28. n.<br />
RAFFLES, THE AMATEUR CRACKSMAN, By E. W. HORNUNG.<br />
73 X 44. 368 pp. Nash. 28. n.<br />
BOOKS PUBLISHED BY MEMBERS.<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
BIBLIOGRAPHY.<br />
JAGGARD (WILLIAM SHAKESPEARE BIBLIOGRAPHY : A<br />
dictionary of every known issue of the writings of our<br />
national poet and of recorded opinion thereon in the<br />
English language. With historical introduction. Thirty<br />
facsimilies, portraits and other illustrations. 9 X 7].<br />
Pp. xxiv.-732 and Plates. Shakespeare Press, 4, Sheep<br />
Street, Stratford-on-Avon. Limited issue. 638. n. Or<br />
hand-woven watermarked paper, with hand-made<br />
Japanese vellum Plates, 843. n.<br />
BIOGRAPHY.<br />
RUSKIN : A STUDY IN PERSONALITY. By A. C. BENSON.<br />
84 x 51. 264 pp. Smith, Elder. 78. 6d. n.<br />
<br />
<br />
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<br />
216<br />
THE AUTHOR.<br />
18. n.<br />
HISTORY<br />
WILLIAM THOMSON LORD KELVIN : His WAY OF TEACH.<br />
YEAR-BOOKS OF THE REIGN OF KING EDWARD THE ING NATURAL PHILOSOPHY. By D. Wilson. 8} X 51.<br />
THIRD. Year 20. (Second Part.) Edited by LUKE 56 pp. Glasgow : J. Smith. 28. n.<br />
OWEN PIKE. 104 x 67. 627 pp. Wyman & Sons, for<br />
SPORT.<br />
His Majesty's Stationery Office.<br />
ANGLING FOR GAME FISH. By JOHN BICKERDYKE.<br />
JUVENILE.<br />
Third edition, revised and enlarged. 75 X 41. 148 pp.<br />
ACROSS THE FOREST AND FAR AWAY. By GERALDINE Upcott Gill. 18. 6d. n.<br />
E. HODGSON, D.Litt. 74 X 5. 109 pp. Clifton : Baker.<br />
THEOLOGY.<br />
London : Simpkin, Marshall. 18. 6d. n.<br />
CHURCH SONGS. Collected by the Rev. S. BARING-<br />
LITERARY.<br />
GOULD. Music by the Rev. H. F. SHEPPARD and<br />
ENGLISH DIALECTS FROM THE EIGATEENTH CENTURY R. VAUGHAN-WILLIAMS, Mus.Doc. 71 X 5. 52 pp.<br />
TO THE PRESENT DAY. By the Rev. WALTER W. S.P.C.K. 6d.<br />
SKEAT, Litt.D. 67 x 43. 139 pp. (Cambridge Manuals<br />
TRAVEL<br />
of Science and Literature.) Cambridge University Press.<br />
A HOLIDAY IN SOUTH AFRICA. By the Right Hon<br />
Sir H. MORTIMER DURAND, G.C.M.G. 7} x 5. 275 pp..<br />
FROM A COLLEGE WINDOW. By A. C. BENSON. Seven-<br />
Blackwood. 68. n.<br />
teenth impression, fourth edition. 7 X 5. 326 pp. THE LAND OF TECK AND ITS NEIGHBOURHOOD. By S.<br />
Smith, Elder. 38. 60, n.<br />
BARING-GOULD. 9 X 6.' 327 pp. Lane. 108. 6d. n.<br />
THOMAS HARDY. Penseur et Artiste. Par F. A. AR<br />
A ROMAN PILGRIMAGE. By R. E. ROBERTS. 9 x 5.<br />
HEDGCOCK. Docteur ès lettres, Paris. 508 pp. Hachette.<br />
274 pp. Methuen. 108. 6d. n.<br />
78. 6d.<br />
LETTERS FROM INDIA. By LADY WILSON (A. C. Macleod).<br />
DAVID GARRICK. Et ses amis françis. Par F. A.<br />
9 x 51. 417 pp. Blackwood. 78.6d. n.<br />
HEDGCOCK. Docteur ès lettres, Paris. 283 pp. Hachette.<br />
ARGENTINE PLAINS AND ANDINE GLACIERS. Life on an<br />
58.<br />
Estancia and an Expedition into the Andes. By W.<br />
MISCELLANEOUS.<br />
LARDEN. 9 x 54 320 pp. Fisher, Unwin, 148, n.<br />
NOTES ON SUGAR IN INDIA. By FREDERICK NOEL<br />
PATON. Third edition. 63 pp. Calcutta : Superinten-<br />
dent Government Printing, India. 28. 6d.<br />
NATURAL HISTORY.<br />
BRITISH FERN. A Pocket - Help” for the Collector. BOOKS PUBLISHED IN AMERICA BY<br />
By F. G. HEATH. 6.2 x 31. 130 pp. Sir Isaac<br />
MEMBERS.<br />
Pitman. 28. n.<br />
PHILOSOPHY.<br />
IDEALISM, POSSIBLE AND IMPOSSIBLE. By ALICE<br />
AGRICULTURE.<br />
BLUNDELL. 71 X 5. 100 pp. Ouseley. 28. 6d. n.<br />
RURAL DENMARK AND ITS LESSONS. With 28 Illustra-<br />
POETRY.<br />
tions. By H. RIDER HAGGARD. 335 pp. New York:<br />
ENGLESIDE TOWERS. A Poem. By J. W. HOLLINGS-<br />
Longmans. $2.25 n.<br />
WORTH. Gloucester : Minchin & Gibbs.<br />
BIOGRAPHY.<br />
MIRAGE. Poems. By DOUGLAS AINSLIE. 161 pp. Elkin<br />
THE LIGHTER SIDE OF MY OFFICIAL LIFE. By Sir<br />
Mathews. 35. 6d, net.<br />
ROBERT ANDERSON, K.C.B. 295 pp. New York:<br />
THE GARDENS OF GRAY'S INN, AND OTHER VERSES. By<br />
Doran. $3.50.<br />
C. TEARLE. 75 X 5. 82 pp. Longmans. 58. n.<br />
DRAMATIC.<br />
GREEK LOVE SONGS AND EPIGRAMS. From the<br />
Anthology. Translated by J. A. POTT. 6 X 4. 153 pp. THE LITTLE PRINCESS : A Play for Children and grown-up<br />
Kegan Paul. 18. 60, n.<br />
Children in Three Acts. By FRANCIS HODGSON BURNETT.<br />
CONFESSIONAL AND OTHER POEMs. By WILFRID 68 pp. New York : French. 25 cents.<br />
THURLEY. With a Preface by MAURICE HEWLETT.<br />
64 pp. Elkin Mathews. ls. n.<br />
EDUCATION.<br />
THE HOUSE OF LIFE. Interpretations of the Symbolical A DICTIONARY OF ORIENTAL QUOTATIONS (ARABIC AND<br />
Pictures of the late G. F. Watts. By HARROLD PERSIAN). By CLAUD FIELD. 351 pp. New York:<br />
JOHNSON. With twenty-two Reproductions. 73 X 44. Macmillan. $2 n.<br />
62 pp. Dent. 28. 6d. n.<br />
THE UNFOLDING OF PERSONALITY AS THE CHIEF AIM IN<br />
EDUCATION ; Some Chapters in Educational Psychology.<br />
POLITICAL.<br />
By H. THISELTON MARK. 224 pp. Chicago : l'niversity<br />
THE IMPERIAL CONFERENCE. A History and Study. By of Chicago. $1 n.<br />
RICHARD JEBB. Two volumes. 97 X 6. 401 + 104 pp.<br />
FICTION.<br />
Longmans. 258. n.<br />
JOHN MERRIDEW: A Romance. By F. ARTHUR. 334 pp.<br />
** REPRINTS.<br />
New York : Longmans. $1.35 n.<br />
UNDER THE JUNIPER TREE : COMFORT FOR THE CLOUDY ACCOUNT RENDERED. By E. F. BENSON. 367 pp. New<br />
Day. Selected, Edited and Arranged by J. M. COLLIS.<br />
York. Doubleday Page. $1.20.<br />
· 63 X 41. 128 pp. Stock. 38.<br />
THE BROWN MASK. By PERCY J. BREBNER.<br />
DEMETER'S DAUGHTER. By EDEN PHILLPOTTS. 384 pp.<br />
SCIENCE.<br />
New York : Lane. $1.35 n.<br />
AN INTRODUCTION TO EXPERIMENTAL PSYCHOLOGY. By CYNTHIA-OF-THE-MINUTES : A Romance. By L. J. VANCE.<br />
C. S. MYERS, M.D., Sc. D. 63 X 44. 156 pp. (Cam- 319 pp. New York. $1.25 n.<br />
• bridge Manuals of Science and Literature.) Cambridge THE GOLDEN SILENCE. By C. N. and A. M. WILLIAMSON.<br />
University Press. 1s. n.<br />
524 pp. New York, $1.10.<br />
<br />
<br />
## p. 217 (#295) ############################################<br />
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THE AUTHOR.<br />
217<br />
THEOLOGY.<br />
CHRIST IN THE CHURCH. By FATHER ROBERT HUGH<br />
BENSON. 225 pp. St. Louis : Herder. $1 n.<br />
TRAVEL.<br />
THE DANUBE WITH PEN AND PENCIL. With 99 Illustra<br />
tions (part in colour). By CAPTAIN B. GRANVILLE<br />
BAKER. 191 pp. New York : Macmillan Co. $1 n.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES<br />
PANTHER'S CUB. By AGNES and EGERTON CASTLE.<br />
411 pp. New York : Doubleday, Page. $1.20.<br />
THE WOODLANDERS. By THOMAS HARDY. 364 pp.<br />
New York : Harper. $1.25 n.<br />
BRAZENHEAD THE GREAT. By MAURICE HEWLETT.<br />
316 pp. New York : Scribner. $1.50.<br />
THE KING OVER THE WATER; OR, THE MARRIAGE OF<br />
MR. MELANCHOLY. By JUSTIN HUNTLY MCCARTHY,<br />
377 pp. New York: Harper. $1.50.<br />
JANE OGLANDER. By M. A. BELLOC LOWNDES. 314 pp.<br />
New York : Scribner. $1.25 n.<br />
THE WELL BELOVED : A Sketch of Temperament. By<br />
THOMAS HARDY. 338 pp. Harper. $1.25 n.<br />
THE MOVING FINGER. “By E. PHILLIPS OPPENHEIM.<br />
301 pp. Boston: Little, Brown. $1.25 n.<br />
MORE THAN KIN. By PATRICIA WENTWORTH. 363 pp.<br />
New York : Putnams. $1.35 n.<br />
MRS. THOMPSON. By W. B. MAXWELL. 367 pp. New<br />
York : Appleton. $1.30 n.<br />
A WILDERNESS OF MONKEYS. By F. NIVEN. 283 pp.<br />
New York : Lane. $1.50.<br />
THE QUIETNESS OF Dick. By R. E. VERNEDE. 290 pp.<br />
New York : Holt. $1.25 n.<br />
LITERARY.'<br />
SUCCESS IN LITERATURE. By W. MORRIS Colles and<br />
HENRY CRESSWELL. 360 pp. New York: Duffield.<br />
$1.25 n.<br />
MISCELLANEOUS.<br />
MAN: KING OP MIND, BODY AND CIRCUNSTANCE. By<br />
JAMES ALLEX. 70 pp. New York: T. Y. Crowell & Co.<br />
THE HUMAN MACHINE. By ARNOLD BENNETT. 123 pp.<br />
New York: Doran. 75 cents. n.<br />
THE WORLD OF DREAMS. By H. HAVELOCK ELLIS.<br />
288 pp. Boston: Houghton, Mifflin. $2 n.<br />
CLIFF CASTLES AND CAVE DWELLINGS OF EUROPE. By<br />
the Rev. S. BARING-GOULD. 319 pp. Philadelphia:<br />
Lippincott. $3.50.<br />
THE COMMONSENSE COLLECTOR: A Handbook of Hints<br />
on the Collection and the Housing of Antique Furniture.<br />
With 52 Illustrations. By F. FRANKFORT MOORE.<br />
220 pp. New York : Doran. $3.<br />
ORIENTAL CAIRO. By Douglas SLADEN. 417 pp.<br />
Philadelphia : Lippincott. $5 n.<br />
POETRY<br />
THE COLLECTED POEMS OF MAURICE BARING. By the<br />
Hon. MAURICE BARING. 236 pp. New York : Lane.<br />
$1.30 n.<br />
THE GREAT COMPANIONS. By H. BRYAN BINNs. 96 pp.<br />
New York: Huebsch. $1 n.<br />
SCIENCE.<br />
EXTINCT MONSTERS AND CREATURES OF OTHER DAYS:<br />
A Popular Account of some of the Larger Forms of<br />
Ancient Animal Life. By the Rev. H. N. HUTCHINSON.<br />
New York : Appleton. $3 n.<br />
SCIENCE FROM AN EASY CHAIR. By Sir EDWIN RAY<br />
LANKESTER. With 84 illustrations. 423 pp. New<br />
York : Macmillan. $1.75 n.<br />
SOCIOLOGY.<br />
THE HISTORY OF TRADE UNIONISM. By SIDNEY and<br />
BEATRICE WEBB. 558 pp. New York : Longmans. $2.<br />
SPORT.<br />
MODERN DEVELOPMENT OF THE DRY FLY; THE NEW<br />
DRY FLY PATTERNS ; THE MANIPULATION OF DRESS-<br />
ING THEM; AND PRACTICAL EXPERIENCES OF THEIR<br />
USE. By FREDERIC HALFORD. 220 pp. New York :<br />
Dutton. $5 n. Edition de luxe, large paper. With<br />
nine plates of sample fies, i levant. $50 n.<br />
TR. C. R. L. FLETCHER and Mr. Rudyard<br />
| Kipling have written a new school History<br />
of England from the earliest times to 1911.<br />
The prose narrative is the work of Mr. Fletcher,<br />
and Mr. Kipling contributes twenty-three new<br />
poems, specially written to illustrate periods and<br />
episodes in the tale. There are as many pictures<br />
as poems-in colour and in black and white-<br />
drawn by Mr. Henry Ford, and seven maps. The<br />
volume will be publishea<br />
volume will be published at a very low price by<br />
the Oxford University Press in a few weeks'<br />
time.<br />
Messi's. Wyman & Sons have published the<br />
second part of the “ Year:book of the Reign of<br />
King Edward the Third,” under the editorship of<br />
Mr. Luke Owen Pike. The present volume com-<br />
pletes the Rolls series of year-books extending<br />
(in fifteen volumes) from the eleventh to the<br />
twentieth year of the reign, inclusive. In the<br />
introduction the editor has traced the beginning<br />
and development of the year-books (law reports<br />
in French) and has shown their relation to legal<br />
and social history in connection with other sources<br />
of information.<br />
Miss Grace Toplis's little plays for amateurs in<br />
schools and villages, after flourishing for twenty-<br />
five years, are still in large demand. They are being<br />
reissued by the publishers, Messrs. George Gill &<br />
Sons, with the addition of a pageant specially<br />
written for the coronation, and entitled “The Five<br />
Georges.”<br />
In his new novel “ John Verney,” Mr. Vachell<br />
gives a vivid picture of the political life of to-day,<br />
introducing the characters of “ The Hill," and<br />
the same theme, the eternal struggle between good<br />
and evil. Mr. John Murray is the publisher.<br />
Mr. J. W. Hollingsworth has published, through<br />
Messrs. Minchin & Gibbs, a poem entitled “Engle-<br />
side Towers."<br />
"A Holiday in South Africa" is the title of a<br />
book by Sir H. Mortimer Durand which Messrs.<br />
William Blackwoods & Sons have published. The<br />
<br />
<br />
## p. 218 (#296) ############################################<br />
<br />
218<br />
THE AUTHOR.<br />
book consists of a series of sketches written during Mr. W. L, Courtney who has hitherto been<br />
a visit to South Africa in order to see the country known to the public as editor, dramatist, poet and<br />
and to watch on the spot the progress of the critic, is shortly to appear as novelist, Messrs.<br />
movement which has now resulted in the birth of Chapman and Hall announcing the publication of<br />
a new nation.<br />
his first novel, which will be called, “In Search of<br />
The Shakespeare Press, Stratford-on-Avon, have Egeria.”<br />
just published a Shakespeare bibliography com-<br />
DRAMATIC.<br />
piled by Mr. William Jaggard. It contains on its<br />
730 pages 6,000 distinct entries and references, Mr. Matheson Lang is including in his repertoire<br />
including many hitherto unrecorded editions, with for his tour in South Africa Mr. Rafael Sabatini's<br />
thousands of illustrated notes and extracts. It play “Bardelys the Magnificent," founded on his.<br />
gives minute details and available locations of novel of that name. Messrs. Stanley Paul & Co.<br />
every known issue of Shakespeare's writings, also are the publishers of the novel, of which a 1s.<br />
of every article of Shakespearean comment, and edition has been issued.<br />
all engraved Shakespeare portraits, with market The Bernard Shaw Season at the Criterion<br />
values of the rarer entries. There are also Theatre commenced on May 18, when Mr. Shaw's<br />
many references to incidental Shakespearean “Arms and the Man” was re-staged. In the cast<br />
actors, actresses, biographers, celebrations, editors, were Mr. Arnold Daly, Miss Margaret Halstain,<br />
festivals, manuscripts, monuments, translators, Mr. Dawson Millward, and Miss Geraldine Oliffe.<br />
societies, theatres, &c. The volume is illustrated Other of Mr. Shaw's plays will be produced during<br />
with thirty facsimiles, portraits, and other appro- the season.<br />
priate plates.<br />
Messrs. Doubleday, Page & Co., Garden City,<br />
New York, have acquired the option upon the<br />
American rights of a story upon which Mrs.<br />
PARIS NOTES.<br />
Janet Macdonald Clark, author of “ The Bourgeois<br />
Queen of Paris,” is now engaged.<br />
Morgan Douglas (the pseudonym of a Scottish<br />
TE have just returned from the terrible<br />
lady resident in France) has written a booklet<br />
tragedy of the Paris - Madrid aviation<br />
entitled “ A Corner of the Garden of France." It<br />
fête. For miles and miles all available<br />
deals descriptively and historically with the district<br />
places were thronged with people. Trees, telegraph<br />
lying around Loches, in the province of Touraine,<br />
posts, the roofs of houses and even the tops of the<br />
an historic town in an historical region. The<br />
trains were all utilized by the gay, good-humoured<br />
publishers are Reymond, Loches & Périeat, Tours.<br />
The price is 1f. 50c. (1s.)<br />
spectators. The first aviators mounted with admir-<br />
able dexterity and ease, and as each one passed over<br />
Mr. Werner Laurie is just publishing “ The<br />
Mystic Bride: a Study of the Life of Catherine of<br />
our heads was greeted with ringing cheers. The<br />
people for miles round on every vantage ground<br />
Siena," by Mrs. Aubrey Richardson. The book,<br />
awaited in vain the fifth one. With marvellous speed<br />
which will be fully illustrated, will be issued at<br />
128. 6d. net.<br />
the news of the terrible accident travelled miles in<br />
We understand that a new magazine called<br />
every direction, and with one accord the thousands<br />
and thousands of people who only a few minutes before<br />
The Blackpool Magazine is appearing early this<br />
had been cheering so lustily, now turned away from<br />
month under the editorship of Mr. Allen Clarke.<br />
the theatre of the accident and wended their way<br />
The new magazine will be published from Black-<br />
homewards. The printed supplements of two or<br />
pool, will appear monthly, and will be sold at 4d.<br />
Messrs. J. M. Dent & Sons are to publish<br />
three newspapers were already in the streets before<br />
numbers of the spectators in the far distance had<br />
