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(The Organ of the Incorporated Society of Authors. Monthly.)<br />
VOL. XXII.–No. 8.<br />
MAY 1, 1912.<br />
[PRICE SIXPENCE.<br />
CONTENTS.<br />
PAGS<br />
201<br />
201<br />
201<br />
Notices<br />
The Society's Funds<br />
The Pension Fund<br />
Committee Notes ...<br />
Books published by Members<br />
Literary, Dramatic and Musical Notes<br />
Paris Notes...<br />
A Curious Suggestion<br />
United States Law<br />
Magazine Contents<br />
How to Use the Society ...<br />
Warnings to the Producers of Books...<br />
Warnings to Dramatic Authors<br />
Registration of Scenarios and Origin<br />
203<br />
206<br />
207<br />
210<br />
Dramatic Authors and Agents<br />
Warnings to Musical Composers<br />
Stamping Music ...<br />
The Reading Branch<br />
Remittancos ...<br />
General Notes ...<br />
United States Copyright<br />
Poet and Composer<br />
Authors and Reviewers ...<br />
Is It Worth It? ...<br />
“ Copyright: Its History and Its Law"<br />
The Art of the Dramatist<br />
Correspondence<br />
PAGE<br />
215<br />
215<br />
215<br />
215<br />
215<br />
216<br />
217<br />
219<br />
220<br />
212<br />
213<br />
213<br />
221<br />
223<br />
214<br />
214<br />
214<br />
215<br />
224<br />
225<br />
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AUTORIDAD, LONDON. 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 />
NOTICES.<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 />
T OR the opinions expressed in papers that are if special information is desired.<br />
T 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 />
THE SOCIETY'S FUNDS.<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
TROM time to time members of the Society<br />
desire to make donations to its funds in<br />
THE Editor begs to inform members of the recognition of work that has been done for<br />
Authors' Society and other readers of The Author them. The Committee, acting on the suggestion<br />
that the cases which are quoted in The Author are of one of these members, have decided to place<br />
cases that have come before the notice or to the this permanent paragraph in The Author in order<br />
knowledge of the Secretary of the Society, and that that members may be cognisant of those funds to<br />
those members of the Society who desire to have which these contributions may be paid.<br />
the names of the publishers concerned can obtain The funds suitable for this purpose are: (1) The<br />
them on application.<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 />
ARTICLES AND CONTRIBUTIONS.<br />
ciple, or in assisting to obtain copyright reform,<br />
THE Editor of The Author begs to remind or in dealing with any other matter closely<br />
members of the Society that, although the paper connected with the work of the Society.<br />
is sent to them free of cost, its production would (2) The Pension Fund. This fund is slowly<br />
be a very heavy charge on the resources of the increasing, and it is hoped will, in time, cover the<br />
Society if a great many members did not forward needs of all the members of the Society.<br />
to the Secretary the modest 58. 6d. subscription for<br />
the year.<br />
Communications for The Author should be<br />
THE PENSION FUND.<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 TV January the secretary of the society laid<br />
month.<br />
1 before the trustees of the Pension Fund the<br />
Communications and letters are invited by the accounts for the year 1911, as settled by the<br />
Editor on all literary matters treated from the accountants, with a full statement of the result of<br />
standpoint of art or business, but on no other the appeal recently made on behalf of the Fund.<br />
subjects whatever. Every effort will be made to After giving the matter full consideration the<br />
return articles which cannot be accepted.<br />
trustees instructed the secretary to invest the sum<br />
VOL. XXII.<br />
<br />
<br />
## p. 202 (#654) ############################################<br />
<br />
202<br />
THE AUTHOR.<br />
The secretary would like to state that he has<br />
received three bankers' orders in answer to the<br />
recent appeal, unsigned, without any covering letter.<br />
He would be glad, therefore, if those members who<br />
may have sent in these orders, recognising them<br />
from their description, would write to the secretary<br />
on the matter.<br />
Bankers' Order for 10s. drawn on the London,<br />
County and Westminster Bank, Maidstone.<br />
Bankers' Order for 10s. drawn on the National<br />
Provincial Bank of England, Baker Street, W.<br />
Bankers' Order for 58. drawn on the London,<br />
County and Westminster Bank, Kensington, W.<br />
of £500 in the purchase of Antofagasta and<br />
Bolivian Railway 5%. Preferred Ordinary Stock<br />
and Central Argentine Railway Ordinary Stock.<br />
The amounts purchased at the present prices are<br />
£237 in the former and £232 in the latter stock.<br />
The trustees desire to thank the members of the<br />
society for the generous support which they have<br />
given to the Pension Fund, and have much pleasure<br />
in informing the Pension Fund Committee that<br />
there is a further sum available for the payment of<br />
another pension in case any application should be<br />
made. The money now invested amounts to<br />
£4,846 198. 4d., and is fully set out in the list<br />
below :<br />
Consols 21%<br />
4<br />
$70 ...........................£1,312 13<br />
Local Loans..............................<br />
500 0 0<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock..<br />
...........<br />
291 19 11<br />
London and North-Western 3%<br />
Debenture Stock .........<br />
250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ......... 2000<br />
Cape of Good Hope 31% Inscribed<br />
Stock .........<br />
200 0 0<br />
Glasgow and South-Western Railway<br />
4% Preference Stock ..<br />
228 0 0<br />
New Zealand 31%. Stock ........ 247 9 6<br />
Irish Land Act 21% Guaranteed<br />
Stock .................................<br />
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 />
Dominion of Canada C.P.R. 31%<br />
Land Grant Stock, 1938............. 198 3 8<br />
Antofagasta and Bolivian Railway<br />
5°. Preferred Stock ............... 237 0 0<br />
Central Argentine Railway Ordinary<br />
Stock ...<br />
232 ( 0)<br />
ལ་<br />
་ ༧<br />
NOCK ....<br />
Subscriptions.<br />
1912.<br />
£ s. d.<br />
Jan. 1, Worsley, Miss Alice . . 0 5 0<br />
Jan. 2, Sturt, George . .<br />
0 5 0<br />
Jan. 2, Wicks, Mark (in addition to<br />
present subscription). . 0 5 0<br />
Jan. 3, Northcote, The Rev. H.. 06 6<br />
Jan. 3, Phipson, Miss E. (in addition<br />
to present subscription) : 050<br />
Jan. 3, Hedgcock, F. A. .<br />
Jan. 5, Matcham, Mrs. Eyre .<br />
Jan. 8, Stayton, Frank .<br />
. : 0 5<br />
Jan. 8, Canziani, Miss Estella . . 0 5 0<br />
Jan. 10, Ropes, A. R.. .<br />
. 1 1 0<br />
Jan. 12, Francis, René .<br />
0 100<br />
Jan. 15, Pollock, Miss Edith (in addi-<br />
tion to present subscription) 0 5 0<br />
Jan. 27, Hutchinson, the Rev. H. N... 1 1 0<br />
Feb. 7, L. M. F., per month during<br />
Feb. 7, Letts, Miss W. M. . . .050<br />
Feb. 8, Cooke, W. Bourne . . . 1 1 0<br />
Feb. 8, Annesley, Miss Maude . . ( 10 6<br />
Feb. 9, O'Donnell, Miss Petronella : 0 5 0<br />
March 6, Curwen, Miss Maud . . 0 5 0<br />
March 6, Anderson, Arthur . . 1 1 0<br />
March 15, George, W. L. (in addition<br />
to present subscription). 0 10 0<br />
April 6, Bland, ). O. P. .<br />
. 0 10 0<br />
April 6, Taylor, Mrs. Basil. . . 0 5 0<br />
April 6, Forrester, J. Cliffe. . . 05<br />
1912<br />
·<br />
·<br />
·<br />
·<br />
.<br />
·<br />
1<br />
0<br />
0<br />
.<br />
.<br />
.<br />
.<br />
Total<br />
... £4,846 194<br />
PENSION FUND.<br />
.<br />
.<br />
· .<br />
THE list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged) received<br />
by, or promised to, the fund from January 1,<br />
1912.<br />
It does not include either donations given<br />
prior to January 1, nor does it include sub-<br />
scriptions paid in compliance with promises made<br />
before it.<br />
The full list of annual subscribers to the fund<br />
appeared in the November issue of The Author.<br />
Donations.<br />
1912.<br />
Jan. 2, Risque, W. H. .<br />
Jan. 2, Dart, Miss Edith .<br />
Jan. 3, “K.” .<br />
Jan. 3, Church, Sir Arthur.<br />
Jan. 3, Durrant, W. Scott<br />
Jan. 3, Tighe, Henry :<br />
Jan. 3, Grant, Lady Sybil .<br />
Jan. 4, Smith, Bertram<br />
Jan. 4, Buckrose, J. E. .<br />
·<br />
( 10<br />
0 10<br />
( 10<br />
1 1<br />
· · ·<br />
0<br />
6<br />
0<br />
0<br />
.<br />
· · ·<br />
·<br />
· ·<br />
·<br />
0 100<br />
. 1 0 0<br />
· 20 00<br />
. 1 1 0<br />
·<br />
·<br />
<br />
<br />
## p. 203 (#655) ############################################<br />
<br />
THE AUTHOR.<br />
203<br />
. .<br />
:<br />
er co<br />
. .<br />
£<br />
1<br />
0<br />
0<br />
1<br />
0<br />
1<br />
0<br />
3<br />
1<br />
s. d<br />
1 0<br />
3 10<br />
5 0<br />
1<br />
5 0<br />
6 0<br />
5 0<br />
3 0<br />
1 0<br />
£ s. d.<br />
0 5 0 March 25, Williams, Mrs. Illtyd . .<br />
0 10 0 April 2, XX. Pen Club .<br />
10 0 April 6, Taylor, Mrs. Basil .<br />
10 0 April 6, Cameron, Mrs. Charlotte<br />
0 5 0 April 10, Kenny, Mrs. L. M. Stacpoole<br />
0 5 0 April 10, Robbins, Alfred F. .<br />
0 5 0 April 10, Harris, Emma H. .<br />
.<br />
10 April 11, Ralli, C. Scaramanga.<br />
1 10 April 11, Aitken, Robert . .<br />
0 5 0 April 16, L. M. F. (£1 per month,<br />
2 2 0<br />
February, March, April)<br />
April 22, Prior, Mrs. Melton . .<br />
2 2 0<br />
0 5 0<br />
0 5 0<br />
COMMITTEE NOTES.<br />
c.<br />
O<br />
. .<br />
.<br />
. .<br />
oget<br />
. ·<br />
3 0<br />
0 10<br />
0<br />
6<br />
· ·<br />
· ·<br />
·<br />
er er en oerer er<br />
·<br />
·<br />
·<br />
Jan. 4, Lathbury, Miss Eva<br />
.<br />
Jan. 5, Wilson, Dr. Albert .<br />
Jan. 5, Craven, A. Scott .<br />
Jan. 6, Blundell, Miss Alice<br />
Jan. 6, Garbutt, W. H. .<br />
Jan. 6, Serjeant, Miss Constance<br />
Jan. 9, Chamberlayne, Miss Effie<br />
Jan. 9, Hamel, Frank<br />
Jan. 10, Allen, W. Bird .<br />
Jan. 10, Crellin, H. N.<br />
Jan. 10, Smith, Herbert W.<br />
Jan. 12, Randall, F. J.<br />
Jan. 13, P. H. and M. K. .<br />
•<br />
Jan. 15, Clark, Henry W... . ,<br />
Jan. 17, Rankin, Mrs. F. M. . .<br />
Jan. 18, Paternoster, Sidney .<br />
Jan. 20, M'Ewan, Miss Madge.<br />
Jan. 22, Kaye-Smith, Miss Sheila<br />
Jan. 22, Mackenzie, Miss J. .<br />
Jan. 22, Reiss, Miss Erna . .<br />
Jan. 22, Grisewood, R. Norman.<br />
Jan. 23, Machen, Arthur.<br />
Jan. 24, Williamson, C. N. and Mrs. J. N.<br />
Jan. 26, Way, Miss Beatrice .<br />
Jan. 30, Saies, Mrs. Florence H. .<br />
Jan. 30, Weyman, Stanley (in addition<br />
to subscription).<br />
.<br />
Jan. 30, S. F. G. . . . .<br />
Feb. 3, Douglas, James A. .<br />
Feb. 6, Parker, Mrs. Nella .<br />
Feb. 6, Allen, Mrs. James.<br />
Feb. 10, Whibley, C. . .<br />
Feb. 12, Loraine, Lady .<br />
Feb. 12, Ainslie, Miss K. . .<br />
Feb. 12, King, A. R. . .<br />
Feb. 13, Ayre, Miss G. B. .<br />
Feb. 14, Gibson, Miss L. S.<br />
Feb. 15, Henley, Mrs. E. W.<br />
Feb. 15, Westall, W. Percival<br />
Feb. 17, Raphael, Mrs. .<br />
.<br />
Feb. 19, Cabourn, John .<br />
Feb. 19, Gibbs, F. L. A.<br />
Feb. 21, Hinkson, H. A., and M<br />
Feb. 24, Hamilton, Cosmo<br />
Feb. 27, Plowman, Miss Mary.<br />
Feb. 28, Aspinall, A. E. . .<br />
March 2, Montesole, Max,<br />
March 9, Pickering, Mrs. Frank .<br />
March 15, Trevanwyn, John .<br />
March 16, O'Higgins, H. J. .<br />
March 18, Wallis-Healy, F. C...<br />
March 18, Schwarz, Prof. Ernest<br />
March 19, Wallace, Sir Donald M<br />
kenzie, K.C.V.O..<br />
March 21, Wharton, Leonard .<br />
March 22, Holbach, Mrs. . . .<br />
March 23, Parks, W. C. . .<br />
·<br />
·<br />
·<br />
·<br />
·<br />
·<br />
·<br />
errerer Bu06-<br />
.<br />
.<br />
O m HE committee met at the offices of the society<br />
on April 1st. According to the usual custom,<br />
the chairman for the current year was elected<br />
1 1 0 at this meeting, being the first meeting after the<br />
5 5 0 annual general meeting, when the committee<br />
0 5 0 election takes place. Dr. S. Squire Sprigge, on the<br />
( 8 6 proposal of Sir Alfred Bateman, seconded by Mr.<br />
Hesketh Prichard, was elected chairman for 1912.<br />
1 1 0 The committee then proceeded with the election of<br />
1 1 0 members and are glad to report another large<br />
10 0 increase, thirty-three members and associates being<br />
0 100 added to the list, making the total election for the<br />
1 1 0 year 133. There were six resignations.<br />
( 10 6 The solicitors then laid before the committee a<br />
0 0 report of the legal work done during the month.<br />
0 5 0 At the last meeting they reported that a writ had<br />
O been issued for the recovery of royalties. They were<br />
0 5 0 now happy to state that the royalties and costs had<br />
0 been paid and the matter settled. In the second<br />
1 1 0 case, reported also at the last meeting, where a writ<br />
0 had been issued, the accounts had now been<br />
0 5 0 obtained. The solicitors having elicited a full<br />
0 5 0 statement from the other side, now reported that<br />
O they were in a position to settle. In another case,<br />
chronicled last month, the advice of the committee<br />
0 had been accepted by the member concerned and<br />
0 2 6 the case was closed. The solicitors reported that<br />
0 10 0 in a bankruptcy case which the society had taken<br />
6 up on behalf of one of its members, they were<br />
0 afraid no money would be forthcoming. A certain<br />
1 1 0 number of actions had been taken against a paper<br />
1 1 0 on behalf of contributors whose payments were in<br />
3 0 arrear. One had been settled, and the solicitors<br />
0 5 0 hoped to report the settlement of another next<br />
month as judgment had been signed. In a case of<br />
5 5 0 dramatic work, where judgment had been signed<br />
0 5 0 on behalf of one of the members of the society, the<br />
5 0. solicitors had got into touch with the defendant<br />
0 5 0 and hoped to be able to make some satisfactory<br />
.<br />
.<br />
.<br />
.<br />
.<br />
0<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
.<br />
0<br />
.<br />
.<br />
.<br />
.<br />
<br />
<br />
## p. 204 (#656) ############################################<br />
<br />
204<br />
THE AUTHOR.<br />
settlement. Upon another case, also for a dra- without alteration, but Mr. Hall Caine, subject to<br />
matist, the solicitors reported at some length. It his being willing to undertake the duties, was elected<br />
related to a dispute between two members of the to the Copyright Sub-Committee in recognition of<br />
society. The legal position, which, originally, had his work on the Copyright Bill.<br />
been very complicated, had been made clearer by An enquiry was made of the committee as to<br />
the explanation of the complaining party, and the their action in respect of the literary and the<br />
solicitors set out the facts in detail. The com- dramatic censorships. The secretary was instructed<br />
mittee gave the whole matter very careful con- to write to the member making the enquiry,<br />
sideration and authorised the solicitors, if possible, explaining the work which the committee had done.<br />
to settle the dispute, acting as arbitrators between It would be inexpedient to set out fully the action<br />
the two parties. If, however, they found it of the committee, but it may be as well to state<br />
impossible to settle, they were to refer it back to that matters of such importance to authors and<br />
the committee.<br />
dramatists had not escaped their consideration.<br />
The secretary then laid before the committee A resolution from the Nobel Prize Committee<br />
a letter one of the members had received from a requesting their disbandment was next considered.<br />
publisher. He was instructed, with the member's The committee decided, having obtained the opinion<br />
authority, to write to the publisher on the matter. of the chairman, Lord Avebury, and having care-<br />
In another case the secretary put before the fully considered the whole situation, that they could<br />
committee the desire of a member that the society not accept the resolution, and instructed the Nobel<br />
should take steps to discover whether his book was Prize Committee to that effect. The committee<br />
being pirated in the Colonies. It is necessary to considered that the society should still maintain:<br />
state, in regard to this case, that the society had its position, recognised by the Swedish Academy,<br />
already taken action at the request of the member as the agent for the collection of the votes in<br />
to stop an infringement which had occurred in England.<br />
England, and had obtained a large sum for him The question of Russian copyright was next<br />
as damages for such infringement. The committee discussed, and the secretary reported that Russia<br />
instructed the secretary to point out that it was and France had signed a treaty for copyright<br />
outside the society's scope to act as detectives with protection. He mentioned the steps which had<br />
a view to discovery of infringements of copyright, been taken in order, if possible, to obtain a treaty<br />
but that in the circumstances if the member was between Great Britain and Russia, and was<br />
willing to pay a certain sum to defray out-of- instructed to press the matter forward.<br />
pocket expenses the society would do its best to The suggestions put forward at the general<br />
assist bim.<br />
meeting by various members were next considered.<br />
A member laid before the committee a complaint They were as follows:-<br />
against a publisher, arising out of an agreement 1. That further articles should be published in<br />
which he had signed. While the committee gave the The Author dealing with publishers' agreements.<br />
matter their serious consideration, they instructed 2. That the society should claim for the general<br />
the secretary to express their regret that they did fund a commission on sums of money recovered for<br />
not see how they could interfere, as the member members.<br />
must be bound by the terms of his contract.<br />
3. That a fresh issue of The Cost of Production<br />
The secretary mentioned also an action which had should be published.<br />
come before the City of London Court, in which All these matters had the committee's serious<br />
His Honour had referred the issues to the arbitra- consideration. After considering the first, they<br />
ment of the secretary of the society. The com- decided to print further agreements from time to<br />
mittee authorised the secretary to act.<br />
time, with comments.<br />
Following the cases came the question of the They did not think, in the matter of the second<br />
re-election of the sub-committees, which also takes proposal, that it would be possible for them to ask<br />
place at the first meeting of the Committee of for commission on moneys recovered for members.<br />
Management following the general meeting.<br />
They considered that such a claim, even if it could<br />
The sub-commitees were re-elected. Mr. W.J. be made legally, would be undignified. At the<br />
Locke and Mr. James T. Tanner were elected to same time they wish to chronicle the fact that some<br />
fill the vacancies on the Dramatic Sub-Committee members have recognised the work of the society<br />
caused by the retirement of Mr. Granville Barker by donations to its capital fund.<br />
and Captain Basil Hood. These gentlemen had In the matter of The Cost of Production the<br />
been approved by the dramatic section of the committee think it may be possible, first through<br />
society. The Composers' Sub-Committee having the columns of The Author, and finally in book<br />
only recently been elected, the election was con- forn, to issue some articles on this subject, but in<br />
firmed. The other sub-committees were re-elected view of the expense it will involve the committee<br />
<br />
<br />
## p. 205 (#657) ############################################<br />
<br />
THE AUTHOR.<br />
205<br />
feel that before they can undertake the work, it will cases which had been taken in hand by the society.<br />
be necessary, by means of a subscription list, to One case of no small importance referred to the<br />
ascertain what support they may expect from the infringement of a member's copyright in Canada.<br />
members. They desire, however, to add that any The second matter for discussion referred to the<br />
particulars touching the cost of production can question of fees from the managers of portable<br />
always be obtained on application to the secretary. theatres, and a letter was read which had been<br />
A letter from the advertisement agents was read received from the secretary of the Travelling Theatre<br />
to the committee, and the committee decided to Managers' Association in which it was stated that<br />
continue under the present agreement which is that association would communicate with the<br />
binding on the agents and the society for another Dramatic Sub-Committee when the matter under<br />
two years.<br />
discussion had been placed before the annual<br />
Authority was given for the affixing of the seal general meeting of that association, which would<br />
of the society to a divident warrant.<br />
take place in June.<br />
The Managerial Treaty, which had taken so<br />
much of the time of the sub-committee and the<br />
Dramatists' Club, was finally settled. The draft<br />
JOINT COMMITTEE MEETING.<br />
of a letter to be sent to the chairman of the Society<br />
of West End Managers by the chairman of the<br />
“ COPYRIGHT ACT REGULATIONS."<br />
Dramatic Sub-Committee was considered and<br />
JUST before the Easter holidays the Board of settled, and the secretary was instructed to obtain<br />
Trade forwarded to the Society of Authors the draft the chairman's signature and to forward the letter.<br />
of the statutory rules and orders provided under The sub-committee also chose certain gentlemen to<br />
section 3 and section 19, subsection 6, of the undertake-subject to their consent—the duties of<br />
Copyright Act, 1911. As there was no time to call delegates to meet the representatives of the Society<br />
a meeting till after the Easter holidays, the Chair- of West End Managers, and the secretary was<br />
man, to whom the secretary referred the matter, instructed to enquire whether they would be willing<br />
decided to obtain a report from counsel-Mr. E. to serve.<br />
J. MacGillivray_and to call a meeting of the three The settlement of the schedule of fees referred to<br />
committees together to consider the report when it at the last meeting of the sub-committee was<br />
came to hand. As the time allowed by the Board adjourned for further discussion, as also was the<br />
of Trade for submitting any suggestions on the question of the collection of fees for amateur rights,<br />
rules was short, the meeting was called for Thurs- and the percentages that should be paid to agents<br />
day, April 18. Previous to the meeting Mr. for such collection.<br />
MacGillivray's report was forwarded with a copy<br />
of the rules and orders to every member. The<br />
Cases.<br />
meeting was held at the rooms of the Society of<br />
Arts. The Chairman opened the meeting by<br />
OWING to the Easter Vacation falling in the<br />
reading the report, and then placed it before the<br />
month of April, there are few cases for that<br />
committees paragraph by paragraph. The prin-<br />
month to record in this issue. In only nine<br />
ciples laid down in the report were accepted. The<br />
matters has the secretary intervened. Three of<br />
chairman then invited the members present to<br />
these referred to the settlement of accounts. One<br />
indicate any other directions in which they thought<br />
has been settled, and in the other two cases matters<br />
the interests of copyright holders should be pro-<br />
are still in the course of negotiation. In one case<br />
tected under these rules. There was some discussion,<br />
the publisher has offered and the author is con-<br />
and finally certain points to be embodied in the<br />
sidering certain proposals of settlement. In the<br />
report were agreed to. The secretary was instructed<br />
other case the publisher has pleaded, first, that the<br />
to draft the report, and Mr. MacGillivray was kind<br />
principal was abroad, and, secondly, that certain<br />
enough to undertake the work of revising it before<br />
changes were being made in the firm. Another<br />
it was sent to the Board of Trade.<br />
case, remaining over from the previous month, lies<br />
against the latter firm, and the secretary has been<br />
obliged to press for immediate settlement, failing<br />