during the month a volume of poems, with the<br />
title “The Crucibles of Time."<br />
comprehended.<br />
Messrs. Mills and Boon are publishing “The<br />
Story of the British Navy,” by E. Keble Chatterton. One of the French literary prizes has been<br />
In this book, the author of "Sailing Ships," aims awarded to Constantin Photiadès for his book<br />
at telling in non-technical language the story of on “George Meredith.” It is an admirable study<br />
the British Navy from the earliest times up to the of the English author and of his work.<br />
present day. In addition to the historical detail M. Photiadès visited George Meredith at Box<br />
contained in the book, there are stories of sea fights Hill, and the latter confided to him his horror of<br />
and adventures. Messrs. Mills and Boon are the modern “ interviewer." He explained that the<br />
the publishers of the book which contains fifty fashion of interviewing everyone had come to<br />
illustrations in colour.<br />
England from America, and that English reporters<br />
T<br />
<br />
<br />
## p. 219 (#297) ############################################<br />
<br />
THE AUTHOR.<br />
219<br />
PHIM<br />
now copied the brutally rough way of acting of the been founded in Paris, it is curious to meet with<br />
Cow-boys and rough-riders of the press, and fondly this history of “a cosmopolitan actor " who was<br />
believed that their sans-gêne was force.<br />
such an excellent Shakespearean, and to find that<br />
As to journalists, Meredith declared that a young he was of French, Irish, and English extraction.<br />
author only had two courses open to him. He The writer of this volume gives us many interest-<br />
must either shun journalists or be diplomatic with ing details with regard to the acting and talent of<br />
them, and he confessed that critics gave him goose Garrick. He tells us of his first journey to France,<br />
flesh. Only the bare outline of Meredith's life is of the friends he made in the French capital, of his<br />
given, his biographer endeavouring, as far as life there and of his correspondence later on with<br />
possible, to explain by atavism the characteristic many celebrities of his time. There are also many<br />
traits of the great novelist.<br />
curious details with regard to various translations<br />
The story of his literary career, the long up-hill and adaptations of Shakespeare.<br />
struggle, the time when his masterpieces were un- In the midst of these most prosaic days, the<br />
read and when Mudie's Library refused “The French seem to have taken refuge in poetry,<br />
Ordeal of Richard Feverel,” all this seems Matinées devoted to poetry are greatly in vogue.<br />
incredible now.<br />
The review La Poétique, under the direction of<br />
M. Photiadès goes on to analyse some of his M. Saint Chamarand and M. E. Gignoux, gives<br />
works, criticising, explaining, and comparing in a one of these matinées every week. Quite recently<br />
way that shows how thoroughly he has studied his we have heard Jean Rameau, Jules Bois, the<br />
subject. He devotes a whole chapter to George Duchesse de Rohan, and many other poets recite<br />
Meredith's imagination, another one to his art, their verses there. The Duchessé de Rohan gave<br />
another to his doctrine, and by way of conclusion two very delightful matinées of this kind last<br />
he tells us that the author of “The Egoist " will month. Hélène Vacaresco recited some of her<br />
ever be read by posterity, and that by posterity he latest poems and Mme. Jules Martin two or three<br />
means the “imperishable élite of every generation of Mme. Alphonse Daudet's later ones.<br />
from one century to another.”<br />
Mme. Judith Gauthier has just published an<br />
“ Silhouettes Historiques,” by the Marquis de exquisite volume of “ Poésies,” and M. Jean<br />
Ségur, is a volume containing a series of short Monval has published a volume of Sonnets et<br />
historical sketches, many of which have been Poems, by his uncle the late François Coppée.<br />
treated more fully by authors who are introduced The volume is entitled “ Sonnets inédits et Poèmes<br />
to us by the compiler of this volume. Among the inédits,” and is a collection of poems composed<br />
titles of the various chapters are: “Le Louis XIII. between 1862 and 1908.<br />
de l'Histoire," "Le Médecin du Grand Condé," The Revue hebdomadaire is continuing its excel-<br />
- Les Etapes d'une faniille sous l'ancienne lent series of articles on the different ministries..<br />
monarchie," “ Les Filles de Louis XV.," “ La It has given the “ Ministères de la Marine," " de<br />
vraie Madame du Barry," " Les Déboires d'un la Guerre," “ de l'Intérieur," “ Postes et<br />
héros,” etc.<br />
Telegraphes," and the “Ministère du Travail."<br />
“Souvenirs sur Guy de Maupassant," by Maurice Donnay has now completed his ten<br />
François, his valet de chambre (1883–1893). lectures on Molière, which have all been reproduced<br />
In these days, when the literary works of an in this review, and Emile Ollivier writes on “ La<br />
author do not suffice for the public, it is advisable Légende de la Preparation Militaire.”<br />
for literary men to provide themselves with At the Comedie-Française “ Le Goût du Vice”<br />
domestics capable of writing their biographies. by Henri Lavedan is being given with great success.<br />
Guy de Maupassant seems to have been singularly It is a play in four acts, and is greatly belied<br />
fortunate in having a devoted attendant, who in by its title. It is an extremely literary and<br />
his spare time took notes, some of which are dis- brilliant piece with all the sparkling witty dialogue<br />
tinctly interesting. On the other hand, very to which this author has accustomed us.<br />
many of the details contained in this volume seem The Odéon has been extremely active this winter,<br />
decidedly superfluous. One is inclined to overlook and among its new pieces we have had “ Mère"<br />
all faults though, when we are told that the by Dick May, “ Maud " by M. Lecomte de Nouy,<br />
compiler of this little work wished to show that “Rivoli ” by M. René Fauchois, “La Lumière"<br />
his master, besides being a man of great talent, by M. Georges Duhamel, and “ Vers l'Amour " by<br />
was kind-hearted, straightforward, and loyal in the M. Léon Gandillot.<br />
highest degree.<br />
At the Renaissance “ La Gamine," a four-act<br />
“David Garrick et ses amis Français,” by F. A. play by M. M. Pierre Veber and Henry de Goisse<br />
Hedgcock, is an extremely interesting book and is has been drawing a crowded house.<br />
published at a most opportune moment. Just as The new society formed with a view to putting<br />
The Shakespearean or, rather, “ Ariel League ” has on more wholesome plays, “Les Amis de l'Art<br />
<br />
<br />
## p. 220 (#298) ############################################<br />
<br />
· 220<br />
THE AUTHOR.<br />
Dramatique,” gave a gala performance at the Maurice Hewlett George Gilbert Murray<br />
Renaissance Theatre. The profits were for the Henry James<br />
Henry Newbolt<br />
Society for the Preservation of the French William Paton Ker Edward Henry Pember<br />
Churches, founded by Maurice Barrès, and two Andrew Lang<br />
Sir Arthur Wing Pinero<br />
plays were given, “ Au Clocher ” by M. de Nion, Sir Alfred Comyn George Walter Prothero<br />
and the other “Le Médecin de Campagne" by Lyall<br />
Walter Raleigh<br />
Henry Bordeaux.<br />
John William Mackail Arthur Woolgar Verrall<br />
Madame Le Roy Liberge is taking a very Thomas Sturge Moore George Wyndham<br />
active part in this movement, and a series of Viscount Morley<br />
William Butler Yeats.<br />
excellent critical lectures is being given on the new<br />
plays by M. Jacques Duval.<br />
PROVINCE AND DUTIES.<br />
M. Camille de Sainte-Croix gave a gala perform- 1. To take all possible measures to maintain the<br />
ance of the “Merchant de Venice" by his Com purity of the English language, and to hold up a<br />
pagnie française du Théâtre Shakespeare, for the standard of good taste in style<br />
benefit of the Ligue Ariel and the monument<br />
2. To encourage fellowship and co-operation<br />
Beethoven. It is estimated that over 3,000 among those who are disinterestedly striving for the<br />
persons were present. The Recteur of the Sor-<br />
perfection of English literature.<br />
bonne gave orders for posters to be put up in the 3. By discourses of reception, and obituary<br />
Lycées or public colleges. The Duchess Rohan addresses to mark the current of literary history in<br />
and the Dowager Duchess d’Uzes each had<br />
this country.<br />
boxes, and the English Ambassador and Bishop<br />
4. To recommend the names of persons fitted to<br />
Ormsby, the Chaplain of the Embassy, bave joined receive the medals of the society.<br />
this Shakespeare Committee. Marc Helys, author 5. To make awards of merit to particular literary<br />
of “ Le Jardin Fermé,” has consented to be Italian<br />
works.<br />
correspondent for the Ariel League. Mlle. Cruz,<br />
RULES.<br />
daughter of the late Minister of Guatemala, and<br />
poetess herself, correspondent for South America. 1. Elections to the Academic Committee shall be<br />
An outdoor Shakespearean play is to be organised made as follows :—Whenever it is resolved by the<br />
for the month of JÅ«ne, and it is probable that the Academic Committee to elect new members, every<br />
French Shakespeare Company will then start on candidate must be proposed and seconded in writing,<br />
a tournée, and may possibly begin its foreign tour and every such nomination must be read at a meeting.<br />
in England.<br />
Any member of the Academic Committee can pro-<br />
ALYS HALLARD. pose or second a candidate. The election thereafter<br />
shall be by ballot through the post, and only one<br />
“ George Meredith " (Armand Colin).<br />
candidate shall be elected at one time. A candi-<br />
" Silhouettes Historiques" (Calmann Lévy).<br />
date to be elected must have an absolute majority<br />
“ David Garrick et ses amis Français " (Hachette).<br />
of votes.<br />
“ Poésies" (Fasquelle).<br />
2. Not fewer than four ordinary meetings of the<br />
Academic Committee shall be held each year.<br />
Special meetings shall also be held at such times<br />
ACADEMIC COMMITTEE.<br />
as may be recommended by the General Purposes<br />
Committee, or at the recommendation of any three<br />
members of the Academic Committee.<br />
W E have much pleasure in publishing herewith<br />
3. A General Purposes Committee of not more<br />
the list of members of the Academic Com-<br />
than five members shall be appointed annually to<br />
mittee so far elected, their province and<br />
watch for occasions on which the Academic Com-<br />
duties, and the rules that will guide their actions.<br />
mittee may fitly take action, and to report to the<br />
We regret, however, to announce that since<br />
Academic Committee on any matters which they<br />
this list was issued two vacancies have been caused<br />
think it desirable to bring before them. Any two<br />
on account of the deaths of Sir Alfred Comyn<br />
members of the General Purposes Committee may<br />
Lyall and Mr. Edward Henry Pember, K.C.<br />
call upon the secretary to summon a meeting of<br />
Alfred Austin<br />
William John Courthope that committee. The quorum to be always three.<br />
Arthur Christopher Austin Dobson<br />
4. A sub-committee of three members shall be<br />
Benson<br />
Edward Dowden<br />
appointed annually to select from time to time one<br />
Laurence Binyon James George Frazer or more persons who, or one of whom, shall be<br />
Andrew Cecil Bradley Edmund Gosse<br />
appointed by the Academic Committee to deliver<br />
Robert Bridges<br />
Richard Burdon Haldane any such address as is contemplated in section 3 of<br />
Joseph Conrad<br />
Thomas Hardy<br />
province and duties.<br />
;non<br />
<br />
<br />
## p. 221 (#299) ############################################<br />
<br />
THE AUTHOR.<br />
221<br />
5. Any three members of the Academic Com- a money order for $1.00 (entry fee) should be sent<br />
mittee may propose the name of a book or an author in the same parcel. The law provides that post-<br />
as deserving public recognition by the committee, masters to whom are delivered the copies to be<br />
and any such proposal shall thereon be referred for deposited shall, if requested, give à receipt<br />
report to a sub-committee appointed for that therefore, and shall mail them to their destination<br />
purpose.<br />
without cost to the copyright claimant.<br />
Address : The Register of Copyrights, Copyright<br />
Office, Library of Congress, Washington, D.C.<br />
DRAMATIC RIGHTS IN AMERICA.<br />
THORVALD SOLBERG,<br />
Register of Copyrights.<br />
DRAMAS.<br />
Instructions for securing copyright registration<br />
MAGAZINE CONTENTS.<br />
under the new law.<br />
M HE new copyright law effective on July 1,<br />
BLACKWOODS.<br />
1909, abrogates the former statutory A Mystery of Dickens. By Andrew Lang.<br />
provisions permitting the filing of the title About Marie-Claire. By Alfred Noyes.<br />
of a dramatic composition in advance of the<br />
BOOKMAN.<br />
deposit of complete copies of the composition.<br />
Under the new law copyright registration may<br />
The English Bible. By Thomas Seccombe.<br />
be secured for a dramatic or dramatico musical com-<br />
CONTEMPORARY.<br />
position by taking the following steps :-<br />
Antonio Fogazzaro. By Dora M. Jones.<br />
If the work is reproduced in copies for sale, two Programme Music By George Lilley.<br />
copies of the best edition published should be<br />
The Gardens of Chaucer and Shakespeare.<br />
sent to the Copyright Office, Washington, D.C.,<br />
CORNHILL.<br />
promptly after publication, together with an<br />
Charlotte Brönte's Street in Brussels. By Gerald<br />
application for registration and a money order for Cumberland.<br />
$1.00, payable to the Register of Copyrights, to The Scottish Homes and Haunts of Robert Louis<br />
cover the statutory fee for registration. Use for<br />
Stephenson. By Flora Masson.<br />
Charles Dickens. By G. W. E. Russell.<br />
this purpose application form “ D. 1."<br />
Sir Walter Scott. By Andrew Lang.<br />
If the work is afterwards reproduced in copies<br />
for sale, two copies of the best edition published<br />
FORTNIGHTLY.<br />
should also be deposited promptly after publication<br />
The Englishman in 18th Century French Comedy. By<br />
with application for second registration and fee,<br />
Prof. Gerothwohl and J. W. Eaton.<br />
Post Impressionism. By Roger Fry,<br />
as above. Application forms are supplied by this<br />
Thackeray as Historian. By Walter Sichel.<br />
office upon request.<br />
The Copyright Bill, 1911. By G. Herbert Thring.<br />
The Religious and Moral Status of Wagner. By Vernon<br />
NOTICE OF COPYRIGHT.<br />
NATIONAL.<br />
The law requires a notice of copyright to be The Portraits of Carmontelle. By Austin Dobson.<br />
affixed to each copy published or offered for sale in Why I Ceased to be a Dramatic Critic. By X.<br />
the United States. The notice required by law<br />
NINETEENTH CENTURY.<br />
In the case of pubnsned aramas consists. either. Our Debt to Latin. Poetry as Distinguished from<br />
the word “ Copyright” or the abbreviation Greek. II. Poetry of the Silver Age. By R. T. Tyrrell.<br />
* Copr. ” accompanied by the name of the copy-<br />
right proprietor and the year in which the copy-<br />
right was secured by publication. The notice<br />
SCALE FOR ADVERTISEMENTS.<br />
should appear upon the title page or the page<br />
immediately following.<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