which it will be necessary to transfer the claims to<br />
DRAMATIC SUB-COMMITTEE.<br />
the society's solicitors. In one case for the return<br />
of a MS. the MS. has been returned. There have<br />
THE April meeting of the Dramatic Sub-Com- been two demands for money. One has been<br />
mittee was held at the offices of the society on the settled and the other has so recently come into the<br />
19th. After the minutes of the previous meeting office that there has been no time for a reply to the<br />
had been read the secretary reported the dramatic secretary's letter. Two out of three disputes on<br />
<br />
<br />
## p. 206 (#658) ############################################<br />
<br />
206<br />
THE AUTHOR.<br />
minor points in agreements have been settled, the Quarrell, Mrs. E. A.. . Ladies' Army and<br />
publishers having given the necessary explanations.<br />
Navy Club, Bur-<br />
The third is rather a difficult matter, as it refers<br />
lington Gardens,<br />
to a question of whether work done by a printer is<br />
W.<br />
up to sample and according to contract, but as Robbins, Alfred F. . . Dunheved, Villa<br />
negotiations are proceeding it is hoped it will be<br />
Road, S.W.<br />
closed by next month.<br />
Sargent, Frederic . . 162, Portsdown Man-<br />
There is a case open, beyond the one already<br />
sions, W.<br />
mentioned from the former month, but as the Smith, Miss Annie Burns. 227, Kenelm Road,<br />
member lives in South Africa the matter must<br />
Small Heath, Bir-<br />
necessarily be delayed.<br />
mingham.<br />
Two matters have been placed in the hands of Speer, William H., M.A., Poweyscourt, Bal-<br />
the society's solicitors forth with without the inter- Mus.Doc. .<br />
. combe, Sussex.<br />
vention of the secretary, and these matters will be Spottiswoode, Sybil . . 2, Sion Hill Place,<br />
referred to in the Committee Notes in the June<br />
Bath.<br />
issue of The Author.<br />
Sterrey, Charles Ernest . West Hill, Manor<br />
Avenue, Kidder-<br />
minster.<br />
Elections.<br />
Taylor, Mrs, Basil (Harriet Holland Lodge, 35,<br />
Osgood)<br />
. . Addison Road, W.<br />
Anderton H. Osmond . Hermitage, Broad Webb, Mrs. David (Anne<br />
Meadow, King's Weaver).<br />
Norton.<br />
Wood, Mrs. A. E., clo J. B.<br />
Bilsborough, Katie Bank Cottage, Grass Wood, Esq., C.I.E. . Indore, Central India.<br />
Florence . . . ington, Yorkshire.<br />
Black, Miss Clementina.<br />
Bland, John Otway Percy The Clock House,<br />
BOOKS PUBLISHED BY MEMBERS.<br />
Shepperton-on-<br />
Thames.<br />
Bridge, Frank . . . 23, Foster Road, WHILE every effort is made by the compilers to keep<br />
Chiswick, W. this list as accurate and exhaustive as possible, they have<br />
Corbett-Smith, Capt.<br />
some difficulty in attaining this object owing to the fact<br />
Arthur.<br />
Middle Temple, E.C.<br />
that many of the books mentioned are not sent to the cffice<br />
by the members. In consequence, it is necessary to rely<br />
Dunkler. Charlwood. . 5, Chesterfield Place, largely upon lists of books which appear in literary and<br />
Weymouth.<br />
other papers. It is hoped, however, that members will<br />
Forrester, J. Cliffe. . 42, Argyle Road,<br />
co-operate in the compiling of this list and, by sending<br />
West Ealing.<br />
particulars of their works, help to make it substantially<br />
accurate,<br />
Forsythe, R. . . . 6, Salisbury Road,<br />
ART.<br />
Godstone, Surrey. SHAKESPEARE MEMORIAL SOUVENIR OF THE SHAKE-<br />
Guest, Mrs. Carmel Haden 16a, John Street, SPEARE BALL. Edited by MRS. GEORGE CORNWALLIS-<br />
Adelphi.<br />
WEST18 x 113. F. Warne. £5 58. n.<br />
Harris, Mrs. E. H. . . Grey Abbey, Cocker-<br />
ART AND THE COMMON WEAL. By WILLIAM ARCHER.<br />
(Conway Memorial Lecture, delivered at South Place<br />
mouth, Cumber Institute on February 23rd, 1912.) 63 X 44. 76 pp.<br />
land.<br />
Watts, 9d. n.<br />
Jarvis, Winifrede (Oliver<br />
BOOKS FOR THE YOUNG.<br />
Dryasdust)<br />
FIVE SHORT PLAYS FOR CHILDREN. By ANTONIA R.<br />
Jebb, Miss Eglantyne . 6, Harvey Road,<br />
WILLIAMS. 74 x 44. 44 pp. Year Book Press. 60.n.<br />
Cambridge.<br />
Jefry, John.<br />
DOMESTIC ECONOMY.<br />
Keate, Miss . . . Hampton Court LETTERS TO YOUNG HOUSEKEEPERS. By MARIE DE<br />
Palace.<br />
JONCOURT (MRS. W. PHIPSON BEALE). A Supplement<br />
to WHOLESOME COOKERY, by the Samé Author.* 74 x 5.<br />
Kenny, Rowland . . New Reform Club.<br />
133 pp. Kegan Paul. 18. (Paper); 13. 6d. (Cloth).<br />
Linecar, Arthur, (Arthur<br />
Grim).<br />
DRAMA,<br />
Mackay, Mrs.<br />
PLAY-MAKING : A Manual of Craftsmanship. By WILLIAM<br />
Miller, Miss Dorothy 4, Hova Court, Hove,<br />
ARCHER, 9 X 54. 371 pp. Chapman & Hal. 78.6d. n.<br />
MILESTONES : A Play in Three Acts. By ARNOLD BENNETT<br />
Blanche<br />
. Sussex.<br />
and E. KNOBLAUCH, 63 X 44 126 pp. Methuen.<br />
O'Neill, Miss Mary.<br />
28. n.<br />
AKING X 56. o Three Acts..126<br />
<br />
<br />
## p. 207 (#659) ############################################<br />
<br />
THE AUTHOR.<br />
207<br />
FICTION.<br />
POETRY.<br />
IN COTTON WOOL. By W. B. MAXWELL. 78 X 5. 396 pp. THE ISCARIOT. By EDEN PHILLPOTTS. 8 X 54. 55 pp.<br />
Hutchinson. 68.<br />
Murray. 38. 6d. n.<br />
FOUR CHIMNEYS. By S. MACNAUGHTAN. 74 x 44. POEMS. ' By CLIFFORD KING. 400 pp. Kegan Paul.<br />
314 pp. Nelson. 28. n.<br />
58. n.<br />
THROUGH THE POSTERN GATE. By FLORENCE L, BAR- MOODS, SONGS, AND DOGGERELS. By John GALSWORTHY.<br />
CLAY. 74 X 5. 269 pp. Putnam. 68.<br />
9 x 54, 96 pp. Heinemann. 58. n.<br />
THE VOICE FROM THE NIGHT. By CHARLES E. STERRY.<br />
74 x 5. 438 pp. George Allen. 68.<br />
POLITICAL<br />
THE APPLE OF EDEN. By E. TEMPLE THURSTON. 8 X<br />
CHINA IN TRANSFORMATION. By A. R. COLQUHOUN.<br />
54. 127 pp. Stanley Paul. 6d.<br />
THE GARDEN OF SWORDS. By MAX PEMBERTON. 71 x 5.<br />
Revised and Enlarged. With Two Maps. 78 X 5.<br />
328 pp. Cassell. 1s. n.<br />
299 pp. Harper. 58. n.<br />
THE FAMILY LIVING. By E. H. LACON WATSON. 71 X<br />
REPRINTS.<br />
· Ō. 371 pp. Murray. 68.<br />
THE NIGHT LAND. By WM. HOPE HODGSON. 73 x 5. AN EASTER ANTHOLOGY. Collected, Arranged, and Edited<br />
583 pp. Nash. 68.<br />
by W. KNIGHT. 7 x 4?. 218 pp. Sidgwick & Jackson,<br />
SON OF THE IMMORTALS. By LOUIS TRACY. 73 x 5. 28. 6d. n.<br />
316 pp. Ward Lock. 68.<br />
THACKERAY'S BOOK OF SNOBS. With an Introduction by<br />
THE STOLEN BACILLUS. By H. G. WELLS; THE GIANT G. K. CAESTERTON. 260 pp. 6 X 4. Blackie. 28. 6d. n.<br />
FISHER. By MRS. HUBERT BARCLAY; THE THREE<br />
KNAVES. By EDEN PHILLPOTTS. 6 X 4. Macmillan's<br />
SPORT.<br />
Sevenpenny Series.<br />
SPORTSMEN AND OTHERS. By R. C. LEHMANN. 78 X 5.<br />
THE FOUR FEATHERS. By A. E. W. MASON. 61 X 41.<br />
226 pp. Kegan Paul. 38. 6d. n.<br />
379 pp. (Library of Copyright Fiction.) Nelson. 6d. n.<br />
THE HUNTING YEAR. By WILLIAM SCARTH Dixon.<br />
THE MAJOR'S NIECE. By G. A. BIRMINGHAM. 71 x 5.<br />
Illustrated. London : W. J. Ham Smith. 68. n.<br />
302 pp. Smith, Elder. 38. 6d. n.<br />
THE FAITH OF HIS FATHERS. A Story of Some Idealists.<br />
THEOLOGY.<br />
By A. E, JACOMB. 7 X 41. 339 pp. Melrose. ls. n.<br />
THE CUP AND THE LIP, By STEPHEN KNOTT. 71 x 5.<br />
BAHAISM : The Religion of Brotherhood and its Place in<br />
Murray & Evenden. 68.<br />
the Evolution of Creeds. By F. H. SKRINE. 77 x 5.<br />
THE DEWPOND. By CHARLES MARRIOTT. 8 X 5. 344 pp.<br />
72 pp. Longmang. 18. 6d.<br />
Hurst & Blackett. 68.<br />
THE ORDINARY MAN AND THE EXTRAORDINARY THING.<br />
A BACHELOR'S COMEDY. By J. E, BUCKROSE. 73 x 5.<br />
By HAROLD BEGBIE. 73 x 5, 256 pp. Hodder &<br />
307 pp. Mills & Boon. 68.<br />
Stoughton. 68.<br />
ELIZABETH IN RETREAT. By MARGARET WESTRUP<br />
TOPOGRAPHY.<br />
(MRS. W. SYDNEY STACEY.) 7.1 x 5. 428 pp. Lane. 6s. THE LONDON MUSEUM AT KENSINGTON PALACE. Being<br />
LOVE GILDS THE SCENE AND WOMEN GUIDE THE PLOT. an Historical Guide to the Palace and its Contents. By<br />
By AGNES and EGERTON CASTLE. 78 X 5. 339 pp. E. LAW, F.S.A. 71 X 54. 179 pp. Hugh Rees.<br />
Smith, Elder. 63.<br />
THE ISLE OF WIGHT. Described by EDWARD THOMAS.<br />
THE GOVERNESS. By MRS. ALFRED HUNT and VIOLET<br />
9 x 63. 64 pp. Blackie. 28. n.<br />
HUNT. With a Preface by FORD MADOX HUEFFER. WINCHESTER. Described by SIDNEY HEATH. 94 x 68.<br />
73 X 44. 315 pp. Chatto & Windus. 68.<br />
64 pp. Blackie. 28. n.<br />
THE KING's Kiss. An Historical Romance. By L. M.<br />
STACPOOLE KENNY. 74 x 5. 288 pp. Digby, Long. 68.<br />
THE WOMAN WHO TEMPTED. By GERTRUDE WARDEN.<br />
7 x 5. 304 pp. Ward, Lock. 6s.<br />
A GIRL FROM THE SOUTH. By CHARLES GARVICE. 7*X<br />
5. 340 pp. Cassell. 18. n.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
TRYPHENA IN LOVE AND YOUNG SAM AND SABINA. By<br />
NOTES.<br />
WALTER RAYMOND. 78 X 5. 295 pp. Dent. 38. 6d.<br />
JOHN INGERFIELD AND OTHER STORIES. By JEROME K.<br />
JEROME. 6 X 44. 220 pp. (Cheap Reprints.) F.<br />
Palmer. 18, n.<br />
"M ESS of the d'Urbevilles” and “Far from the<br />
GEOGRAPHY.<br />
1 Madding Crowd ” are the first two volumes.<br />
OXFORDSHIRE. By P. H. DITCHFIELD. 218 pp. Cam.<br />
published in the new Wessex edition of the<br />
bridge University Press.<br />
works of Mr. Thomas Hardy in prose and verse,<br />
with preface and notes. The edition will be com-<br />
LITERARY.<br />
pleted in twenty volumes, price 78. 6d. nett each.<br />
LEAVES OF PROSE. By ANNIE MATHESON. With Two<br />
Each volume is to contain a frontispiece in photo-<br />
Studies. By MAY SINCLAIR. 75 X 5. 315 pp. S.<br />
Swift. 58. n.<br />
gravure, and a map of the Wessex of the novels<br />
MEDICAL.<br />
and poems. The author has written a new general<br />
THE MOTHER'S BOOK ON THE REARING OF HEALTHY preface for the present edition, which appears in<br />
CHILDREN. By FLORENCE STACPOOLE. 7 X 4. 120 pp. « Tess of the d'Urbevilles.” Messrs. Macmillan &<br />
Wells, Gardner. ls.<br />
Co. are the publishers.<br />
PHILOSOPHY.<br />
In “Our Future Existence” or “ The Death-<br />
THE KINGDOM OF MAN. By SIR RAY LANKESTER. New purviving VOSCIOUSNESS Olmal, Dy Dulo<br />
Surviving Consciousness of Man," by Mr. Fred. G.<br />
and Revised Edition. 8} 51. 114 pp. Watts. 18.n. Shaw, the author's primary object is to establish<br />
<br />
<br />
## p. 208 (#660) ############################################<br />
<br />
208<br />
THE AUTHOR.<br />
the reality of a death-surviving consciousness and the end of March. The same author has a story in<br />
to prove that this consciousness is distinct from Pearson's Magazine for April. The story, which is<br />
and has a separate existence from the normal con- called “Cupid, Librarian,” won a £10 prize in the<br />
sciousness of our everyday life. The book is issued £260 Story Competition run by that magazine.<br />
at 10s. 6d. nett, and copies may be obtained from Mrs. Charlotte Cameron, whose last book, “A<br />
the author, whose address is Neville Court, Abbey Woman's Winter in South America,” was published<br />
Road, N.W.<br />
by Messrs. Stanley Paul & Co., is about to publish<br />
The scene of Louise M. Stacpoole Kenny's new a novel on the Delhi Durbar. Mrs. Cameron was<br />
novel, entitled “The King's Kiss” (Digby, Long & special correspondent for The Lady's Pictorial<br />
Co.), is to be found in the France of the seven- during that period.<br />
teenth century. Many of the characters of her Her Majesty the Queen has been graciously<br />
previous novel: Love is Life” (Greening & Co.) pleased to accept a set of Mrs. Alice Perrin's Anglo-<br />
appear in this historical romance. The heroine, Indian novels, specially bound.<br />
Iseult Marquise de Saint-Armand, relates the story Mrs. Fred. Reynolds will publish shortly, through<br />
of the kiss she was forced to receive from Louis Messrs. Chapman & Hall, her twenty-first novel.<br />
Quatorze in order to save the life of her Irish It is entitled “ The Grey Terrace," and deals largely<br />
cousin Harry Macnamara, who as a Whig and a with the problem as to how far a man must hold<br />
Protestant had acquired the enmity of some mem- himself responsible for the accidental slaying of<br />
bers of the French Court. Her husband, Victor de another. The greater part of the book, like "The<br />
Saint-Armand, passionately resents the king's Horseshoe,” by the same author, has its setting in<br />
embrace, throws his wife from him, and, riding to Cornwall.<br />
Versailles, has a stormy scene with Louis. As a Messrs. John Ouseley will shortly publish a new<br />
result the Marquis disappears, and Iseult, left in novel, “Until That Day," by Harold Wintle,<br />
ignorance of his fate, gets brain fever, and when F.R.G.S.<br />
she recovers goes through many trials. The K. L. Montgomery's new novel, “ The Gate-<br />
story of the love of Alain Vicomte de Lescure openers," will shortly be published by Mr. John<br />
- Iseult's brother—for Aileen Macnamara and Long. “The Gate-openers," the germ of which<br />
for his former sweetheart Yvonne Duchesse de ran in serial form through the Sunday Chronicle,<br />
Nevers, is interwoven with the romance, and many under the title of “ A Rebekah Rioter," deals with<br />
famous personages besides the Roi Soleil appear in the history of the toll agitations in South Wales<br />
its pages, amongst others James II., his Queen, during the “Hungry Forties.”<br />
Mary of Modena, and Frances, Duchess of Mr. W. L. George's new novel, “ The City of<br />
Tyrconnel.<br />
Light : a Story of Modern Paris," published here<br />
In the United States, Benziger Brothers, New last month by Messrs. Constable & Co., will be<br />
York, have published Louise M. Stacpoole Kenny's published very shortly in the United States by<br />
'A Knight of the Green Shield. A romance of Messrs. Brentano.<br />
the days of Saint Louis.” This firm previously Mr. E. A. Reynolds-Ball published last month a<br />
issued for her “St. Charles Borromeo. A sketch new work, entitled “Outfit and Equipment for the<br />
of the Reforming Cardinal,” and “ Francis de Sales. Traveller, Explorer, and Sportsman." The work<br />
A Study of the Gentle Saint.”<br />
contains a chapter on outfit and equipment by Ralph<br />
“ Corn in Egypt” is the title of a new book by Durand ; one on health for the traveller, by Mr.<br />
Mr. E. Newton Bungey, which Messrs. Lynwood & Reynolds-Ball; one on equipment for the big<br />
Co. are publishing. The scene is laid in an English game sportsman, by F. C. Selous, as well as other<br />
village, and the corn in Egypt" is the new rector, chapters on matters of interest to travellers.<br />
who is a bachelor. There is a considerable golfing A second edition of Mr. Reynolds-Ball's “ Guide<br />
element in the story.<br />
to Jerusalem " has also appeared. It has been<br />
H.M. Queen Alexandra has graciously accepted revised and enlarged, with plan of Jerusalem, four<br />
a copy of Mr. Isidore Ascher's volume of sonnets, maps, and five page illustrations. It is published<br />
which Mr. Arthur H. Stockwell has just published. by Messrs. A. & C. Black.<br />
Mr. Robert H. Sherard has recently finished a "A Free Farmer in a Free State," by J. W.<br />
new novel entitled “My French Husband,” told in Robertson-Scott (Home Counties) is a study of<br />
the first person by the heroine. Mr. Sherard's rural life and industry in Holland. The author<br />
novel “After the Fault” is being translated into has visited Holland at intervals during the past<br />
French by Monsieur Georges Bazill, and will appear quarter of a century, and has made a study of the<br />
as a feuilleton in Le Temps newspaper.<br />
agriculture and horticulture in every one of its<br />
"A Little Aversion," by Clara J. Martin, was provinces, special facilities being afforded him by<br />
published by Messrs. Arrowsmith, of Bristol, and the Dutch Department of Agriculture. The book<br />
Messrs. Simpkin, Marshall & Co., London, towards is illustrated from a number of photographs, which<br />
<br />
<br />
## p. 209 (#661) ############################################<br />
<br />
THE AUTHOR.<br />
209<br />
show not only the details of agricultural organisa Messrs. Maunsel & Co., Ltd., of Dublin, the<br />
tion, but also the intimate life of the rural publishers of the works of J. M. Synge and of<br />
population. Mr. William Heinemann publishes other notable books by Irish writers, inform us that<br />
the book.<br />
they are extending the scope of their business so as<br />
Mrs. Alec Tweedie has an article on “Eugenics” to include in their catalogue works by British and<br />
in the May Fortnightly. It is particularly well- American authors generally, and that they have<br />
timed, as the first International Congress of now opened London offices at Oakley House,<br />
Eugenics is to be held in London in July, opening Bloomsbury Street, W.C.<br />
with a banquet on the 24th, which will be attended by Messrs. Longmans, Green & Co. have just pub-<br />
prominent men and women from all over the world lished a volume entitled “Some Things We Have<br />
who are interested in the betterment of the race. Remembered," by Percy M. Thornton. The object<br />
“The Girl's Book about Herself” is the title of pursued by the author has been to record various<br />
a volume which Messrs. Cassell & Co. are publish- matters of public interest in the century covered by<br />
ing for Miss Amy B. Barnard, L.L.A. Written in a father and a son, members of the family of<br />
a chatty, personal, and confidential style, its pur- Thorntons, of Birkin, in Yorkshire.<br />
pose is to give helpful advice to girls in their middle Admiral Thornton's experiences in the French,<br />
and later teens. The book is issued at 3s 6d. net, American and Burmese Wars form the staple part<br />
uniform with “Talks with Children About of the earlier chapters, although intertwined with<br />
Themselves.”<br />
the family records and narratives concerning naval<br />
Mr. Alfred Hurry's novel, “ The Man Who Came friends. Then follow reminiscences of Harrow and<br />
to Life," has just been republished in cheap form Cambridge times, and the author's experience in<br />
by the Sheffield Weekly Telegraph.<br />
Municipal and Parliamentary life.<br />
Messrs. Stanley Paul & Co. announce that in The last chapter is devoted to athletics, and con-<br />
future, commencing with the May issue, they will tains, among other things, an account of the contest<br />
publish “The Librarian and Book World,” the first between the Jesus College, Cambridge, oarsmen and<br />
number of which appeared under the title of the Belgian crew, which took place at Ghent, in<br />
“The Librarian ”about two years ago. The journal, May, 1911.<br />
in which several new features are being introduced, Mr. Russell Barrington's book, “ Through Greece<br />
is an independent one and representative of the and Dalmatia," is about to be published by Messrs.<br />
whole profession, and should appeal to the librarian, A. & C. Black. The book is illustrated from photo-<br />
publisher, bookseller, and bookbuyer alike, as well graphs and drawings by Mrs. Barrington.<br />
as to the curator of museum and art gallery. To “War and a Woman" is the title of Mr. Max<br />
the general reader it should be of assistance, as Pemberton's new book, to be published by Messrs.<br />
* Best Books," a classified and annotated monthly Cassell & Co. on May 2nd.<br />
causerie on all the best books published in this Mr. J. D. Beresford, whose first two novels,<br />
country during the year, provides an unfailing index “ The Early History of Jacob Stab]” and “The<br />
of the progress made in every department of Hampdenshire Wonder," appeared last year, has a<br />
science, art, and literature. In addition each new volume, “A Candidate for Truth," appearing<br />
number contains nearly 20,000 words on all matters through Messrs. Sidgwick & Jackson, Ltd.<br />
of interest to everyone connected with books.<br />
Mr. Rafael Sabatini has chosen for the title of<br />
DRAMATIC.<br />
his new novel “ The Justice of the Duke.” In this<br />
story Mr. Sabatini presents the real Cesare Borgia “The Finishing Touch,” by “Rita,” an episode<br />
as he visualises him, but in settings purely arti- of school life, was produced on March 28 at a<br />
ficial. Messrs. Stanley Paul & Co. are the dramatic entertainment on behalf of the National<br />
publishers. They have added also to their “ Two Service League, given at S. Ambrose Hall, West-<br />
Shilling ” Series, Miss Dolf Wyllarde's novel “ The bourne. It was followed by another play by “ Rita,"<br />
Riding Master,” a story of modern London life, with entitled “Stamp Day in the Kitchen."<br />
a sporting interest, now in its sixth edition.<br />
Mr. William Boyle's new play, “ Family Failing,"<br />
A new addition to Messrs. Stanley Paul & Co.'s was produced at the Abbey Theatre on March 28.<br />
“Clear Type” Sixpenny Series is “The Dream The play is one of Irish rural life, and the theme<br />
and the Woman,” by Tom Gallon.<br />
the laziness of a certain family of Irish farmers who<br />
Mr. Keighley Snowden's new novel, “Bright neglect their land until they are almost without any<br />
Shame," follows “ The Free Marriage,” with the food supplies. The arrival of a relation from<br />
same publishers, Messrs. Stanley Paul & Co. It is America re-establishes the family credit, tempo-<br />
the story of a prodigal father confronted with a son rarily due to an erroneous idea that he is a man of<br />
unawares, whose parentage he has bimself to verify substance, instead of one with an almost equally<br />
and claim. An afterword pleads for bolder morals. strong aversion to industry as themselves. In the<br />
<br />
<br />
## p. 210 (#662) ############################################<br />
<br />
210<br />
THE AUTHOR.<br />
cast were Mr. Arthur Sinclair, Miss Eileen “George Sand, sa vie et ses (Euvres," by<br />
O'Doherty and Mr. Fred O'Donovan.<br />
Vladimir Karénine. This is the third volume of a<br />
Mr. G. Carlton Wallace's play, “ The Apple of work which undoubtedly stands first in value<br />
Eden," originally produced at the Elephant and amongst all the books that have been written on<br />
Castle Theatre, on August 22, 1910, was staged, that “large-brained woman and large-hearted man,<br />
last month, at the New Princes Theatre. Its plot self-called George Sand," as the gifted author is<br />
deals with the flight of Queen Margaret of Slavonia styled by the English poetess Elizabeth Browning.<br />
from the country, in the government of which she It is some years since the other two volumes were<br />
is supposed to be associated with her consort, King published, and many admirers of George Sand have<br />
Ferdinand, whose unbridled debaucheries drive her been waiting with impatience the conclusion of a<br />
forth in disgust. The cast includes Mr. Stephen E. work which will probably take its place as the<br />
Scanlan, Mr. Henry Lonsdale, and Miss Nora Lerin. definite and authentic account of one of the most<br />
prolific of French women writers and one of the<br />
most remarkable of women.<br />
PARIS NOTES.<br />
“La Vie économique,” by Frédéric Passy, member<br />
of the French Institute, is the title of a small pub-<br />
M HE Franco-Russian treaty for the protection lication by the eminent writer, who is such an<br />
T of French literary property has now been ardent pacificist. The name of the author is a<br />
ratified by the Czar and the French Govern- sufficient guarantee of the value of the little work.<br />
ment. When the signatures have been exchanged “ La Locomotion à travers le temps, les meurs,<br />
the law will come into force at the end of six et l'espace," by Octave Uzanne, is, as the sub-title<br />
months.<br />
tells, a picturesque and anecdotal résumé of the<br />
A lawsuit has been brought against the Pathé history of the various terrestrial and aerian means<br />
Cinematograph Company by Madame Hémon, who of transport. In this book we have some twenty<br />
is the proprietor of Prosper Mérimée's works. A illustrations showing the most primitive styles of<br />
story of his had been adapted for the Cinemato- chariots and vehicles of various kinds. There are,<br />
graph without permission. The company has been later on, the sedan chairs and all kinds of public<br />
requested to take the number in question from its and private conveyances, post-chaises, and finally<br />
catalogue and to pay Madame Hémon 1,000 francs trams, railway carriages above and below ground,<br />
and the costs of the lawsuit.<br />
automobiles, cycles, and all the various inventions<br />
“Pages de Critique et de Doctrine,” by Paul hitherto tried for soaring in the sky. The volume<br />
Bourget, is the title of this author's latest book. contains some twenty-two coloured and 200 black<br />
“ Anthologie des Humoristes français contem- and white illustrations.<br />
porains," by Pierre Mille. This little book, by “Un Champ d'Or,” by Paul Bernot. This little<br />