FEES.<br />
Front Page<br />
Other Pages ... ... ... ... ... ... ... ... 3 0<br />
Hall of a Page ...<br />
The statute fixes the fee for registration of a<br />
... ... 1 100<br />
Quarter of a Page<br />
... O 15 0<br />
dramatic composition at $1.00, which includes the Eighth of a Page<br />
Single Column Advertisements<br />
per inch 0 0 0<br />
cost of a certificate of registration under seal.<br />
Reduction of 20 per cent, made for a Series of Six and of 25 per cent. for<br />
Such certificate “ shall be admitted in any court as<br />
Twelve Insertions.<br />
prima facie evidence of the facts stated therein."<br />
All letters respecting Advertisements should be addressed to J. F.<br />
The work, the application for registration and BELMONT & Co., 29, Paternoster Square, London, E.C.<br />
Lee.<br />
£4 0 0<br />
...<br />
...<br />
...<br />
...<br />
**<br />
***<br />
0<br />
7<br />
6<br />
<br />
<br />
## p. 222 (#300) ############################################<br />
<br />
222<br />
THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
.T VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub.<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu.<br />
lars of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
act should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
7. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; 80<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 18. per<br />
annum, or £10 108. for life membership.<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,"<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor!<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. “It is above all things necessary to know<br />
what the proposed rovalt:<br />
what the proposed royalty means to both sides. It is now<br />
possible for ‘an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author,<br />
IV. A Commission Agreement.<br />
The main points are :-<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author.<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :-<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
(2.) The inspection of those account books which belong<br />
to the author." We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
N EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :-<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
LTERE are a few standing rules to be observed in an<br />
u agreement. There are four methods of dealing<br />
with literary property :-<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
<br />
## p. 223 (#301) ############################################<br />
<br />
THE AUTHOR.<br />
223<br />
DRAMATIC AUTHORS AND AGENTS.<br />
(6.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (6.) apply<br />
also in this case..<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed.<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con.<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
D RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author's fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
.very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
T ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan.<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with-performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
STAMPING MUSIC.<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH.<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
M EMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
REMITTANCES.<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
D forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s.6d. per act.<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 224 (#302) ############################################<br />
<br />
224<br />
THE AUTHOR.<br />
GENERAL NOTES.<br />
COLONIAL MARKETS.<br />
ADHESION OF PORTUGAL TO THE BERNE<br />
The marketing of Colonial rights presents some<br />
CONVENTION.<br />
extraordinary facts. Although the Colonial markets<br />
By a note, dated March 29, 1911, M. Alb. are vast and growing larger every day, yet the<br />
d'Olviera, Envoy Extraordinary, and Minister<br />
sale of English books in all the Colonies put<br />
Plenipotentiary of Portugal, in Switzerland, has<br />
together seldom reaches the amount of copies<br />
notified to the Swiss Federal Council that the<br />
sold in England. We pointed out how dangerous<br />
Provisional Government of the Portuguese Republic<br />
the American book-agent had proved himself as<br />
has decided. for Portugal and its Colonies. to a competitor in Canada and Australia ; how he<br />
adhere to the Convention of Berne (as revised on<br />
usurped those markets and, naturally, pushed<br />
November 13, 1908) for the protection of literary<br />
the sales of the works of American authors. It<br />
and artistic property.<br />
seemed that there were two main causes for this<br />
This adhesion takes effect from March 29,<br />
result : (1) the lack of enterprise on the part of<br />
1911.<br />
Colonial publishers who wait till the books are<br />
Regarding contributions to the expenses of the brought to them. rather than make an effort to<br />
International Bureau, Portugal has requested to be<br />
secure the Colonial rights for themselves direct<br />
ranked in the third of the classes arranged by<br />
from the authors; and (2) the lack of enterprise<br />
article 23 of the Convention.<br />
on the part of English publishers who, snatching<br />
every right they possibly can from the author,<br />
neglect to market those rights to their full extent,<br />
caring little for the author's reputation and pros-<br />
COMMERCIAL EDITORS..<br />
perity so long as they recover the money they have<br />
put into the book, and turn over a fair percentage.<br />
THERE is a growing tendency on the part of the<br />
The publishers naturally repudiate these state-<br />
editors of the more commercial popular magazines ments and try to explain the labour and expense to<br />
to cheapen unduly the work of authors who are which they are willing to go to obtain a sale in the<br />
not very widely known. Several instructive experi- Colonies.<br />
ences have come under our notice and these, for<br />
II.<br />
the benefit of the craft, ought to obtain publicity.<br />
An author of some reputation, but moderate vogue, To show how true our conjectures have been<br />
received an offer of five guineas for a story of quite we relate with some chagrin the experience of a<br />
four thousand words. In a rash moment, thinking member of the society who has taken much interest<br />
to secure a “connection," he agreed. For the next in these issues. Last year he published a book and<br />
MS. of the same length he was offered three gave the American publishers the Canadian rights :<br />
guineas, and was told that the editor was not very the latter copyrighted the book in Canada, and.<br />
keen on the story, but if it were given at the sum although the sales in that country were, he con.<br />
named, an effort would be made to use it. Not fesses, not enormous, the American publishers sold<br />
being pressed for money, and regretting his initial more than the English publishers could sell in<br />
folly, the author refused, and said that in future he England. He did not transfer the Australian rights<br />
would not sell for less than two guineas per to the American publishers, although they asked<br />
thousand, a rate which he has no difficulty in for them. An Australian jobber sent to the<br />
obtaining elsewhere. From that day he has been American publishers an order for seven hundred<br />
unable to find acceptance with the editor in ques- and fifty copies which, of course, the American pub-<br />
tion. Soon after, he obtained satisfactory terms lishers could not fulfil. The author concludes with<br />
for the same MS. from an old-established journal. some bitterness, “ The net result to me is that by<br />
In another instance an author who offered a story upholding the English publisher I have lost not<br />
of more than four thousand words received to only some small return in loyalties, but, what is<br />
proposal of five guineas for all rights ! He was more important to me, the excellent opening in<br />
fortunately, a man of long practical experience in Australia along with the chante of becoming better<br />
editorial work, and knew the ways of the “ market” known to the public there."<br />
thoroughly, but his pen-name doubtless led the The conclusion seems clear that it may become<br />
editor to imagine that he was dealing with a worth the while of English tuthors not only to<br />
beginner and a greenhorn. These sidelights are secure the American copyright, but to transfer to<br />
not without their own humour, but they also the American publisher the Ausralian, New Zealand<br />
indicate a tendency which writers are bound to and Canadian rights. Thoughwe should desire all<br />
combat.<br />
authors to be patriotic, yet it is asking too much of<br />
<br />
<br />
## p. 225 (#303) ############################################<br />
<br />
THE AUTHOR.<br />
225<br />
them at the same time to give up a great portion of<br />
their livelihood. Our correspondent informs us that<br />
the American house, besides giving over the English<br />
rights in the illustrations done by a well-known and<br />
expensive man, also offered, as a gift, the complete<br />
stereos of the same.<br />
Cannot the English publisher really put some<br />
more energy into the Colonial markets, which,<br />
though they may not pay him in 1911 or 1912,<br />
may, if fairly dealt with, bring him in his largest<br />
circulation in 1920.<br />
Unless by that time the United States are<br />
dealing with all the Colonial markets.<br />
their utmost to lay hold of these rights. What<br />
happens is this. The English dealers obtain all<br />
the serial rights from authors, and then sell to the<br />
American magazines at a price which pays the<br />
English dealers exceedingly well, underselling the<br />
American market. The dealer thereby gets the<br />
profit instead of the author. It does happen also,<br />
sometimes, that an American editor who might<br />
not be entirely patriotic, adopts a similar plan,<br />
coming direct to the author and offering him a<br />
sụm for the American use of his work which,<br />
though considerably in advance of the price the<br />
author might receive in England, does not reach<br />
as high as the price which would have been made for<br />
American work. This ought to be for the benefit<br />
of the English author, but while agents will not<br />
take the trouble to secure the American market,<br />
and while, in a good many cases, they consent to<br />
transfer these minor rights to the publisher, the<br />
English author is not likely to benefit. Again, we<br />
should impress upon the English author that if he<br />
works off his rights through an agent he must see<br />
that the agent is well up to his business ; he<br />
must see that the agent makes every effort to<br />
obtain the American serial and book rights before<br />
he places the English serial and book rights, and<br />
he must see also that the agent does not slack off<br />
in his efforts merely because it is harder, and there-<br />
fore, brings him in less profit, to place work in<br />
America than in England.<br />
AGENTS AS PRINCIPALS.<br />
We should like once more to put before our<br />
members the danger arising from placing work in<br />
the hands of those agents who undertake from time<br />
to time to deal with work as principals. “Once<br />
an agent always an agent” ; this should be the<br />
established motto.<br />
We do not discuss the question of an agent<br />
who, knowing he can sell an author's work for<br />
a certain price, turns to the author and says “I<br />
will purchase this from you," and then, having<br />
purchased, pockets the difference ; but we take the<br />
case merely of an author's agent who has a con-<br />
siderable amount of copyright property of his own<br />
which he has purchased. He will, naturally, desire<br />
to sell this in preference to the work of the authors<br />
for whom he acts, and again, may be tempted,<br />
when he receives anything particularly good from<br />
an author, to offer to purchase it-not because he<br />
has any special market at the moment where he<br />
knows he can sell at a profit, but because he knows<br />
from his experience that a handsome profit can be<br />
obtained. If, therefore, an agent offers to pur-<br />
chase outright from an author, the author should<br />
at once look upon that offer with considerable<br />
suspicion, and should be exceedingly careful of the<br />
agent's dealing in the future. If these instances<br />
had not arisen from time to time there would be<br />
no need to warn authors against them, but, un-<br />
fortunately, both dramatic and literary agents yield<br />
to the temptation to act as principals, and it is only<br />
right that authors should be made aware of the<br />
dangers.<br />
CHEAP BOOKS AND THE U. S. A. MARKETS.<br />
An American correspondent writes as follows :<br />
" The book market seems to be taking a trend towards<br />
the state of affairs in England. The output of mediocre<br />
novels is appalling, and they seem to sell at an average<br />
about 1,500 copies. A number of English books are put on<br />
the market by English publishers who get all rights'<br />
from an ignorant client, and these are offered to publishers<br />
here at as little as $100 ; which the English publisher<br />
of course pockets as found money. A book, fairly<br />
well adapted to American tastes and well published, can<br />
count on a sale of from 6,000 to 8,000 copies at $1.50, and<br />
if the cheap edition publishers take it up they will pay<br />
the usual five cent. royalty on from 15,000 to 20,000<br />
copies. The worst seller of the so-called six best sellers<br />
should, I am told, bring in royalties on about 40,000 copies<br />
of the $1.50 edition. And the best anything between<br />
100,000 and 200,000,<br />
“The cheap edition is threatening to scuttle the higher-<br />
priced one, especially as even the best seller cannot count<br />
on a year of life.<br />
It is quite clear that this issuing of cheap<br />
editions will, if it is not very carefully watched,<br />
kill the author's remuneration and fill book shops<br />
to such an extent that no space-room will be left.<br />
The Committee of the Society of Authors have<br />
warned authors over and over again against<br />
yielding to the temptation of the cheap edition<br />
SERIAL RIGHTS IN THE UNITED STATES<br />
OF AMERICA.<br />
The fact that English authors get much less for<br />
their serial work in England than in America is<br />
becoming known not only to the astute English<br />
dealers but also to American jobbers. Perhaps it<br />
is for this reason that we see the publishers trying<br />
<br />
<br />
## p. 226 (#304) ############################################<br />
<br />
226<br />
THE AUTHOR.<br />
until their book has had three years' run at least;<br />
indeed, the longer an author can stop the issuing<br />
of his book in a cheap edition the more likely<br />
he will be to bave a success for his subsequent<br />
novels, but we are afraid too often £25 in the<br />
hand is better than £100 in the bush. The French<br />
market has already suffered tremendously from this<br />
cheapening process. In consequence, only those<br />
authors who can be certain of an enormous circu-<br />
lation can get put forward at the publishers'<br />
expense, and as an enormous circulation very often<br />
does not go to the producer of the highest literature<br />
till after thirty or forty years' struggle, and some-<br />