the well-known author of “ Barnavaux," is a col volume may be used as a guide by intending explorers<br />
lection of some of the most amusing pages of in search of a country in which they may make<br />
French writers during the last hundred years. Not money. The enormous natural resources of the<br />
only is the little volume of the greatest interest to Argentine Republic point to the fact that it must<br />
the ordinary reader, it will be found invaluable to be a veritable “Land of Canaan" for an intelligent<br />
the entertainer in search of monologues and amusing colonist.<br />
stories for recitation. Among others, we would “L'Argentine au XXeSiècle," by Albert Martinez,<br />
especially mention the pages from authors such as Under-Secretary of State, and Maurice Lewandowski,<br />
Maurice Donnay, Tristran Bernard, Alfred Capus, D.L. (docteur en droit). The Argentine Republic<br />
Alphonse Allais, Courteline, and “Les Poeles seems to be greatly in favour at present, if we are<br />
mobiles,” by MacNab; “Le Hareng saur," by to judge by the amount of literature published<br />
Charles Gros; “Le Guillotine par persuasion," by quite recently on the subject. The volume which<br />
Chavette ; and “ La Levrette en paletôt,” by we are now recommending to our readers has been<br />
Auguste de Chatillon.<br />
approved by the French Academy, and its authors<br />
“Quelques (Euvres et quelques Ouvriers," by have been awarded the Fabian prize. M. Emile<br />
Etienne Lamy, of the French Academy. This book Levasseur, Member of the French Institute, writes<br />
is valuable on account of its historical interest and the preface, and M. Ch. Pellegrini, ex-President of<br />
the amount of absolutely reliable information it the Argentine Republic, an introduction. The<br />
contains. The language in which the information fourth edition has been revised and brought quite<br />
is conveyed is an example of the most admirable up to date, and two maps give an added interest to<br />
French prose.<br />
the volume.<br />
“Le Règne intérieur," by Henri Bataillé, is a “La Philosophie de M. Henri Bergson," by René<br />
volume containing a selection of thoughts by this Gillouin, is a book that will be read with interest by<br />
author and an introduction by Denys Amiel. all who are following the present day evolution of<br />
<br />
<br />
## p. 211 (#663) ############################################<br />
<br />
THE AUTHOR.<br />
211<br />
thought. It is now some eight years since<br />
C. Coignet gave us that little masterpiece of<br />
erudition and conciseness, entitled “Nouvelle Philo.<br />
sophie, Bergson," published by Girardi et Audebert,<br />
of Dole. In that little pamphlet we had a clear and<br />
simple exposition of the first principles of Bergson.<br />
The headings of the three divisions of the little work<br />
were “Kant et Bergson,” “Données immédiates de la<br />
Conscience,” and “Matière et Memoire.” This little<br />
pamphlet was written at a time when the philosophy<br />
of Bergson was just making its way, and would be<br />
invaluable to his disciples on account of the extreme<br />
clearness with which the exposition is given. In<br />
this volume by M. Gillouin we have the Bergson of<br />
to-day, and we see the gradual evolution of his<br />
ideas. It is certainly a book to be read by all who<br />
are interested in metaphysics.<br />
“ Souvenirs," by Ch. de Freycinet, Member of<br />
the French Academy, and ex-President of the<br />
Council. This volume is a cheaper edition of the<br />
work which attracted such attention some little<br />
time ago. Thirty years of the history of France,<br />
embracing one of the most agitated periods of the<br />
Nineteenth Century, written by an eminent man of<br />
letters, a savant, and a celebrated statesman, could<br />
not fail to interest the public, and the publication<br />
of a cheaper edition, making it more possible for<br />
the book to be read by the general public, is a wise<br />
idea.<br />
“ Universitaires d'aujourd'hui,” by Pierre<br />
Leguay, gives us, in six studies, an idea regarding<br />
the tendencies of some of the professors of the<br />
Sorbonne, exercising an immense influence over the<br />
French youth of to-day. Ernest Lavisse, Gustave<br />
Lanson, Charles Seignobos, Henri Lichtenberger,<br />
Charles Victor Langlois, and Emile Durkheim, are<br />
the professors chosen by the author of this study<br />
(Euvre social de l'Etat Belge (Les Catho-<br />
liques au pouvoir),” par Georges Goyau, presents<br />
some interesting details with regard to the immense<br />
progress that has been made in this country since<br />
1884. The titles of the chapters give an idea of<br />
the subjects treated, and all who know the thorough-<br />
ness and the conscientious work of this author will<br />
realise that the little pamphlet contains a store of<br />
valuable information. “L'avènement des Catho-<br />
liques : Leur programme social. La Protection<br />
ouvrière. La Représentation ouvrière. La Pré-<br />
voyance. La Protection et le Relèvement des Petits<br />
Paysans. Le Relèvement des Petits Metiers ” are<br />
among the subjects treated. In conclusion, M.<br />
Goyau tells us that in 1907 Belgium did more<br />
business in proportion to its inhabitants than any<br />
country in the world. The statistics are as<br />
follows :- Belgium 754 francs per head, Great<br />
Britain 512 francs, Germany 263 francs, and<br />
France 246 francs. The little pamphlet is well<br />
worth reading and is quite a revelation.<br />
“ 1871. La Commune à Paris et en Province<br />
(Fevrièr – Mai)," is a book written by Lieutenant-<br />
Colonel Rousset, who took an active part as<br />
lieutenant in the military events of that Revolu-<br />
tion.<br />
“Le Mystère d'Agadir," by André Tardieu,<br />
is a book which will throw much light on the<br />
mystery of the diplomatic crisis of 1911. Various<br />
hitherto unpublished documents add considerably<br />
to the interest and value of this volume.<br />
The works of the late M. Henri Brisson will be<br />
read with interest, as they are most instructive.<br />
“La Congrégation. Opinions et Discours (1871—<br />
1901),” is a volume containing the speeches made<br />
by M. Brisson, and his various projects. He speaks<br />
of the Congregations, and he gives some inte-<br />
resting opinions on the subject of education,<br />
which he considers a great social problem.<br />
A curious book is published by M. Georges<br />
Polti, entitled “L'Art d'inventer les Personnages."<br />
T he remarkable book by David Jayne Hill,<br />
formerly American Ambassador to Berlin, has been<br />
admirably translated by Mme. Emile Boutroux.<br />
The title in French is “L'Etat Moderne et l'Orga-<br />
nisation internationale." A preface has been<br />
written by M. Louis Renault, member of the<br />
Institute. Madame Boutroux has rendered great<br />
service to her compatriots by translating this book.<br />
At the Odéon Théâtre, “L'Honneur japonais”<br />
has been put on admirably. Madame Sarah<br />
Bernhardt has given the “ Reine Elisabeth,”<br />
which the public had been anxiously awaiting for<br />
some time; at the Théâtre Antoine " Au Soleil ; les<br />
Petits,” and at the Athenee the “Midsummer<br />
Night's Dream” has been admirably put on in<br />
French by M. Camille de Saint-Croix, who is<br />
authorised to give some outdoor performances of<br />
the Shakespeare plays in the Saint Cloud Park.<br />
ALYS HALLARD.<br />
“Pages de Critique et de Doctrine" (Plon-Nourrit).<br />
“Anthologie des Humoristes français contemporains"<br />
(Delagrave).<br />
• Le Regne Intérieur " (Sansot).<br />
“George Sand, sa vie et ses euvres" (Plon).<br />
“La vie économique" (Larousse).<br />
"La Locomotion à travers le temps, les meurs et<br />
l'espace” (Ollendorff).<br />
"Un Champ d'Or” (Louis Michaud).<br />
“L'Argentine au XXe siècle" (Armand Colin).<br />
“La Philosophie de M. Henri Bergson " (Bernard<br />
Grasset).<br />
“Souvenirs” (Delagrave).<br />
“ Universitaires d'aujourd'hui " (Bernard Grasset).<br />
" 1871. La Commune à Paris et en Province (Fevrièr-<br />
Mai)” (Tallandier).<br />
"Le Mystère d'Agadir" (Calman Levy).<br />
“La Congrégation” (Cornély).<br />
“L'Art d'inventer les Personnages ” (Figuière).<br />
"L'Etat Moderne et l'Organisation internationale"<br />
(Flammarion).<br />
<br />
<br />
## p. 212 (#664) ############################################<br />
<br />
212<br />
THE AUTHOR.<br />
A CURIOUS SUGGESTION.<br />
shall, in the absence of any agreement to the contrary, be<br />
the first owner of the copyright, but where the work is a<br />
IN the March number of The Author an article<br />
contribution to a newspaper, magazine, or similar periodi-<br />
cal, there shall, in the absence of any agreement to the con-<br />
1 appeared showing how a company promoted trary, be deemed to be reserved to the author a right to<br />
by certain music publishers was proposing to restrain the publication of the work, otherwise than as a<br />
make the new Copyright Act an excuse for collect part of a newspaper, magazine, or similar periodical.<br />
ing gramophone royalties, on the condition that It does not appear under this section that the<br />
one-third of the royalties so collected should be proprietor of a newspaper is entitled to the copyright,<br />
handed over to the publishers. It is needless to except in the case where a photograph is ordered by<br />
repeat the details of the matter, as any member of the proprietor or where an author is on the staff of<br />
the society can refer to them in The Author. the paper under a contract of service or apprentice-<br />
The attention of the members of the society must ship. In that case the copyright in the photograph<br />
now be drawn to a letter issued by Messrs. Sir W. ordered or the work done by the member of that<br />
C. Leng & Co., Ltd., proprietors of the Sheffield staff belongs to the owner of the newspaper, as a<br />
Daily Telegraph, in which, again, the new Copy- matter of course, subject to the proviso that the<br />
right Act is cited as a reason for a suggestion newspaper owner cannot publish the work in<br />
inimical to the interests of authors. The letter separate form. But the work of occasional or<br />
runs as follows :-<br />
casual contributors, or anyone who is not in the<br />
Owing to the provisions of the Copyright Act, 1911, it employ of the paper, does not come under section 5<br />
is necessary that it should be understood by all occasiona, at all, and there is no reason whatever for authors,<br />
contributors to newspapers, that the newspaper or periodi' in fact it is contrary to the best interests of all<br />
cal which accepts such contributions should have th<br />
copyright formally conveyed to them by the anthor or<br />
authors, to assign their copyright in any work to the<br />
contributor.<br />
proprietor of a paper. It therefore seems to us the<br />
We presume, therefore, you will have no objection to reference to section 5 of the Copyright Act in<br />
agreeing that from this date onward, by Section 5 of the<br />
Messrs. Leng's letter is misleading.<br />
Copyright Act, 1911, we are to be entitled to all rights of<br />
every description in any article, sketch, photograph, or<br />
But more than that, to say that the assignment<br />
other contribution written or prepared by you on our<br />
of such a copyright is a mere formality required by<br />
behalf, unless, of course, definite arrangements relating to the Act and does not make any alteration in the<br />
any particular article or photograph are made between us conditions existing prior to the Act is also quite<br />
to the contrary.<br />
We shall be glad to have your assent to this arrange-<br />
inaccurate.<br />
ment, which is a mere formality required by the Copyright<br />
Under the law as now existing a newspaper pro-<br />
Act, and does not make any alteration in the conditions prietor acquires by section 18 of the Copyright Act<br />
existing prior to the Copyright Act of 1911, when the<br />
of 1842 a limited copyright only in the work of the<br />
copyright of such articles or photographs was also vested<br />
members of his staff and of those authors who are<br />
in the newspaper or periodical in which they appeared.<br />
(Signed) Sir W. C. LENG & Co., LTD.<br />
specially commissioned to write articles. As regards<br />
casual contributions he acquires only such rights as<br />
The communication might lead the person to<br />
whom it is sent to make an entirely wrong deduc-<br />
he bargains and pays for. But what Messrs. Leng<br />
tion. If the proprietor of a newspaper desires to<br />
& Co. now propose is that the whole copyright given<br />
obtain the copyright in the contributions from an<br />
by the new Act (in itself much more extensive than<br />
author he has only to state when ordering the<br />
under the existing law) should be vested in them<br />
article or story, or in accepting it when offered, that<br />
absolutely! The author's existing right of separate<br />
he is willing to pay so much on condition that the<br />
publication after twenty-eight years would be<br />
copyright is conveyed to him, but this form of con-<br />
extinguished, and apparently Messrs. Leng would<br />
tract has nothing to do with the Copyright Act of<br />
be able to publish the work in any form whatever.<br />
1911, nor with any other Act. So far as that Act<br />
The last paragraph of the letter, therefore, as the<br />
is concerned the section to which the letter refers<br />
first, is in our opinion distinctly misleading. The<br />
society would strongly advise authors in no circum-<br />
(section 5) runs as follows :-<br />
stances to make a formal assignment of the copyright<br />
(1) Subject to the provisions of this Act, the author of a<br />
work shall be the first owner of the Copyright therein :-<br />
in accordance with the terms of the letter under<br />
(a) where in the case of an engraving, photograph, or consideration. The matter is not one of mere<br />
portrait the plate or other original was ordered by some other formality, but of serious importance to the owners<br />
person, and was made for valuable consideration in pur- of copyright property, and all members of the<br />
suance of that order, then, in the absence of any agreement<br />
to the contrary, the person by whom such plate or other<br />
society must be strongly warned against assigning<br />
original was ordered shall be the first owner of the copy their copyright—so much enlarged under the Act<br />
right; and<br />
of 1911—to newspaper proprietors or others with-<br />
(b) where the author was in the employment of some<br />
out taking advice. They should look with great<br />
other person under a contract of service or apprenticeship<br />
and the work was made in the course of his employment by<br />
distrust on any letters sent out by publishers,<br />
that person, the person by whom the author was employed whether of music or of books, or by proprietors of<br />
wwUrave.<br />
<br />
<br />
## p. 213 (#665) ############################################<br />
<br />
THE AUTHOR.<br />
213<br />
<<br />
papers or periodicals which refer to the Act of 1911 them. In order to enable a person to set up a<br />
in such terms as those contained in the letter quoted defence in such a case that he copied a copyrighted<br />
above. After all a newspaper proprietor does not article in good faith when it had no notice of copy-<br />
need for his protection more than the right to right upon it, he must show that the publication<br />
publish the work in his columns, and an agreement which he copies from and which had no copyright<br />
by the author not to republish it in any other form notice upon it was permitted or was authorized by<br />
for a certain time afterwards, which would vary the owner of the copyright.”<br />
with the nature of the paper ; and those who ask for But, because the question of intent to infringe<br />
more than is necessary must be dealt with carefully. bears directly upon the amount of damages recover-<br />
The society constantly advises authors that they able, Judge Holt added : “ Upon that question<br />
should never assign the copyright in their work about the knowledge of defendant whether these<br />
under any circumstances. If they desire to assign pictures were copyrighted you have the evidence,<br />
the right of serial reproduction they should do so, on one hand, of, the gentleman who testified here<br />
but they should be very careful not specifically to that he did not know that they were copyrighted,<br />
assign the copyright on the suggestion that it is a and he did not know that they were published in<br />
mere formality. It is quite clear from the terms of Life, as I recall his evidence. On the other hand,<br />
the section referred to that such assignment is a you have the fact that they were published in Life,<br />
matter for the most serious consideration.<br />
that the Mail and Express was on the exchange<br />
list of Life, so that a copy of Life was sent to them<br />
every week, and that there was put in each of these<br />
UNITED STATES LAW CASE. numbers sent to them this blue slip, which contained<br />
a specific notice in addition to the copyrighted<br />
“ LIFE” v. “MAIL AND EXPRESS."<br />
notice at the head of the paper, that all the pictures<br />
in Life were covered by the copyright and must not<br />
IFE” has just won a suit for copyright be used without special permission. In addition<br />
U infringement against the New York Mail to that there is the evidence in this case in respect<br />
and Express.<br />
to this change in the edition containing the last<br />
The Mail issues an illustrated Saturday supple- picture which was issued.”<br />
ment, a proportion of the matter of which is, it The jury found for the plaintiff and the judg-<br />
seems, pirated—or, in the language of the Juil, ment was confirmed by the Court of Appeals,<br />
“ got from ”–certain foreign papers not copy the amount of damages being assessed at $1,043.14.<br />
righted in this country.<br />
It seems that in turn some of these papers had<br />
pirated certain illustrations from Life, so that the<br />
MAGAZINE CONTENTS.<br />
Vail, in reprinting the pictures again on this side<br />
were plainly infringing Life's copyright.<br />
BOOKMAN.<br />
The Mail's case was aggravated by the fact that<br />
Robert Louis Stephenson. By Neil Munro.<br />
it had infringed a third time after a warning from<br />
Borrow. By Thomas Seccombe.<br />
two previous infringements, and while reparation<br />
for the first infringement was in settlement.<br />
ENGLISH REVIEW.<br />
Suit for damages was brought by Life in the<br />
Among My Books. By Frederic Harrison.<br />
Circuit Court for the Southern District of New<br />
The Crisis in London Journalism. By R. A. Scott-James.<br />
York, and, on losing there, the Mail carried the<br />
FORTNIGHTLY.<br />
case to the Circuit Court of Appeals. The defences George Meredith and His Relatives. By S. M. Ellis,<br />
of the Mail were involved and various. The only William Cobbett. By Lewis Melville.<br />
one of moment, however, was that of ignorance of<br />
NATIONAL.<br />
the existence of American copyright in the illustra-<br />
tions complained of.<br />
Gray's Biographer. By Austin Dobson.<br />
On this point Judge Holt, in his charge to the<br />
jury said : “ If the defendant had knowledge that<br />
SCALE FOR ADVERTISEMENTS.<br />
these pictures were copyrighted, the fact that they (ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
were published over there without any notice of Front Page<br />
... ...£4 0 0<br />
... ...<br />
copyright or any other paper would be entirely<br />
3 0 0<br />
immaterial, and the fact that they did not have<br />
... 0 15 0<br />
knowledge that they had been copyrighted is Single Column Advertisements<br />
ti per inch 0 6 0<br />
immaterial unless those English copies had been Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for<br />
published with the consent of the Life Publishing<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Company and without any notice of copyright upon BELMONT & Co., 29, Paternoster Square, London, E.C.<br />
Other Pages<br />
Hall of a Page ...<br />
Quarter of a Pago<br />
Eighth of a Page<br />
... 1 10<br />
***<br />
"*<br />
0<br />
7<br />
6<br />
Twelve Insertions.<br />
<br />
<br />
## p. 214 (#666) ############################################<br />
<br />
214<br />
THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
1. D 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 />
5. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire.<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
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; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. 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 />
in his ow<br />
ments. Therefore keep control of the advertisements.<br />
ments. Therefore ke<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 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 />
IY. 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 tbe 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 />
TTERE are a few standing rules to be observed in an<br />
il 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. 215 (#667) ############################################<br />
<br />
THE AUTHOR.<br />
215<br />
DRAMATIC AUTHORS AND AGENTS.<br />
16.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., axed<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 />
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 />
1 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 />
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 />
OCENARIOS, 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 28. 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, Chanoery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 216 (#668) ############################################<br />
<br />
216<br />
THE AUTHOR.<br />
GENERAL NOTES.<br />
we have made will suffice to show the position of<br />
authors whose works have not been adapted to<br />
mechanical instruments, whether such works have<br />
COMPOSERS AND GRAMOPHONE RIGHTS. been published prior to, or after, the Act.<br />
It is clear from enquiries made of the secretary The position in regard to works which have<br />
by composers, during the past few weeks, that some been adapted to mechanical instruments prior to the<br />
uncertainty exists as to the effect of the Gramo- Act is, however, a little different. In the case of<br />
phone Clauses in the Copyright Act. The question such mechanical reproductions the composer has<br />
most frequently asked is, How far do these clauses no power to stop their continued sale, nor has he<br />
give composers control over the mechanical repro- power to object to any alterations in, or omissions<br />
duction of music which they have published prior from, his music in these contrivances. Moreover,<br />
to the Act ?<br />
the increase of the royalty from 24 per cent. to<br />
The answer to this question depends upon 5 per cent. provided for in section 19, sub-section<br />
whether such music has or has not been adapted 3 (b), which has been quoted, does not apply to such<br />
to a mechanical instrument. If it has not been reproductions. He is further limited to the extent<br />
adapted then the composer, even if he has assigned that-<br />
the copygright to the publisher, can prevent any no royalties shall be payable in respect of contrivances<br />
reproduction by mechanical instruments. If, how sold before the 1st day of July, 1913, if contrivances<br />
ever, he allows one firm to make such a repro-<br />
reproducing the same work had been lawfully made, or<br />
placed on sale within the parts of His Majesty's Dominions<br />
duction (which reproduction may be made on to which this Act extends before the 1st day of July, 1910.<br />
whatever terms the composer is willing to accept)<br />
then any other mechanical reproducer may similarly<br />
In the case, however, of any mechanical repro-<br />
In<br />
mlarly ductions of such works made by a manufacturer,<br />
adapt his work subject to the following provisions :-<br />
after the first day of July, 1910, while the composer<br />
Section 19, sub-section 2: That he has given the pre-<br />
would have no power to stop the continued sale of<br />
scribed notice of his intention to make the contrivances,<br />
and has paid in the prescribed manner to, or for the<br />
such works, or to exercise any control as to<br />
benefit of, the owner of the copyright in the work royalties<br />
alterations or omissions, and would only be entitled<br />
in respect of all such contrivances sold by him calculated to the 21 per cept. royalty, his royalty would<br />
at the rate hereinafter mentioned.<br />
start from the commencement of the Act (July,<br />