times not even then, the cheap edition really<br />
means, to a certain extent, depriving the public<br />
of the highest and best in the world of letters.<br />
MEMORIAL PORTRAIT OF THE LATE MRS. FLOWER<br />
OF AVONBANK, STRATFORD-UPON-Avon.<br />
On Monday, April 24, St. George's Day falling<br />
this year on a Sunday, there was handed over to<br />
the Governors of the Shakespeare Memorial at<br />
Stratford-upon-Avon a portrait of the late Mrs.<br />
Flower of Avonbank.<br />
To Mr. and Mrs. Charles Edward Flower, in<br />
chief, we owe the Memorial Theatre in Shakes-<br />
peare's native town, to which they devoted money<br />
and care without stint. But no portrait of her<br />
existed. With the help of photographs, Mr. Frank<br />
Carter painted, from memory, the present picture<br />
which is considered an excellent likeness, besides<br />
its qualities as a work of art. It was subscribed<br />
for and presented exclusively by those who had<br />
known Mrs. Flower personally. On the same<br />
occasion of the meeting of the Governors, a mural<br />
plaque, of beaten copper, designed to commemorate<br />
Mr. and Mrs. Flower, was deposited in the library,<br />
eventually to be fixed on the house of Avonbank,<br />
which, under the terms of her will, became the<br />
property of the Governors. The beaten work of<br />
this introduces the Monstera Delisciosa, a large<br />
variety of the arum lily, which Mrs. Flower, who<br />
took a great interest in botany, reared in the palm-<br />
house at Avonbank.<br />
Mrs. Flower was the third daughter of Peter<br />
Martineau, of Highbury, London.<br />
administrator, and scholar, there was the rare and<br />
enviable combination of man of action and man of<br />
letters.<br />
Probably only a few members of our Society know<br />
what large part Sir Alfred Lyall played in events<br />
now historical. Born in 1835, he went to Eton at<br />
the age of ten, and in 1853 to Haileybury. He<br />
entered the Bengal Civil Service in 1856, the vear<br />
before the terrible time of the Mutiny, in the sup-<br />
pression of which, as a member of the Volunteer<br />
Cavalry, he did heroic work. From that event<br />
onwards his record was one of continuous service<br />
in India in advancing grades until he reached the<br />
position of Lieutenant-Governor of the North-<br />
Western Provinces. His retirement from that<br />
post was followed by fourteen years' service as a<br />
member of the India Council. The results of his<br />
administrative labours are writ large in the history<br />
of British rule in India, but the details of these lie<br />
outside the scope of this notice, the space allotted<br />
to which is all too scanty to permit reference to<br />
Lyall other than as philosophic essayist and poet.<br />
No man knew the East au fond as he did ; and<br />
never has there been a more accurate, incisive, and<br />
sympathetic interpreter of Hindu beliefs and<br />
customs. His bent of mind, reflective, tinged with<br />
melancholy and steeped in uncertainty, found con-<br />
genial employment in study of the great religions<br />
which remain living forces ; factors so potent in<br />
life that a man is known by his creed more than by<br />
his race. There is not one India, but many Indias,<br />
and the various religions are their boundaries. In<br />
the districts where some of Lyall's work was centred<br />
it was his fortune not only to measure the power<br />
of ancient faiths, but to observe the continuous<br />
merging of the lower in the higher. No hard and<br />
fast dogmas, as in Western creeds, insulates the old<br />
from the new; there goes on to-day the absorption<br />
of barbaric conceptions by Brahmanism, the passage<br />
of dead, sometimes of living, men into the ranks<br />
of the deified, of ghosts into godlings to whom the<br />
venerable faith accords a place in its pantheon, to<br />
the retention of its own vitality. All this, and<br />
much cognate thereto, Lyall has described in the<br />
brilliant essays composing the two volumes of<br />
“Asiatic Studies,” every page revealing what<br />
appeal the magic and mystery of the East made to<br />
his contemplative, speculative temperament, where-<br />
from came hesitation to theorize, the more so as<br />
the complexity and tangle of the materials were<br />
borne in upon him. Lord Ripon is reported to<br />
have said, and the remark has independent con-<br />
firmation, that Sir Alfred Lyall saw so many sides<br />
to a question that he rarely reached a definite<br />
conclusion. “I am a born sceptic,” he would<br />
often say, and the more coherent any theory<br />
seemed, the more did he suspect its soundness, as,<br />
for example, is seen in his criticism of Dr. Frazer's<br />
SIR ALFRED COMYN LYALL<br />
(1835–1911).<br />
M HE brevity of the obituary notice of Sir Alfred<br />
| Lyall, which was due to the occurrence of<br />
- his death on the eve of the issue of the May<br />
number of this journal, is warrant for supplemental<br />
tribute to the memory of one in whom, as soldier,<br />
<br />
<br />
## p. 227 (#305) ############################################<br />
<br />
THE AUTHOR.<br />
227<br />
“Golden Bough." If Montaigne's “Que sçais je ?" biography that he issues must be sold for & guinea<br />
is a fitting motto to “ Asiatic Studies," still more or two, or that a particular novel is a six-shilling<br />
applicable is it to the “ Verses Written in India," book or a three-and-sixpenny one. He would be<br />
some of the poems in which it was Sir Leslie regarded as an innovator of a somewhat startling<br />
Stephen's delight to recite again and again ; poems kind if he declined thus to dictate to sellers and<br />
whose keynote is struck in the opening stanza of buyers the price at which they must deal during the<br />
“Meditations of a Hindu Prince" :<br />
months or years of a book's effective existence, or<br />
during a period arbitrarily fixed to cover that exist-<br />
All the world over, I wonder, in lands that I never have<br />
trod,<br />
ence, but there is nothing but the prudence of a<br />
Are the people eternally seeking for the signs and steps of business man to prevent him from doing so. The<br />
a God?<br />
question whether books should be freed from the<br />
Westward across the ocean, and Northward across the<br />
contract as to sale price which is now customary<br />
snow,<br />
Do they all stand gazing as ever, and what do the wisest<br />
has been raised before, and it was discussed again<br />
know?<br />
at great length recently under the auspices of the<br />
London Branch of the National Book Trade<br />
A history of India worthy of the subject has yet<br />
Provident Society in a debate opened by Mr. J. H.<br />
to be written, but, once and for all, Lyall has told<br />
Crocket, who invited those present to affirm by<br />
the story of British conquest of, and, on the whole,<br />
their votes “ that in the opinion of this meeting<br />
beneficent rule over, the vast peninsula in his<br />
it is desirable in the interests of the trade that the<br />
“ Rise and Expansion of the British Dominion in<br />
published price of books should be abolished.” He<br />
India” in a manner showing that he had in him<br />
met with considerable opposition from other<br />
the makings of a great historian. His “Life of<br />
speakers led by Mr. J. G. Wilson, and secured only<br />
Lord Dufferin," published in 1905, had brief refer-<br />
six votes at the close of the discussion, but the full<br />
ence in the notice spoken-of above ; on a smaller<br />
report of the arguments used, which will be found<br />
scale, full of discriminating assessment of the poet's<br />
in the Publishers' Circular of March 18, does not<br />
place in Victorian literature, is his monograph on inform us how many were present to supply the<br />
Tennyson. At the time of his death, which came majority against him. It will be observed that the<br />
with the suddenness that he desired, he was pre-<br />
terins of the motion considered only the interests -<br />
paring an article on Edward FitzGerald, in whose<br />
of the trade (presumably the retail booksellers,<br />
paraphrase of Omar Khayyam's “Rubáiyát” are<br />
exclusively or principally), but the question is one<br />
thoughts and speculations to which his own were<br />
obviously affecting authors and of interest to them<br />
responsive. Nothing is said here, because nothing<br />
even though it cannot be deemed at present to<br />
can be communicated, concerning the ineffable<br />
be within the range of “practical politics.”<br />
charm of Sir Alfred Lyall in the intimacy of social<br />
Reference has been made above to the fall report of<br />
intercourse. His conversation and expression were<br />
debate, and only the principal arguments are<br />
marked by an old-world courtesy which is becoming<br />
quoted or summarised below. Mr. Crocket was<br />
a lost art; these, and all the kindred graces that<br />
aware that his proposal would meet with opposition<br />
attract a man to his fellows, were his full possession,<br />
from many in the trade, but he submitted that<br />
and their memory will abide till the end with those<br />
perhaps they might not have considered the matter<br />
who had the privilege and profit of his friendship.<br />
or might merely have conservative prejudices. It<br />
EDWARD CLODD. may here be said that so far as can be gathered<br />
from him and others the procedure which would<br />
follow upon abolition of the published price must<br />
almost necessarily be this. A publisher would issue<br />
BOOKS AND THEIR PUBLISHED PRICE.<br />
lists of new books with no prices named in them.<br />
With these lists he would furnish to the book-<br />
sellers particulars of the terms upon which he<br />
W E are so accustomed to every new book would supply them with the various books<br />
V being issued to the public at a retail specified. The booksellers would then show the<br />
price fixed by the publisher, and to this books stocked by them to their customers, or send<br />
being usually at the present time a “ net " price, them lists, and in doing so, or in reply to inquiries<br />
that we are apt to forget that the“ published price” addressed by them, would quote prices. The book-<br />
is a matter of custom only, and is dependent for its sellers in short would fix prices to suit their own<br />
existence upon a tacit convention between the trade as individuals.<br />
publisher and the retailer who are used to it, and In Mr. Crocket's opinion :-<br />
who rightly or wrongly are quite willing that it 1. The fixed price had not prevented under-<br />
should continue. There is no law that compels a selling.<br />
publisher to state that the book of travel or 2 . The fixed price had been directly responsible<br />
<br />
<br />
## p. 228 (#306) ############################################<br />
<br />
228<br />
THE AUTHOR.<br />
rs.<br />
for underselling, because it was looked upon as bound books, Bibles, remainders, out of print<br />
official, and the bookseller who advertised his offer books, etc.<br />
to give 25 per cent. off all books (not being net 2. The omission of prices from advertisements<br />
books) could not do so if there was no published and reviews would mean much extra trouble and<br />
price as a standard. In that case he would have expense to the booksellers.<br />
to advertise his own price for each book.<br />
3. The recipient of a prospectus giving no price<br />
.3. The net system had been expected to would have to find it out from his bookseller or from<br />
revolutionise the trade, giving every one a living the publisher.<br />
profit ; it had failed to do so. Terms in the 4. There is already a tendency among some<br />
trade had never been better, but were not such as publishers to deal direct with members of the<br />
to induce investment in it. In the opinion of the public. Without a published price this mode of<br />
speaker no increase of profit was to be obtained doing business would be increased and could not<br />
from the publishers,-it must come from the public. be checked.<br />
4. If the publisher, instead of the bookseller, 5. The booksellers would have to consult one<br />
raised prices he would expect to share in the profit another in fixing prices, or make mistakes and lose<br />
obtained. It would be better for the retailer to be<br />
in the position to raise prices for himself, and so 6. Persons ordering from reviews which stated<br />
to secure all the benefit accruing from them. no price would cancel orders if they found the price<br />
5. The bookseller in raising prices all round 5 higher than they expected.<br />
to 71 per cent. would not diminish his sales, but 7. Large stores would send out their price lists<br />
would increase his profits, and would only be doing and capture the trade from smaller dealers.<br />
in the case of other books what he already does in 8. Heavy cutting of prices in particular would<br />
the case of bound books, Bibles and remainders. take place in dealing with libraries.<br />
6. In the speaker's opinion the differences 9. Those who remembered the trade before the<br />
would be so slight between individual shops that net system stopped universal discounts would say<br />
customers would not complain of them, nor would whether they wished to return to still worse com pe-<br />
they find it worth wbile to go from one bookseller to tition and cutting of prices.<br />
another and compare the prices asked by them.<br />
10. Under fixed prices and the net system book-<br />
7. The public would not follow the advertiser, sellers had a guaranteed 25 per cent. or thereabouts,<br />
but would go to the man who best advised his which might be lost without fixed prices.<br />
customers what to select.<br />
From the above authors will gather the nature<br />
8. The drapers and their underselling need not of the points put forward and will form their own<br />
be feared,—they dealt in fancy books for the good opinions. They will, however, observe that with<br />
of their other trade, and were not booksellers the increase of prices which it was suggested might<br />
at all.<br />
accrue to some retailers in the case of some books.<br />
9. Without official prices the advertising of the authors of those books would not be concerned.<br />
second-hand books by libraries at a reduction would To them, at any rate, the extra price would bring<br />
lose its effect, as comparison with the price of the no increased profit. The bookseller might, if he<br />
books when new would be impossible.<br />
could obtain such an increased price for a particular<br />
10. There would be no prices advertised or volume, make more out of it than he would by selling<br />
mentioned in reviews. These, if high, were apt to two copies at the lower price which a publisher<br />
scare the customer in the case of more or less would have fixed. This, however, would not con-<br />
expensive books, whereas if he went to a bookseller sole the author (or, indeed, the publisher), if, in<br />
to inquire as to the price of a book which, he fact, one copy were to be sold instead of two. It<br />
thought, might suit him, an expert salesman might was suggested that slightly increased prices (if<br />
effect a sale.<br />
increased by the booksellers) would not diminish<br />
11. Books would be given more often as presents sales. It would be strange if this were to be the<br />
if there were no means by which the recipient case. “Slightly” is a vague word, but the<br />
could know the price of the gift.<br />
tendency of raised prices must be to diminish<br />
12. Fixed price gave the public too much for output.<br />
their money. A higher price in some instances It is submitted for the consideration of the<br />
could be got if the public did not know that an author that under the present system he knows<br />
official price existed and what it was in the case of fairly exactly, before he enters upon his contract,<br />
a particular book.<br />
what the gross receipts of himself, the publisher and<br />
The principal points made in opposition to the the bookseller should be over every edition that<br />
above by Mr. J. G. Wilson and others were :- his agreement contemplates, if that edition is sold<br />
1. The question must be considered from the out. That knowledge is the basis of his estimate<br />
point of view of the new book only, leaving out of the respective net profits of the three parties<br />
<br />
<br />
## p. 229 (#307) ############################################<br />
<br />
THE AUTHOR,<br />
229<br />
named upon wbich he founds his opinion as to the such articles as collars and books lies in the fact<br />
fairness of the terms offered to him. Without a that the buying public always know who the whole-<br />
sale price he will know apparently nothing beyond sale dealer is from whom they can obtain any<br />
the terms offered to him. He will not know more particular book, and so have no difficulty in getting<br />
as to the price obtained per volume by the publisher at him if he will sell to them. In the case of collars<br />
than the latter may be willing to tell him, and a man does not know who the manufacturer is who<br />
neither he nor the publisher will know what the book- makes the particular article that he fancies at his<br />
sellers are getting, or how much they may be hosier's, and probably he could not get supplied<br />
diminishing (or perhaps, in some cases, increasing) by him if he did know. The question of the public<br />
the sale of the book by putting its price up or down. taking to dealing direct with the publishers is<br />
It is also submitted that the tendency towards perhaps the most serious point for the consideration<br />
general competition introduced will be to put book- of booksellers. It is not easy for them to prevent it,<br />
prices down rather than up, and that as the cost of and quite easy for publishers to sell to the public<br />
a book, other than that portion of it which goes to at oply a trifle over their usual trade terms, if there<br />
the author, is more or less fixed by the terms of is no published price to bind them. Very pertinent<br />
printing and other trades which do not yield observations were made by a gentleman who opposed<br />
readily to pressure, the reduction will eventually be Mr. Crocket's motion, and who held that the net<br />
made in an unfair proportion at the expense of the system was in the best interests of bookseller, pub-<br />
author. . The amount of confusion likely to result lisher and author, when he said that Mr. Wilson<br />
from the system suggested is a matter of specula- “had made a serious charge, but a just one, that<br />
tion, but it is not likely to be inconsiderable. certain publishers were showing a tendency to<br />
The booksellers who discussed the matter seem supply retail orders direct. The explanation of<br />
to have been impressed with the danger of big this was that the bookseller, in spite of the growing<br />
firms getting a monoply in the book trade ; it is demand for books as the result of education, had<br />
submitted that their fear is not unreasonable. The not himself moved sufficiently rapidly with the<br />
big firm taking books in large quantities would, in times. The machinery for the distribution of<br />
the absence of fixed prices, probably command books was in an antiquated condition, and publishers<br />
preferential terms even more advantageous than it were constantly in receipt of letters regarding the<br />
is now in their power to do, and their opportunities difficulty experienced in getting information from<br />
for underselling and cutting out smaller competitors booksellers.” With this quotation the subject may<br />
wou ld be increased. In the discussion, the outline be left for the criticism of any authors who may<br />
of which has been given above, a speaker who think that the abolition of the published price of<br />
advocated open prices snggested the analogy of the their books is a question sufficiently within the<br />
trade in collars. His point was that the booksellers range of practical politics to be worth serious con-<br />
were in business to make money just like other sideration. If an individual not greatly affected<br />
tradesmen, and that, to take another trade as an as an author, but with some experience of trade,<br />
example, the inan who sold collars did not put may hazard any further opinion than those sug-<br />
a published price on them. He suggested a private gested above, the abolition in question would<br />
mark to show cost price being put upon a book. If introduce a state of uncertainty into the book<br />
this means anything, it recommends that a book- trade amounting to something like chaos, which<br />
seller should keep himself reminded by a private would be highly irritating and perplexing to the<br />
mark of what a book has cost him, and, subject to public, and financially detrimental to author,<br />
this precaution against selling below cost price, publisher and bookseller in possibly equal propor-<br />
should speculate upon the appearance or known tions. However, the last two may be trusted to<br />
peculiarities of his customer in asking him the best take care of themselves.<br />
price likely to be obtainable. It is submitted that<br />
E. A. A.<br />
such a method of doing business would not please<br />
book buyers, and that if it became general it would<br />
rapidly diminish the sale of books very consider-<br />
PRIZE COMPETITIONS.<br />
ably. A good many arguments were put forward<br />
against the collar analogy, including the forcible<br />
one, that two copies of a book are the same book VTOST people"commencing author"—to adopt<br />
although exposed for sale by two different book M the beautiful expression coined by some-<br />
sellers, but that two collars by the same manufac-<br />
body, presumably on the other side of the<br />
turer are not to be recognised by a customer as Atlantic Ocean—are likely to be attracted by the<br />
identical when he sees them at two different bait of a reasonable prize for the best novel, short<br />
hosiers. It was not, however, pointed out, as it story, poem or essay. And even writers who have<br />
might have been, that the main difference between already commenced are capable of being attracted<br />
<br />
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## p. 230 (#308) ############################################<br />
<br />
230<br />
THE AUTHOR.<br />
also if the prize offered appears of sufficient size. to be paid for his work. But here arises the<br />
It is not, therefore, unnatural that there should be necessity for the first warning. His eyes should be<br />
a growing tendency on the part of publishers and open to what he is giving in return for the prize.<br />
editors to organise prize competitions, with their It is to be feared, however, that they are often shut,<br />
terms often set forth in glowing language, for the though if only the competitor took care to read the<br />
benefit of the constantly increasing army of literary conditions he could not remain in ignorance. From<br />
and would-be literary persons. Nor can it be a few announcements of competitions now before me<br />
doubted that these competitions have an appreci. I take the following statements :-<br />
able influence in inducing the timid to submit their “This contract (which the successful author<br />
work to publishers and editors. Normally an must sign] will provide for the assignment of<br />
untried (and many a well-tried) author is appre- the entire copyright and all rights to the<br />
hensive of sending his productions to people whom publishers.<br />
he has no reason to believe at all anxious to look at “ The winners of the competition agree to cede<br />
them ; but when he sees a cordial invitation to to the publishers all rights of every kind in the<br />
submit them, coupled with a specious guarantee of prize-winning novels."<br />
perfectly impartial consideration, how can he resist “Payments will be made to successful writers as<br />
the temptation ?<br />
soon as the decision is made, when the copyright of<br />
This being so, it is, perhaps, not out of place in the stories becomes the property of” the proprietors<br />
the columns of The Author to put forward a few of a certain magazine.<br />
warnings to competitors in the many prize competi One well-known weekly paper which invites the<br />
tions which one sees advertised in newspapers, sending in of short stories, for the acceptance of<br />
magazines, and elsewhere. It is very human to which ten guineas a story is promised, does not<br />
enter upon a contest of any kind without due con- state in its offer that the entire rights are required;<br />
sideration of the real conditions ; and authors are but at the bottom of the page on which the story<br />
very human beings, in spite of the firm belief to appears there is printed in small type “ Exclusive<br />
the contrary in the unliterary world.<br />
copyright of — ” (the name of the paper).<br />
It may be reasonably assumed that a writer As far as I know, it is the invariable rule for the<br />
taking part in a prize competition expects certain · publisher or editor to demand, either beforehand or<br />
things as a matter of course. Reduced to their afterwards, the entire copyright in the prize-winning<br />
lowest terms, these seem to be: (1) a fair field; work. Readers of The Author, perhaps, do not need<br />
(2) a fair price ; (3) an assurance of publication to be reminded of the words which appear every<br />
if he wins a prize ; and (4) the return of his MS. month under the heading of “How to Use the<br />
if it is unsuccessful.<br />
Society," viz., “ Selling it [literary property out-<br />
Unless the first two conditions appear to exist, right. This is sometimes satisfactory, if a proper<br />
it is extremely improbable that he will compete. price can be obtained. But the transaction should<br />
All organisers of these prize competitions are eager be managed by a competent agent, or with the<br />
to disclaim favouritism in the selection of the prize advice of the secretary of the society.” Unless,<br />
winner. They pay for their big names at other therefore, an author is himself fully capable of<br />
times, giving the big prices which are necessary to judging the value of the entire copyright of a<br />
secure them, with “no damned nonsense about successful novel in a big competition, he should<br />
merit” actually shown by the work apart from the similarly seek the advice of those whose business it<br />
author. But in the competitions it is the merit of is to know about such matters. Need it be said<br />
the work which alone is to count. It is usual to that $100 would not be adequate remuneration for<br />
announce the names of the adjudicator or adjudica- all the rights in a prize-winning novel, unless the<br />
tors at the same time as the competition itself. If, entries were very bad indeed ?<br />
therefore, anyone has an objection to the judges, he With regard to short stories, poems, etc., it would<br />
has an easy remedy, to abstain from submitting his be still more of a mistake to assign the copyright<br />
work to them. Where novels are concerned, more in return for a few guineas and thus preclude oneself<br />
over, it is the regular practice to ask that they from ever republishing them in book form without<br />
should be sent in under a pseudonym, or at least to the purchaser's consent. Moreover, cases have<br />
state that the author's real name will be concealed occurred, both in the past and recently, of the<br />
from the adjudicators after the preliminary weeding republication of juvenile work without the author's<br />
out has been done by readers employed by the consent, indeed much against his wishes, owing to<br />
publisher for that purpose.<br />
the assignment of copyright in such work at the<br />
Again, as to the fair price, the reward to the date of selling. When a writer disposes of all<br />
winners being announced beforehand, a competitor rights in any of his productions, however short, he<br />
knows what he will get if he is selected as best must be prepared for the possibility of annoyance<br />
second best, etc. He has formal notice of the price in the future. It ought not to be necessary to<br />
<br />
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## p. 231 (#309) ############################################<br />
<br />
THE AUTHOR.<br />
231<br />
insist on this, were it not that the lure of a prize of<br />
some guineas is apt to blind the eyes of the<br />
ordinary author to the existence of a small-type<br />
claim of exclusive copyright.<br />
Still less necessary ought it to be to say that any<br />
provision for the use of non-successful stories, etc.,<br />
at “ordinary” rates in the magazine offering prizes<br />
for competition should at once warn off writers,<br />
unless they know these rates and are prepared to<br />
accept them. They should discover, moreover,<br />
whether they are expected to sell the copyright or<br />
merely the serial rights in return for the ordinary<br />
rates of the magazine.<br />
The provisions as to the date of payment to<br />
successful competitors should be carefully con-<br />
sidered. The question of “payment on acceptance"<br />
has been discussed recently in The Author. It can<br />
easily be seen that prompt payment is even more<br />
desirable in the case of a prize-story, which is pre-<br />
sumably a more readily saleable thing than the<br />
ordinary story, seeing that it has won first place in<br />
an open field. Authors should, therefore, always<br />
look for a statement as to when the award will be<br />
made and the money paid. A reasonable latitude<br />
must, of course, be allowed, as the possibility of a very<br />
big entry makes it impracticable to name an abso-<br />
lately certain date for the award. But such<br />
indefinite wording “as soon as possible after the<br />
close of the competition” or the like is scarcely<br />
satisfactory.<br />
The third of the essential points is closely<br />
connected with the subject just mentioned. If<br />
one does not want to wait indefinitely for the<br />
publication of the award and the payment of the<br />
prizes, neither does one wish to be without an<br />
assurance that the prize-winning work will be<br />
published at all. Yet in one of the novel competition<br />
announcements before me there is nothing whatever<br />
about the publication of the successful novels.<br />
The authors cede all rights of every kind in them<br />
—and there, as far as the prospectus explains it,<br />
i he matter might end. Similarly, in connection<br />
with a short story competition of which I have the<br />
advertisement in front of me, there is no statement<br />
that the stories will ever be published. By impli-<br />
cation, it is true, it appears that they will come out<br />
in the magazine purchasing them ; just as it may<br />
be inferred that the novels awarded prizes will one<br />
day see the light. But there is no agreement to<br />
publish them by any particular date or at all.<br />
They might be bought and then buried, destroyed,<br />
or used in some way by some one other than the<br />
author. With regard to a novel, it ought at least to<br />
be specified that it will be published within a certain<br />
period from the date of the award. Nor should<br />