Provided that-<br />
(i.) nothing in this provision shall authorise any altera-<br />
1912) and not as in the other cases, from July,<br />
tions in, or omissions from, the work reproduced, unless<br />
1913.<br />
contrivances reproducing the work subject to similar<br />
alterations and omissions have been previously made by,<br />
or with the consent or acquiescence of, the owner of the<br />
PUBLISHERS' TERMS.<br />
copyright, or unless such alterations or omissions are<br />
reasonably necessary for the adaptation of the work to the In the Correspondence we publish a letter from<br />
contrivances in question ; and<br />
(ii.) for the purposes of this provision, a musical work<br />
one of our members referring to the terms obtained<br />
shall be deemed to include any words so closely associated for a first and second novel. Information of this<br />
therewith as to form part of the same work, but shall not kind is of the greatest value, not only to the<br />
be deemed to include a contrivance by means of which secretary, but also to members of the society.<br />
sounds may be mechanically reproduced,<br />
It happens, from time to time, that members,<br />
Sub-section 3: The rate at which such royalties as afore-<br />
said are to be calculated shall-<br />
without taking advice, are inclined to undersell<br />
(a) in the case of contrivances sold within two years the literary market, owing to ignorance of current<br />
after the commencement of this Act by the person making prices and current terms. The more widely,<br />
the same, be 21 per cent. ; and<br />
therefore, these terms are made known, not only to<br />
(b) in the case of contrivances sold as aforesaid after<br />
the expiration of that period 5 per cent. on the ordinary<br />
those who live by writing, but also to those who<br />
retail selling price of the contrivance calculated in the write for pleasure, the better it will be for all who<br />
prescribed manner, so however that the royalty payable in engage in literature as a profession.<br />
respect of a contrivance shall, in no case, be less than<br />
We are not quite clear what is meant by the<br />
a halfpenny for each separate musical work in which<br />
copyright subsists reproduced thereon, and, where the<br />
statement that the writer received nothing for the<br />
royalty calculated as aforesaid includes a fraction of a copyright, but it may be repeated that in no<br />
farthing, such fraction shall be reckoned as a farthing. circumstances should a writer sell his copyright<br />
There are one or two other sub-sections such as when he retains a continuing interest in the<br />
one providing for a reconsideration of the rates by publication of the work. It is quite the exception,<br />
a public inquiry by the Board of Trade, seven though not unheard of, for an author to receive a<br />
years after the commencement of the Act, and sum of money except as in advance of royalties<br />
another empowering the Board of Trade to issue under the agreement.<br />
regulations in order to give effect to the clause,<br />
but they need not be quoted here, as the quotations<br />
<br />
<br />
## p. 217 (#669) ############################################<br />
<br />
THE AUTHOR.<br />
217<br />
BOARD OF TRADE RULES AND REGULATIONS.<br />
The Board of Trade have now sent in the draft<br />
of the rules and regulations under sections 3 and 19,<br />
sub-section 6, of the new Copyright Act of 1911.<br />
It will be seen on another page that there has been<br />
a committee meeting to deal with the draft report.<br />
As soon as the rules and regulations come through<br />
in their final shape they will be published, with<br />
explanations, in the columns of The Author.<br />
SWEDISH RIGHTS.<br />
We understand that an attempt is being made<br />
by certain publishing houses in Sweden to obtain<br />
the rights in English stories for very low figures.<br />
Some time ago we mentioned that no author should<br />
permit the sale of the book rights for Sweden of an<br />
ordinary full-length novel for less than a £10 note,<br />
and that for serial rights alone of a similar work it<br />
is possible to obtain £5.<br />
Sweden is a small country, but the people are<br />
great readers—particularly of foreign authors. It<br />
is of the greatest importance, therefore, that writers<br />
should not rashly accept any statement made to<br />
them respecting the value of translation rights in<br />
Sweden, but should stand out for the higher<br />
figures. £15. and even £20, have been given for<br />
more popular books. These figures do not, of<br />
course, compare with the figures given for transla-<br />
tion rights in Germany and France, but it must be<br />
remembered that in Germany and France the<br />
circulation is much larger.<br />
not exceed the sum of one hundred dollars ; but<br />
this shall not deprive the copyright proprietor of<br />
any other remedy given him under this law, nor<br />
shall it apply to infringements occurring after<br />
actual notice to a defendant, either by service of<br />
process in a suit or other written notice serred upon<br />
him.<br />
“Nor shall it apply to infringements of dramatic<br />
or dramatico-musical compositions actually and for<br />
profit being produced upon the stage in the United<br />
States at the time of such infringement."<br />
HEARINGS BEFORE COMMITTEE.<br />
At a former hearing before the House Committee<br />
on Patents, George Haven Putnam, on behalf of<br />
the American Publishers' Copyright League, gave<br />
a strong defence of the existing law. At the<br />
hearing this week, representatives of the Society of<br />
American Dramatists and Composers, and other<br />
theatrical organizations, were heard. They are<br />
bitterly opposed to the proposed measure, declaring<br />
that it opens the way to wholesale piracy of books<br />
and plays by the moving-picture interests.<br />
MR. TOWNSEND'S DEFENCE.<br />
In a newspaper interview, Mr. Townsend thus<br />
defends his Bill : “As the law stands, if the<br />
proprietor of a moving-picture theatre exhibits a<br />
film made from a copyright story he is liable to a<br />
penalty of one hundred dollars for the first perform-<br />
ance and fifty dollars for each subsequent perform-<br />
ance. As there are usually at least six performances<br />
daily at which the same film is thrown on the<br />
screen, the proprietor of a moving-picture theatre<br />
is liable to a penalty of $350 if he used a scenario<br />
from a copyright story. As there are produced<br />
from forty to fifty reels for each film made, it can<br />
be readily understood that strike suits may bring<br />
ruin to the moving-picture business.<br />
“My Bill provides that if suit is brought for the<br />
violation of a copyright, the proprietor of a moving-<br />
picture theatre must prove that he had no know-<br />
ledge of the existence of copyright in the story<br />
upon which it is based, and had no reasonable<br />
means of ascertaining that copyright existed. The<br />
burden of proof is upon the violator of the copy-<br />
right. If he can prove innocence he must pay one<br />
penalty only—provided he ceases, upon notifica-<br />
tion, to continue the performance. Should he fail<br />
to heed the notice he is still subject to the penal-<br />
ties provided in the present. At the same time, it<br />
is specifically stipulated that a plea of innocence<br />
shall not be considered in any case where a drama<br />
or play which has been produced is concerned.<br />
“The enactment of the proposed law certainly<br />
cannot prove unjust to any playwright. Nor is<br />
there any reason why the owner of a copyright in<br />
a book or a story will be injured, for he can collect<br />
UNITED STATES COPYRIGHT BILL.<br />
M<br />
(Reprinted by kind permission from the U. S. Publishers<br />
Weekly.)<br />
HE Bill of Representative Townsend, of New<br />
1 Jersey, providing for a practical annulment of<br />
the Copyright Code, so far as it applies to<br />
moving pictures, came up for hearing before the<br />
House Committee on Patents, March 13.<br />
The Bill was originally introduced in January,<br />
The modified draft of it, introduced February 21,<br />
1912 (H. R. 20596), adds to section 25 (b), fourth,<br />
of the Copyright Act of 1909, the following<br />
proviso:<br />
“ Provided, that in the case of infringement of a<br />
dramatic or dramatico-musical composition, or of a<br />
work adaptable for dramatization or portrayal or<br />
exhibition through or by means of motion pictures,<br />
talking machines, phonographs, or other mechanical<br />
devices or combinations thereof, where the defen-<br />
dant proves that he was not aware that he was<br />
infringing a copyright work and could not reason<br />
ably have foreseen that he was so infringing, the<br />
entire recovery by the copyright proprietor shall<br />
<br />
<br />
## p. 218 (#670) ############################################<br />
<br />
218<br />
THE AUTHOR.<br />
from every theatre using the film made from such similar provisions of the copyright statutes of other<br />
book or story, and can protect himself against civilised states.<br />
further reproduction by the simple means of notify- “ These provisions have for their purpose the<br />
ing the owner of the theatre.<br />
carrying out under statute of the interpretation<br />
“Inasmuch as nearly every newspaper publishing of property rights which have for centuries been<br />
original matter to-day is copyrighted, it is apparent accepted, and as far as practicable enforced by the<br />
that the manufacturers of films for moving-pictures courts, on both sides of the Atlantic, under the<br />
and the proprietors of theatres in which those films principles of the common law.<br />
are used cannot possibly know whether each and “A performer having occasion to utilise the plot,<br />
every scenario offered to them is protected by copy- theme, characters, or arrangements of scenes which<br />
right. A conspiracy is easily possible whereby a have come into existence in a story need have no<br />
playlet may be made from a story published in a difficulty in securing, under an equitable business<br />
copyrighted newspaper of Seattle, for instance, arrangement with the producer or the copyright<br />
The film maker is an innocent purchaser. Then owner, the right to make such use. He is in a<br />
a suit is instituted, and hundreds of thousands of position similar to that of the newspaper publisher<br />
dollars demanded for reproduction in moving- who desires to bring into print in a periodical the<br />
picture form of a scene which the author would be text, or some portion of the text, or some rearrange-<br />
only too glad to sell outright for fifty dollars. It ment of the text, of books that have been duly<br />
is to protect such possibilities that the amendment entered for copyright. Authorization for such<br />
is proposed in my Bill.”<br />
special use of the entire material, or of portions<br />
selected from such material, are given in the<br />
OBJECTIONS TO TIIE BILL.<br />
ordinary course of business in consideration of<br />
such payment as is warranted by the market value<br />
All interested in the protection of copyright feel, of the material, that is to say, by its probable earn-<br />
however, that the effect of Mr. Townsend's Billing power, first, for the original owner, and second,<br />
would be so to emasculate that portion of the copy- for the person desiring to make a special use of the<br />
right law covering moving-pictures as to render it same.<br />
practically valueless.<br />
“There is no reason why such property should be<br />
In his letter to the Committee on Patents, Mr. utilised without due compensation. The fact that a<br />
Putman said :-<br />
producer or owner may occasionally be unreasonable<br />
“ Feb. 3, 1912. in his estimate of the value of his property is as<br />
“ MY DEAR SIR : Senate Bill 4233, bearing the true for all other classes of property, but at best or<br />
name of Senator Briggs, was introduced on the at worst affects but a few individual cases. An<br />
8th of January and was referred to the Committee equitable compensation is arrived at safely under<br />
on Patents. This Bill is identical in purpose and business competition and with the usual oppor-<br />
in phraseology with House Bill No. 15,263, which tunity for bargaining.<br />