a short story, poem, or article, to which a prize is<br />
awarded, be hung up indefinitely.<br />
In the case of some authors it may be imperative<br />
to know that a novel shall not be published<br />
before a certain date, for it is not uncommon to<br />
include in a contract the provision that no other<br />
book by the writer shall be published within a<br />
fixed time.<br />
The return of unsuccessful MSS. seems generally<br />
to be arranged for, provided that stamps are sent<br />
in for the re-postage. But the weekly paper<br />
mentioned above, as only letting the competitors<br />
know indirectly that the full copyright is expected<br />
of the stories submitted for its prize page, also<br />
omits to say anything about the return of<br />
unsuccessful stories. It looks rather, from an<br />
announcement on the same page about a poetical<br />
competition that “ rejected poems will not be<br />
returned to the sender,” as if the short-story<br />
writers must expect the same fate for their MSS<br />
This, however, is surely not a matter on which<br />
competitors should be left in doubt. There are<br />
unwary authors who keep no copy, or at least none<br />
but a rough copy of work which they send out. It<br />
would certainly be unsafe for such people to enter<br />
for a prize competition where the editor does not<br />
promise to endeavour to send back all MSS.<br />
accompanied by stamps—and to send them back in<br />
a reasonable space of time, it may be added. Can<br />
it be looked upon as a legitimate way of adding<br />
to a paper's sales to induce the unhappy writer to<br />
go on purchasing copies indefinitely in the hope<br />
of seeing his work in print ?<br />
In short, before entering any of the numerous<br />
prize competitions, authors cannot be too careful<br />
in reading the conditions and seeing that they<br />
offer sufficient guarantees concerning the treatment<br />
which will be accorded to their work in event of<br />
either success or failure.<br />
STYLE IN LITERATURE.<br />
By ARCHIBALD DUNN.<br />
III.<br />
[The broad requirements of style were discussed in the<br />
April issue, and, last month, the laws of Economy, Climax<br />
and Variety—the laws of form-were dealt with in detail].<br />
D ASSING from Form in literature, as I have<br />
( ventured to call it, we have now to speak<br />
of Grace, which is the stage beyond. Up<br />
to a point-that point to which the rules of Form<br />
have carried us—our author's task, we may believe,<br />
is well and truly done ; it is concise, direct of pur-<br />
pose, clearly expressed and satisfying in its sequence,<br />
and so varied withal as not to be monotonous.<br />
Excellent, then ! in all those particulars within our<br />
knowledge ; and deserving of a very comforting pat<br />
<br />
<br />
## p. 232 (#310) ############################################<br />
<br />
232<br />
THE AUTHOR.<br />
upon the back. But, presently, the vision changes; limitations of Form. As you see, it will suffice for<br />
and, as we read through the masterpiece again, the the presentation of the simple and familiar thought,<br />
fancy takes us and what is worse-grows upon us but, alone and unaided, it will not suffice for the<br />
that something is lacking. As we see it now, this more abstract and less familiar. And why?<br />
is the chrysalis and not the butterfly. At first, the Because the first, which is readily intelligible and<br />
precise character of the shortcoming is hardly dependent for its elucidation only on an orderly<br />
apparent ; we recognise the imperfect thing, and presentation, can be grasped by an appeal to the<br />
that is all. But, later, the mist clears; and then, reason ; whilst the latter, which is not exact by<br />
with a calmer judgment and in a brighter light, we nature and which can not, therefore, be explained<br />
perceive, though dimly perhaps, that the trouble in precise terms, can as a consequence only be<br />
lies in a certain coldness and unreality, that, though grasped by an appeal to the imagination; and the<br />
the rough-hewn figure is there, we have still to method of arousing the imagination is a thing<br />
attain to the finished and inspiring model. For, distinctive and apart.<br />
the early processes in any art are but the In illustration, consider the description of a<br />
labourer's work, it remains for the artist himself stormy night from two different points of view.<br />
to come and give the final touch—of life and According to the scientist, perhaps : “Rate of wind<br />
beauty. Thus, the aesthetic in literature ; but, forty miles an hour, rainfall two inches, tempera-<br />
at the same time, the practical—they are marching ture 30 degs. Fahr.," and the ordinary humdrum<br />
hand in hand. Which is all, of course, rather to individual would not think much of the stormy<br />
make assertions without proof and, so, to steer a night; there would be, no doubt, a certain interest<br />
passage for those troubled waters where we may in the meteorological details, but no actual vision of<br />
well heave-to and take our bearings.<br />
the scene. Described, however, by the novelist in<br />
This process in a literary question is, as we know, something after this fashion : “It was a wild night<br />
seldom a difficult matter. In other affairs than with the rain splasbing against the verandab, and<br />
literature there may be, and there generally are, the wind moaning dismally through the nooks and<br />
many considerations ; here there is only one-the crannies of the house," then it would be a very<br />
reader's requirement that the thought shall be remarkably humdrum individual indeed who failed<br />
adequately and attractively expressed, and so con- to become fully alive to the wet and boisterous con-<br />
veyed that it shall be easy of comprehension. That ditions outside. Or, again, speak of autumn, and<br />
was the author's business from the outset ; he had for a while the word is wanting in significance-it<br />
these conditions to satisfy, come what might. Are takes an effort to fulfil its meaning ; but speak of<br />
they, then, satisfied by an observance of the rules autumn as Collins does in his beautiful Ode to<br />
of Form, or is there need to supplement those rules Evening-"While sallow autumn fills thy lap with<br />
in any way? Is there, in fact, any solid reason for leaves ”—and the true sense of it all stands forward<br />
the aesthetic in Style in literature ? * That is the in an instant, the yellow fogs, the thinning foliage,<br />
problem, and such are the principles on which the the dying of the year.<br />
solution depends.<br />
A sure inference, then, I think, that the imagina-<br />
Well, this is how it stands. If you have a simple tion is aroused most certainly and most readily by<br />
business proposition to lay before me, and if you means of pictures which suggest and explain the<br />
will so state it that the principles of Form are main thought. On the evidence of our examples,<br />
observed throughout, I shall follow your meaning; the vague is made distinct by the introduction of<br />
but if, on the other hand, you would speak of some some familiar idea-autumn is realised at mention<br />
less definite idea—say, the emotions or a season of of the falling leaves, the stormy night comes home<br />
the year—and if (without resorting to other aids) to us when we think of the moaning wind and the<br />
you will again so state it that the principles of splashing of the rain-drops. And so, it would<br />
Form are observed throughout, I shall still follow seem, we have come direct to an obvious law : that<br />
you, but-not so completely. In the one case, the the less comprehensible in literature shall be<br />
whole thing is clear ; in the other it is only approached through the more comprehensible, the<br />
partially clear—the picture is incomplete. Now, less familiar through the more familiar, and that<br />
what is the meaning of this ? Why, surely, that this sball all be brought about by the use of suitable<br />
we have come straight to the bed-rock of the Symbols and Images.<br />
Thus we speak of the æsthetic, of the charm to<br />
* I have already pointed out the impossibility of dis-<br />
the senses in evolving the finished picture out of<br />
tinguishing exactly between the entirely æsthetic and the these symbols and images. At the same time we<br />
entirely practical, and I have explained that my division of are as certainly treating of the practical ; for, with<br />
the subject is arbitrary. It is, however, to be observed that<br />
Form- which becomes, by its orderliness, a charm to the<br />
a moment's thought, it is clear that the use of<br />
senses—is certainly to be considered æsthetic, if only,<br />
symbols and images tends to the fulfilment of the<br />
perhaps, in a modified sense.<br />
first principle in literature-economy of the reader's<br />
<br />
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## p. 233 (#311) ############################################<br />
<br />
THE AUTHOR.<br />
233<br />
attention. The “angry” man is an indefinite athlete, and there is a sure delight to the eye in<br />
affair ; the man standing with upraised fist" is the that delicacy of touch or grace of movement ;<br />
picture illustrated in two words. There is here a listen to a well-constructed piano-organ and,<br />
directness of purpose, a clear transparency of ex- mechanical and inartistic though the performance<br />
pression, which carries its own recommendation be, the ear will still dwell with pleasure on the accu-<br />
most fully in that it lightens the task of the reader. racy of the playing. Why, then, if this be the<br />
In place of much verbosity and of a wearisome common effect of excellence in any pursuit, deny<br />
explanation, the scene is sketched vividly, realistic- the same conditions in literature ? Why deny<br />
ally, by a stroke of the pen. Need we wonder, attractiveness in language, in the balancing of the<br />
then, that this ready means of suggesting an idea phrase, in the choice of words ? And if you still<br />
should have found in time a wider application, that tell me that this is not proof, I agree, of course ;<br />
so valuable an asset to the writer's account should but I take the liberty of adding that it is just<br />
have been pressed more fully into the service, and next door to it—a remarkably strong presumption.<br />
that, by degrees, its use should have extended from Besides, there is another thing which must not<br />
the obscure thought to the simple ? “ Black as be overlooked-the verdict of the cultured. It is<br />
night” strikes the imagination at once, whilst final, you know, in the world of Art, and there is<br />
“black” alone, though a simple enough thought, is no court of appeal beyond. The ill-educated taste<br />
never too definite in conception, because of the of the multitude may create, and often has created,<br />
many different conditions with which we are in the the success of a moment, and set a nonentity on a<br />
habit of associating it. And if this be a matter as pedestal. Similarly, the more advanced thought,<br />
much of emphasis as of interpretation, a distinction the original and unaccustomed idea, has not always<br />
as much as an explanation, well, what of it ? Take met with immediate approval ; and we find great<br />
it at that, if you please, its force as an aid to artists slow to reach acceptance, even critics<br />
comprehension is still not to be denied; and, so, it delaying the triumph of a Wagner and Tschai-<br />
follows that writing of any sort on any subject kowsky. And this is no matter for surprise, for<br />
must, in order to be good, abound freely in symbols the appreciation of any art depends largely on<br />
and images.<br />
education, and it is not likely, therefore, that even<br />
But that is not all. The conditions of the game the most talented will realise all in a moment<br />
are that the thought shall be presented as attrac- the complete beauty of an unfamiliar design. It<br />
tively as may be; and there is, therefore, still the takes time and study to cultivate the mind and<br />
attractiveness of language itself to be discussed. advance it to a pinnacle. Thus, in the earlier<br />
And this, believe me, is to step uncommonly near stages, the “penny dreadful” was the best book on<br />
a quicksand ; it is an attempt at cracking as hard earth, and “Pop goes the Weasel ” the best music.<br />
a nut as you would meet with in a month of The deeper insight came afterwards, as a rule, and<br />
Sundays. For here is a man coming along and the discovery to our surprise that there is some-<br />
asserting roundly that there is no charm in lan- thing more than incident in a story or than<br />
guage at all. "If there is,” he adds significantly, melody in music. Then, at once, with this advance-<br />
«prove it !” And then, in sober truth, there is ment arose naturally the demand for every subtle<br />
nothing for it but to stand down from the witness- nicety which could aid in beautifying the thought,<br />
box, silent and abashed.<br />
the demand that not only the thought itself should<br />
At the same time, a point or two calls for remark be well conceived but also that its treatment should<br />
and comment. You know, for instance, that it is be perfect in every detail. What wonder, then,<br />
possible to write very badly. We laugh at and when the cultured mind demanded, and very soon<br />
stumble over the halting ill-expressed essay of the found, beauty in the arrangement of words—the<br />
schoolboy ; you know that it is possible to write medium in literature through which the thought<br />
better--the schoolboy himself improves in a twelve- is conveyed-found it in their euphony and appro-<br />
month ; you know of a better stage still in the priateness, in their harmonious setting, in the<br />
fairly practised writer, and of one again beyond rhythmical swing of the phrase ? To the unlets<br />
this when you first experience the gratifying ease tered, of course, this is incomprehensible ; it i-<br />
and comfort of reading a work by Stevenson, meaningless, like the music of Wagner or the sun-<br />
Thus, without touching upon debatable ground, it set, perhaps, of a Turner ; but it is true, never-<br />
is at once obvious that one method of expression is theless. It is no question of a pose or affectation,<br />
better than another, and that we may believe the it is the genuine appreciation of an æsthetic effect.<br />
gamut of progression to move evenly from the very But if you tell me again that all this is proof of<br />
worst to the very best. But it is a fact that, in nothing—for these highly cultured people may be<br />
the accomplishment of anything, the “best” very sincerely and very whole-heartediy wrong--I<br />
creates invariably some sense of æsthetic charm. agree; it is not proof. But in the light of past<br />
Watch the expert billiard player or the champion experience, in the kuowledge that the verdict of<br />
<br />
<br />
## p. 234 (#312) ############################################<br />
<br />
234<br />
THE AUTHOR.<br />
these cultured people has stood the test of time in Cresswell professed to teach in the course of this<br />
other artistic affairs, I submit that we have reached, book how authors may become successful. But<br />
at any rate, a second “strong presumption”—this, they expressly disclaim any intention of being<br />
too, on top of the first.<br />
“ didactic.” The word, it must be confessed, has<br />
With two presumptions, then, which are not a bad odour nowadays, and it would surprise us if<br />
reasonably to be denied, I shall take it that the any writer willingly branded his work as didactic.<br />
case is established, that language itself is capable Nevertheless, there are people who would not deny<br />
of creating an æsthetic charm ; and with this that something may be learnt from their writings,<br />
admitted, then at the same time the real practical and among these we suspect that our two present<br />
advantage of polished writing becomes obvious— authors may be classed. At any rate, we shall not<br />
its power to hold the reader's attention. Here is a scruple to state that there is much in the book<br />
thing a pleasure in itself—these words which run which is worth taking to heart.<br />
so smoothly to the eye and which, if spoken, The keynote of the advice which Messrs. Colles<br />
would slip so glibly off the tongue; there is no and Cresswell give is : Learn from the Great. To<br />
effort in following them, no more than in lazily help those who would learn, they have, to use their<br />
watching a river as it flows onward to the sea, but own words, collected from many sources such<br />
there is music surely, like the music of those counsels of writers of renown as may be serviceable<br />
rippling waters. And maybe the thought is but a to men of letters—not in the form of an anthology,<br />
poor affair and never much worth the trouble of but, as it were, in that of a sermon richly illustrated<br />
expressing at all ; indeed, wbere is the writer who by texts. They hold that “the pathway of author-<br />
has not uttered many thoughts to be rightly ship is no uncertain track, but a beaten road,<br />
scheduled in this category? Well, here is a saving trodden by many, and he who would walk in it<br />
clause ; here is a cloak to the nakedness; here is securely has only to follow the footprints of the<br />
the means of holding the reader's attention until great who have gone before him.” A counsel of<br />
the conception becomes more attractive in itself.* perfection, it might doubtless be objected; but are<br />
It only remains now to reduce generalities to not the best counsels always counsels of perfection ?<br />
particulars and to examine into the working details About the answer to the question “Who are the<br />
of the conclusions we have reached—that is, into Great” ? our authors feel no hesitation. They are<br />
the practical application of symbols and images, “the household names,” “the writers whose indis-<br />
and into such considerations as may help us in putable claim to attention is based upon their<br />
any way to the effective handling of words. works having found a response in the thoughts and<br />
feelings of millions." And we are warned against<br />
" the personal satisfaction which modern critics<br />
* It is not suggested, of course, that a writer can make a<br />
worthless book valuable by virtue of beauty of style—such<br />
derive from drawing some almost unknown writer<br />
a book is always worthless. My meaning is only this, that<br />
out of his obscurity, and demonstrating that his<br />
the value of a composition is enhanced by the charm of its work has merits of the rarest quality.” In other<br />
expression.<br />
words, we are recommended to the world's classics.<br />
(To be continued.)<br />
Well, we suppose this is sound doctrine ; though<br />
assuredly some of us will think with a sigh of some<br />
namus which are not household, but are certainly<br />
SUCCESS IN LITERATURE.*<br />
dear to us, of some works which do not touch the<br />
feelings of millions, but yet touch ours deeply.<br />
However, this is not the place for an argument on<br />
The joint authors of this little work are certainly the comparative value of the judgments of the<br />
to be congratulated on one point, which may be many and the few in the award of places among<br />
regarded as a proof of their success in collaborative the world's classics, so we will pass on, accepting<br />
literature. The style throughout is wonderfully our authors' interpretation of their precept, Learn<br />
homogeneous. It may be added that it is an from the Great.<br />
attractive style : at its best somehow faintly As to what we are to learn from the Great, the<br />
suggestive of the old “Spectator,” yet at the same two supreme lessons we are told are "to arrive at<br />
time of a directness and simplicity that is modern some adequate appreciation of the consummate<br />
in a good sense of the term.<br />
work of the masters” and “to perceive more or<br />
“ Success in Literature" sounds an ambitious less lucidly the art by which the effects are secured."<br />
subject to be tackled in a volume of 360 small Criticism of the weak points in the great master-<br />
pages. And so it would be if Messrs. Colles and pieces is deprecated, and the wisdom of a literary<br />
man is declared to lie in the opposite direction.<br />
* " Success in Literature," by W. Morris Colles and Henry<br />
He must be able to recognize in the works of the<br />
Cresswell-London : Methuen & Co.<br />
masters, not where they failed, but where they<br />
<br />
<br />
## p. 235 (#313) ############################################<br />
<br />
THE AUTHOR.<br />
235<br />
were successful, and must reserve destructive Another passage, illustrative of the fact that a<br />
criticism for his own work.<br />
work of indisputable merit may be judged worth-<br />
Obviously the inculcation of admiration for the less before it becomes a classic-a consolation<br />
Great without insistance on the need of originality often to writers whose belief in themselves exceeds<br />
would be an incitement to merely imitative work. their literary income-we would gladly quote if<br />
So it is not surprising to find a whole chapter we had space. But perhaps enough has been said<br />
devoted to the subject of originality-and a very to show that “Success in Literature” is both an<br />
good chapter, too, though it does not readily interesting and an instructive work. Those who<br />
lend itself to quotation. It could be wished in want a handbook showing them how to construct<br />
these days, when the market (the word is volumes which will go at once into four large<br />
objectionable from the literary point of view, but editions will not find it here. If, however, some-<br />
so is the literature of which we are speaking) is thing is required which will stimulate profitably<br />
being swamped with weak books on all kinds of thought and at the same time please the literary<br />
subjects, that the writers would take to heart what judgment, then this book may be commended<br />
is here said on the desirability of asking oneself safely.<br />
the question, is what I am going to say worth Perhaps it should be added, in conclusion, that<br />
saying?<br />
“ Success in Literature ” is primarily addressed<br />
After laying down these two fundamental con- not (of course) to the big authors of to-day, nor<br />
ditions, that the great masters must be taken as yet to the beginners ; but to the men of letters<br />
our examples and that we must have something who have advanced a certain way and find a<br />
to say, the authors proceed to discuss the best difficulty in advancing further. Yet we believe<br />
methods in literary work, the equipment required that to the beginners, and to those who hare<br />
before engaging in it, appropriate style, and form arrived also, it will not be without its appeal. com<br />
and treatment, in all of which subjects they put<br />
most excellent advice before their readers, collected<br />
from authorities as far apart as Augustus and<br />
Anthony Trollope, Metastasio and Crombie,<br />
author of “ The Gymnasium,” and supplemented by THIRTY-SIX DRAMATIC SITUATIONS.*<br />
facts taken from the lives of literary men of<br />
various lands. To ourselves, we must confess,<br />
the latter furnish some of the most interesting TN our April issue we printed (quoting from a<br />
parts of the book. We cannot refrain from quoting 1 Chicago contemporary) a paragraph respecting<br />
one passage from the chapter entitled “ The the “ Thirty-six Dramatic Situations ” of the<br />
Worker and his Work.” After saying that exact Italian dramatist, Count Carlo Gozzi, with a<br />
records of the manner in which writers of note further mention of a treatise on the same subject<br />
have done their work, of their hours, and of the written by M. Georges Polti, and published in<br />
rules which they made for themselves, are not to Paris some fifteen years since. Want of space<br />
be easily had, our authors continue:<br />
forbade at the time any remarks of our own on<br />
the subject, to which we here revert, as the<br />
" William Beckford states that he wrote Vathek at a<br />
whole question is one of considerable interest to<br />
single sitting. • It took me three days and two nights of<br />
hard labour. I never took off my clothes the whole time.<br />
dramatists, and perhaps also of some importance to<br />
The severe application made me very ill.' This feat, if it novelists.<br />
was really accomplished, which is very doubtful, about At present Gozzi's assertion seems to rest on<br />
25,000 words is probably the largest single spell of literary<br />
the authority of Goethe. M. Polti quotes (without<br />
work with a pen on record. More has been dictated;<br />
naturally in less time. Zola's daily output of fiction was giving any reference) from Goethe's “ Entretiens<br />
four pages of print of Charpentier's edition of his work avec Eckermann" (presumably Eckermann's<br />
(about 1,300 words). He laid down his pen as soon as the “Gespräche mit Goethe "), “ Gozzi used to maintain<br />
four pages were completed-even if that was in the middle<br />
that there could not be more than thirty-six tragic<br />
of a sentence ; but he wrote the four pages in the morning<br />
directly after breakfast, every day. Anthony Trollope, all<br />
situations. Schiller gave himself a good deal of<br />
of whose work was conducted with extraordinary regu. trouble to find some more, but did not find so<br />
larity, and much of it written whilst he was a busy Post many as Gozzi.” It will be at once observed that<br />
office functionary, wrote a page of 250 words, and made<br />
“ tragic ” not “ dramatic" situations are here<br />
it a rule to produce a certain number of pages every week.<br />
The average was forty ; but he sometimes required of<br />
limited to thirty-six, a difference of considerable<br />
himself more, and sometimes only twenty. He rose at importance. Next, an evident first question is :<br />
five, and had his literary work finished before break “Whence has Goethe this information ? " Are<br />
fast. He regarded three hours as the limit of time for a<br />
single day's work. ... Sir Walter Scott had made<br />
himself a rule of six pages of close MS.=thirty pages of "Les Trente-six Situations Dramatiques," par Georges<br />
letterpresse about 6,450 words per diem,"<br />
Polti, Paris. 1895.<br />
<br />
<br />
## p. 236 (#314) ############################################<br />
<br />
236<br />
THE AUTHOR.<br />
06<br />
these thirty-six situations mentioned anywhere in spirited scene at its conclusion when Pelasgus<br />
Gozzi's works (they fill twenty-two volumes); or repels the insolent attempt of the herald to seize the<br />
was this hearsay only, for Goethe (1749–1830) suppliants in the name of Aegyptus. In “ Hamlet”<br />
and Gozzi (1772-1806) are contemporaries. we should say that there is a highly dramatic<br />
Respecting this M. Polti gives us no information. “tragic situation " when the court, assembled to be<br />
It appears, however, that Gozzi did not mention entertained with a play, find themselves witness-<br />
what his thirty-six situations were. We learn ing a minutely accurate representation of the<br />
further from M. Polti (who again vouchsafes no murder by which the king obtained his throne.<br />
reference) that Gérard de Nerval occupied himself M. Polti groups “Hamlet” under “ Situation<br />
with the question of the number of possible XIII: Hatred between Relatives.” That such<br />
situations, and could find only twenty-four. He hatred might be naturally productive of “ tragic<br />
also does not mention what they were. All this situations "is evident ; but it does not appear to<br />
and much more may be read in M. Polti's us that it is itself a tragic situation. In short,<br />
preface, where little that is interesting is lacking, whilst admitting that there is much that is<br />
except correct references.<br />
interesting in M. Polti's work, we are unable to<br />
M. Polti thereafter devotes himself to the see that it offers any answer to the problem, “ What<br />
question of what the thirty-six situations are, and were Gozzi's thirty-six tragic situations ?”<br />
sets forth, in succession, the thirty-six enumerated<br />
in our April number.<br />
This mere enumeration, however, conveys no idea<br />
either of the gigantic labour, or of the very wide<br />
acquaintance with the world's literature which the ESSAYS ON RUSSIAN NOVELISTS.*<br />
little book shows. M. Polti having mentioned “Sup-<br />
plication ” (Implorer) as his first situation demon-<br />
strates how“ Supplication ” can assume as many" LISSAYS<br />
T SSAYS on Russian Novelists,” by Prof.<br />
as nine different aspects, and then quotes examples, D Phelps, is a work of which it is not easy<br />
in many cases several examples, of every one of<br />
to give a just estimate. Here is a great<br />
them. The number of dramas and other works of deal that is true and also very farniliar, yet hardly<br />
the imagination, classical and modern, European to be omitted from any work on Russian fiction<br />
and Oriental, quoted is astounding, and the toil intended for general perusal; a good deal that is<br />
involved in grouping them under the several open to debate,or, indeed, hardly defensible(theasser-<br />
“ situations ” must have been enormous. If tion, for instance, that Russian literature is a new<br />
precise results of laborious l'esearch merit any literature); and much that must be pronounced<br />
praise, M. Polti has deserved it.<br />
exaggerated, even after every allowance has been<br />
At the same time, whilst willingly according<br />
made for the author's exuberant enthusiasm for his<br />
M. Polti's labours all the admiration which they<br />
subject. The book produces an uncomfortable<br />
deserve, and freely admitting that his work may impression because it is nowhere made quite plain<br />
be perused with interest, we have always felt that that the author is not speaking at second hand ;<br />
the advantage to be derived from it is not very and relying merely on translations. If he is a<br />
great. The results reached are curious rather Russian scholar why is he so careful to mention by<br />
than illuminating.<br />
whom translations from the Russian have been<br />
We must also confess to having felt that made for him ? If he is not a Russian scholar<br />
M. Polti has entirely misunderstood what is what judge is he of the Russian style which bo<br />
meant by a “tragic situation.” We say this with praises in one case and condemns in another ? We<br />
all deference for the opinions of those who may are entirely unable to agree with the opening asser-<br />
think otherwise. and freely admit that unless tion that Russian fiction is the best in the world ;<br />
Gozzi's original statement, and what he himself and do not understand why that assertion is made<br />
meant by it, can be found, the interpretation of his by an author, who, later in his work, freely admits<br />
words must always remain a more or less open the “intense gloom” of Russian fiction, and justly<br />
question. To ourselves, however, the matter has describes reductio ad absurtlum as the characteristic<br />
always appeared thus : that “tragic situations” of Russian thought. That cannot be great which<br />
are the individual moments of a dramatic action, can see only the grey aspects of life. Notwith-<br />
many of which may occur in a play; and that standing the shortcomings of the book, the reader<br />
what M. Polti has been illustrating are rather the who is on his guard against being misled may,<br />
fundamental themes upon which various plays are however, gather much from it; for it brings into<br />
built. Thus, his first example of “ Supplication ”..<br />
is“ The Suppliants" of Aeschylus ; but it appears * William Lyon Phelps, Ph.D. : " Essays on Russian<br />
to us that the great situation of that play is the Novelists." New York : Macmillan Co. 1911.<br />
<br />
<br />
## p. 237 (#315) ############################################<br />
<br />
THE AUTHOR.<br />
237<br />
one focus things that cannot be elsewhere found ditions in the States are not altogether so propitious<br />
together in any single English volume. The work as at some times, the woman's club of the New<br />
concludes with a bibliography (which we could wish England village through its president, Mrs. Henry<br />
more perfect) of the stories written by nine of the C. Rolfe, has been appealing to all lovers of Miss<br />
best-known Russian novelists, setting forth the Alcott's books to contribute toward a fund of at<br />
translations of them which have appeared in least £1,600 to guarantee the preservation and<br />
English, French and German. A note should maintenance of this ancient historic home. A<br />
have been added that the greatest caution in the portion of the fund has already been subscribed,<br />
selection of translations from Russian must be mostly in small amounts, and is in the hands of<br />
exercised by readers who desire to peruse faithful Henry F. Smith, junr., Middlesex Institution for<br />
renderings of the original texts.<br />
Savings, Concord, Massachusetts. In view of the<br />
international interest in Miss Alcott's works the<br />
management of the woman's club has felt itself<br />
justified in issuing an international appeal for<br />
CORRESPONDENCE.<br />
assistance.<br />
The Orchard House at Concord is situated near<br />
AUTHORS AND THE LIBRARIES.<br />
the house owned by Ralph Waldo Emerson. It<br />
was first occupied by Bronson Alcott and his family<br />
SiR, -As a new author, may I draw your in 1857. It continued to be their home for twenty-<br />
attention to the following facts.<br />
five years when it was sold to the late William T.<br />
My first novel, published about three months Harris, for many years United States Commissioner<br />
ago, received very favourable press notices, and of Education. In it were written "Little Women"<br />
was advertised as being obtainable at all libraries.<br />
and several others of Miss Alcott's best liked<br />
and<br />
Several of my friends, wbo belong to Mudie's, stories. On the woodwork, in places, may be seen<br />
repeatedly applied for it without success, until a little paintings and sketches by 6 Amy." Louisa's<br />
ek or so ago, when, in answer to a pointed note younger sister whose death, shortly after her happy<br />
of inquiry, Mudie's returned a reply "that, as the marriage to Ernest Nieriker, a young Swiss gentle-<br />
demand was so small, they had not as yet procured<br />
man, was one of the tragic events of the author's<br />
it. but would now do so." This action of Mudie's middle age.<br />
appears to me to amount practically to a boycott This house, about which cluster so many memo-<br />
of all new authors, the demand for whose work ries of one of the most helpful writers for the<br />
must necessarily be small at first; and if the small<br />
young, it is hoped not only to purchase but to<br />
demand, which should legitimately widen into a<br />
maintain as a permanent Alcott memorial.<br />
maintain as<br />
A plain<br />
larger, is baffled, what hope is there for the new wooden dwelling, after the fashion common in New<br />
author ? Such action nullifies any good which England, it is almost unchanged in its general<br />
laudatory reviews might have worked. Would features, but now so desolate as to move the com-<br />
even “Marie Claire,” for instance, have sold<br />
miseration or indignation of visitors who have<br />
largely if the supply had not responded instantly<br />
loved Miss Alcott's stories and the characters she<br />
to the demand ?<br />
has created. Restored to its original state it will<br />
It is but fair to say that I believe all the other charm the many people from overseas who include<br />
libraries stocked the book.<br />
in their American itinerary the most famous of<br />
Yours faithfully,<br />
New England villages.<br />
A MEMBER.<br />
F. W. COBURN.<br />
Miss LOUISA ALCOTT.<br />
SIR,-It may interest some of the many English<br />
men and English women who as children enjoyed<br />
Louisa Alcott's “Little Women” and other stories,<br />
to know that at Concord, Massachusetts, U.S.A., a<br />
movement has been started to keep intact the<br />
Orchard House in which the Alcott family lived<br />
for many years. Americans of late have shown a<br />
disposition to preserve such literary and artistic<br />
shrines as there are in their country. The birthplace<br />
or former residences of Longfellow, Poe, Irving,<br />
Whittier, Whitman, Whistler and others have been<br />
commemorated. This year, although financial con-<br />
PROFESSIONAL TYPISTS.<br />
DEAR SIR,-May I, as a “ Professional Typist"<br />
of nearly fifteen years' experience, while offering<br />
my sincere sympathy to “A Member," ask him<br />
with all deference what else he could have expected<br />
at the price ? 85,000 words and a duplicate for £4!<br />
This means that the 85,000 or 84,000 words were<br />
typed at about 8d. per 1,000 words, the duplicate<br />
being charged at less than half price. He does not<br />
tell us if the paper was included—more than a ream<br />
would be required. Copying from MS. (even if fairly<br />
clear, and most author's MS. is anything but that),<br />
a thousand words would take a good typist from<br />
<br />
<br />
## p. 238 (#316) ############################################<br />
<br />
238<br />
THE AUTHOR.<br />
half to three quarters of an hour, or longer in pro-<br />
CANADIAN MAGAZINES.<br />
portion to the difficulty of the MS. But in addition<br />
to this it should be read, carefully compared and<br />
SIR,-It may possibly interest some readers of<br />
checked with the MS., corrected, if necessary, and<br />
The Author, particularly when the question of the<br />
the words counted. This means over an hour's<br />
Canadian Copyright Bill is being discussed, to hear<br />
work for each 1,000 words. If there are duplicate the opinion of one Canadian editor with regard to<br />
copies, any errors have to be corrected separately English contributors. I quote from his letter :<br />
in each, taking still further time and work, and ail “ We could not use your work because it is too<br />
this is expected for less than a shilling! The English for us. We are essentially & Ca<br />
“ firm"has, moreover, to pay the typist employed, publication for the Canadian people, and our own<br />
to provide all necessaries for the work, i.e., ribbons big land has enough interest to provide exhaustless<br />
for machine (the best are 38. 6d. each), carbons for topics for stories and verse. You will readily<br />
duplicates (best 2s. 6d. per dozen), erasers, paper understand that Canadian people do not want an<br />
fasteners. packing materials. wear and repair of English magazine published in Canada. If they<br />
machines, and very often is expected also to provide wish to read magazines with English character they<br />
paper at from 28. 6d. to 38. or more a ream. He buy an English publication, but they have no use<br />
wants somehow to make a profit out of which to pay<br />
for a magazine which is part Canadian and part<br />
office rent, insurance. lights and heating, also board English. The fact that Englishmen who come to<br />
and lodging, travelling expenses, and all other items Canada constantly try to introduce their home<br />
incidental to one's being alive, including clothes. customs into Canada, instead of adapting them-<br />
How is this to be done at the price quoted ? Only, selves to those of the country, has built and fostered<br />
as “ A Member's " sad experience proves, by scamp- an antagonism to Englishmen."<br />
ing the work, employing uneducated, inefficient and Why an English writer should be rated for the<br />
“cheap" assistants, using cheap materials and third- failings of her countrymen who go to Canada is<br />
rate machines, and so sending out work which merits somewhat hard to understand. Evidently Canadian<br />
“A Member's” graphic description. I have had editors do not believe in free trade.<br />
reams of such useless stuff to re-type for other dis-<br />
Believe me, Yours faithfully,<br />
gusted authors who have made trial of the cheap<br />
EDITH DART.<br />
typist. Years ago I myself tried to give really good<br />
work at these low rates, to work up a “connection,"<br />
but I found that it meant literally starvation. I<br />
JOURNALISM AGAIN.<br />
am writing, therefore, in defence of those—most of SIR,—I regret to notice in a recent number of<br />
them well-educated and cultivated women—who are a certain illustrated weekly, the following state-<br />
trying to make a living and to put by something for ment by the writer of a literary letter published in<br />
their old age, by giving really good and honest work that journal, and signed “C. K. S.”<br />
at fair and reasonable rates. “ A Member" might “I have always looked upon the Royal Society<br />
easily have found the names of several of these of Literature as a ridiculous body, even worse than<br />
(even “ good wine " needs an alluring “bush ” in the Society of Authors.”<br />
these days of competition !), and would, in far less It is clear that C. K. S. is either wilfully<br />
time, have received accurate, well-typed, and well ignorant of the work that the Society of Authors<br />
turned-out work which would have rejoiced the has done, and is continuing to do for authors and<br />
hearts both of himself and his publisher. Authors dramatists, or that his remarks are merely the<br />
have, unfortunately, forced this cheap work into outcome of some spite or pique which he has<br />
the market by insisting on "lowest terms,” irre- against the society.<br />
spective of the quality of the work. Cheap type- The publication of such a statement, while it is<br />
writing is “cheap and nasty," and good work unlikely to injure, at this time of day, the prestige<br />
deserves fair pay.<br />
of the society which is now firmly established as the<br />
Should“ A Member” be so rash as to purchase a result of its work for authors, dramatists and<br />
suit at 18s. 6d. in the City Road, would he expect musicians, is scarcely calculated to aid the circula-<br />
the cut and style of Bond Street ? I think not. tion of the paper in which it appeared. The<br />
Yours faithfully,<br />
paragraph I have quoted is much more likely to<br />
A TRAINED AND CERTIFICATED TYPIST. make Mr. C. K. S. appear ridiculous than the<br />
Society of Authors.<br />
P.S.-A hint to typists. It is said that a well- I write to direct your attention to the matter,<br />
known author, when asked to supply a certain though you may not consider it worth while to<br />
editor with a serial at a very cheap rate, replied take notice of it by printing this letter.<br />
briefly : “Dear Sir, I am not a charitable institu-<br />
Yours, etc.,<br />
A SYMPATHISER.<br />
tion.”<br />
<br />
<br />
## p. 238 (#317) ############################################<br />
<br />
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## p. 238 (#318) ############################################<br />
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INDIFFERENT COPY TYPED WELL stands a better<br />
chance with Editors and Publishers than<br />
GOOD WORK TYPED BADLY.<br />
I USE BRAINS as well as hands.<br />
HIGH-CLASS WORK AT LOW CHARGES.<br />
Every Order I have executed has been followed<br />
by Repeats.<br />
I have many Testimonials from Members of the<br />
Authors' Society.<br />
MY WORK IS MY BEST REFERENCE!<br />
I work for Authors, ('lergymen, Playwrights,<br />
Business Houses, &c.<br />
SEND ME A TRIAL ORDER NOW.<br />
Passenger Lifts. Bathrooms on every Floor. Lounges<br />
and Spacious Dining, Drawing, Writing, Reading, Billiard<br />
and Smoking Rooms Fireproof Floors. Perfect Sanita.<br />
tion. Telephones. Night Porters.<br />
Bedroom, Attendance, and Table d'Hote<br />
Breakfast, single, from 5/6 to 8/-.<br />
Table d'Hote Dinner, Six Courses, 3<br />
Full Tariff and Testimonials on application.<br />
Telegraphic Addresses :<br />
Thackeray Hotel—“Thackeray, London."<br />
Kingsley Hotel—"Bookcraft, London.”<br />
MISS RALLING,<br />
176, Loughborough Road, LONDON, s.w.<br />
MRS. GILL'S TYPEWRITING, SHORTHAND, | Literary & Dramatic Typewriting. ..<br />
AND TRANSLATION OFFICE,<br />
Story work, 9d. 1,000 words; 2 copies, 1/-.<br />
35, LUDGATE HILL, LONDON, E.C. Plays, ruled and covered, 1/- 1,000 words.<br />
Telephone-8464 Central.<br />
Established 1883.<br />
Opinions selected from letters received during the past twelve years :-<br />
MRS. E. NESBIT BLAND (E. NESBIT): “I am oxtremely<br />
Manuscripts of every description promptly and intel pleased. ... It is beautiful work."<br />
ligently copied, from 1s. per 1,000 words; special success MRS. TOM GODFREY: “I think you must be a treasure trove<br />
to all authors who have the good fortune to bear of you...<br />
with work rendered indistinct by hasty writing and by<br />
You certainly evince an intimate knowledge of French."<br />
corrections. French and German typewriting undertaken,<br />
MRS. HINSON (KATHARINE TYNAN): “I have never met.<br />
and typewritten translations supplied. Testimonials with anything approaching your intelligence, carefulness and<br />
from authors, scientists, engineers, architects, barristers. promptitude."<br />
Reference kindly permitted to Messrs. A. P. Watt & Son, RICHARD PRYCE, ESQ.: “The work could not be better.<br />
done."<br />
Literary Agents, Hastings House, Norfolk Street, Strand,<br />
LOUIS A. ST. JOHN, - Bitterne Park,<br />
| ST JOHN L'Isle. Dimond Road, Southampton.<br />
W.C.<br />
AUTHORS & PLAYWRIGHTS<br />
TYPEWRITING.<br />
Special facilities for placing work of every description,<br />
Particulars from Manager, Literary Department,<br />
Authors' MSS. copied from 9d. per 1,000<br />
words; in duplicate, 1/-. Plays and General<br />
WIENER AGENCY, LD.,<br />
64, Strand, LONDON,<br />
Copying. List and specimen of work on appli-<br />
AND TRIBUNE BUILDING, NEW YORK.<br />
cation.<br />
One Of NUMEROUS TESTIMONIALS.<br />
"Misg M. R. HORNE has typed for me literary matter to the MISSES CONQUEST & BUCHANAN,<br />
extent of some hundreds of thousands of words. I have nothing<br />
but praise for the accuracy, speed and neatness with which she 64, VICTORIA STREET, S.W. Telephone : No. 5537 Westminster.<br />
does her work.-FRANK SAVILE."<br />
Recommended by Miss Gertrude Tuckwell, Canon<br />
Swallow, and others.<br />
MISS M. R. HORNE,<br />
Many Testimonials, of which the following is a specimen : * Many<br />
ESKDALE, WEST DRAYTON, MIDDLESEX. thanks for the excellent work and the promptness with which it has<br />
Dren done."<br />
Typewriting and Secretarial Work.<br />
Printed by BRADBURY, AGNEW, & 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/5/421/1911-06-01-The-Author-21-9.pdf | publications, The Author |