bears the name of Representative Townsend, and “The Briggs-Townsend Bills give opportunity for<br />
which was introduced on the 9th of December, and the collection, in case of an appropriation such as<br />
in like manner, referred to the House Committee that above referred to, of a penalty • not exceeding<br />
on Patents.<br />
the sum of one hundred dollars. Such a provision<br />
“I am writing on behalf of the publishers of the would mean simply that the protection proposed<br />
country who are associated together in The Ameri- under the law had been practically cancelled.<br />
can Publishers' Copyright League, and on behalf “With the one hand our government gives to the<br />
also of the authors whose business interests are in producer of a copyrighted property a monopoly,<br />
the hands of these publishers and who depend upon that is to say, an absolute control over the thing<br />
the publishers to do what is necessary to protect produced, while with the other, if a measnre like<br />
their copyrights, to express the hope that your com- this should become law, this monopoly or property<br />
mittee will not give its approval to this measure control is practically taken away. The suggestion<br />
and that it may fail to secure enactment. The that such nominal penalty might meet the require-<br />
purpose of the two bills is to remove, or materially ments is connected with the condition that such<br />
to lessen, the obstacles that under the present infringement could not reasonably have been<br />
statute stand in the way of the appropriation' foreseen.'<br />
for dramatic or dramatical musical purposes of the “We point out that this is a contingency that<br />
ideas, themes, and characters that have been created cannot properly be considered by a court. The<br />
by the producers—authors, composers, or artists. motives by which a business man is influenced in<br />
“The protection given by the statute of 1909 is in the attempt to utilise property created by some-<br />
line with (although as a matter of fact is not quite body else, or the actual status of his knowledge of<br />
so comprehensive as) the protection accorded in the the history of such property right, is something<br />
<br />
<br />
## p. 219 (#671) ############################################<br />
<br />
THE AUTHOR.<br />
219<br />
that is not open to evidence. It is concealed We are all aware that art in its highest form<br />
within the consciousness of the individual in ques- must be worked out quite independent of sordid<br />
tion. If a person is willing to appropriate without commercial details, but when the artistic work is<br />
compensation property that has been created by completed the sordid commercial details are bound<br />
somebody else, he is equally willing to certify that to arise, and if the composer or the poet is inade-<br />
he did not have knowledge as to the exact owner- quately paid, then he will cease to exist. It is of<br />
ship, or as to the fact that there was any question. these commercial details in connection with the<br />
A plea of this kind is too trivial to be permitted to growth of these two arts that we should like<br />
find place in a provision of a United States statute to speak.<br />
It may in fact fairly be assumed that any book or There is a strong body of young composers spring-<br />
work of art which bears the record of copyright is ing up in England full of that vitality, that striving<br />
the property of somebody. It may also fairly be after new modes of expression, that unrest which is<br />
assumed that any person having sufficient intelli- at present rampant over the whole world. Equally,<br />
gence to shape a reproduction of such material in there is a strong body of poets giving utterance to<br />
one form or another has sufficient intelligence to this fresh, vigorous, pushing life. The composer,<br />
verify, if necessary, by application to the Bureau stirred by the words of a song, may desire to set<br />
of Copyrights, the record of the term for which the it to music. If he is met, after his just request to<br />
material is protected.<br />
be able to use the words with his music, by an<br />
“It may be answered that an intelligent and trust- extravagant demand from the poet, then the poet<br />
worthy court could be depended upon to protect the will lose the increased vitality which is offered to<br />
interests of the producers against a wrongful appli- him, and the composer's work will drop lifeless.<br />
cation of this provision. If this be true, however, In years gone by composers hardly ever paid<br />
for copyright property, it should be equally true sums to the poets, and this, no doubt, is one of the<br />
for all classes of property.<br />
reasons why a great lyric writer like Heine has<br />
“The first thing is that the law itself shall be so become so popular. Not only one, but many of the<br />
worded as to concede adequate protection which in great school of German composers have set the<br />
other divisions of the law it is proposed to concede. same song of Heine's to music. While it cannot<br />
The courts should not have placed upon them any be fair that the poet should obtain no reward, yet<br />
further responsibility than that of enforcing the it seems reasonable that he should be content with<br />
interpretation of a law wbich is in itself not only a moderate fee for an ordinary song, allowing it to<br />
equitable in purpose, but effective in its phraseology. be produced with the composer's music ; he should<br />
"This objection is respectfully submitted for the not be bound to give the composer an exclusive<br />
consideration of your committee. I ain,<br />
licence for production with the music, for, as in<br />
“ Yours respectfully,<br />
Heine's case, it may turn out that many composers<br />
“GEO. HAVEN PUTNAM.” are inspired by his words, in which case the poet<br />
should reap the benefit of the inspiration which he<br />
has conveyed, and should gain the interpretative<br />
POET AND COMPOSER.<br />
advantage of the advertisement, for if five com-<br />
posers set the same song to music it might happen<br />
that only two of them became popular, the others<br />
HERE are, perhaps, no two arts so closely falling dead.<br />
interwoven as the art of music and the art It is very necessary to impress this view, for the<br />
of poetry. As they both appeal to the sense poet, in his desire for adequate remuneration, must<br />
of hearing, they have become inseparable in song, also look upon the remuneration which the com-<br />
opera and oratorio.<br />
poser is able to obtain. Unfortunately, under the<br />
Now, this close connection is naturally one of present system of music publishing, the composer<br />
great importance both to composers and to poets. is paid very poorly, and reaps but little return for<br />
It is of importance to poets because of the enormous the work he gives. If, therefore, the poet makes a<br />
popularity which may be given to their words by claim for an unreasonable payment for the licence<br />
the music to which they are set, and it is of import- to use his words, as already pointed out, the poet<br />
ance to composers, for it is not infrequently the loses the increased vitality given by the composer<br />
case that the words inspire the music. If, therefore, and the music is practically lifeless. A sum down<br />
there happens to be a great forward movement should be sufficient to compensate a poet, who would<br />
embodying the life, thought and character of a race be able to repeat his licences indefinitely if his<br />
in any period of its evolution, it is of importance songs were popular.<br />
that these thoughts as expressed by the youthful Again, if the life-force of the composer of any<br />
composer should be able to link themselves with generation is compelled into the wrong channel, if his<br />
the thoughts expressed by the youthful poet. music has to be set to the words of other generations<br />
M<br />
<br />
<br />
## p. 220 (#672) ############################################<br />
<br />
220<br />
THE AUTHOR.<br />
and other times, the composer may fail entirely in tions, however, that I am speaking, but of books<br />
inspiration, and may, in consequence, be forced to which, by the testimony of the inajority of critics,<br />
write on lines which are not truly interpretative merit at least polite attention. Most writers, I<br />
of the generation in which he lives. It is like the expect, have experienced at some time or other the<br />
marriage of winter and summer. Such marriages fate of finding themselves passed over in complete<br />
are not usually happy.<br />
silence by some or other organ of the Press. It<br />
Let the poet, therefore, be moderate in his can be no satisfaction to them to know that a<br />
demands, first for the sake of his art, and secondly possible explanation is that their publisher does not<br />
for the sake of his pocket. For his art that his advertise sufficiently in that particular organ to<br />
poem may receive an adequate interpretation from please the editor and that therefore his authors are<br />
contemporary composers, for his pocket that his doomed to suppression.<br />
popularity, increased by the musical setting, may Cases of complete ignoring of a book sent out for<br />
bring a wider circle of admirers and a wider public notice, it may be granted, are comparatively few.<br />
for the purchase of his work.<br />
Coming now to the subject of those which do<br />
receive attention, we may lay it down that the<br />
most desirable qualities in a reviewer are fairness<br />
and competence. Unfortunately the two qualities<br />
AUTHORS AND REVIEWERS. are hard to find in combination. The best-equipped<br />
critic of a particular work might appear to be one<br />
who has specialised in the subject with which the<br />
M HE plaint of the writer of books against the author is dealing. Now it speaks ill for human<br />
I man who reviews him in the Press is a very nature: but it is a fact that a reviewer in the<br />
old one, but it cannot be said that it gets same “ line of business " as the author is generally<br />
less bitter with the lapse of time. Rather it the least inclined to be just. I would not like to<br />
grows in intensity as the number of professedly suggest that there is often the sordid reason that<br />
literary columns or pages increases. The multipli- he sees in the author a competitor to whom he has<br />
cation of critics, potentially either friendly or a safe opportunity of doing an ill turn. But I fear<br />
unfriendly, is like the simultaneous multiplication that this is sometimes so. For this cause a paper<br />
of the pleasures and pains of life, it would appear. professedly written by experts may be the unfairest<br />
The added pains more than counterbalance the to authors. Of late years there has grown fashion-<br />
added pleasures ; the new wounds are more felt able a particularly atrocious form of critical attack.<br />
than the new balms appreciated. Some authors The old style of slashing review was painful, for-<br />
there may be who are so happily constituted as<br />
to be proof against criticism, except when it is<br />
The boldest start from public sneers,<br />
Afraid of shame, unknown to other fears.<br />
favourable. Like the sundial they may say, Horas<br />
non numero nisi serenas. But I venture to think But at least there was something to be learnt<br />
that such are rare. Most of the irritable race are from a full-blown review, however hostile, of a book.<br />
very sensitive to the acid of reviews. Now, were Now we see in some critical journals under the<br />
every critic fair-minded, honest, and intelligent, heading of “New Books," “Books Received," or the<br />
the matter would not be much. The effect of the like, a “ short notice," which “ does not necessarily<br />
medicine on the patient would be salutary, and preclude a lengthier review." Here in one blighting<br />
the review columns would be an excellent hospital paragraph the critic may damn whom he likesor,<br />
for authors. Perhaps it need hardly be said that rather, dislikes. I hope I may be pardoned if I<br />
that is scarcely the case to-day ; least of all in quote a personal experience. There is a periodical<br />
England, I am inclined to believe. Writers, which I will call the Parthenon, an august publica-<br />
indeed, have many fierce grievances against those tion which prides itself particularly on its expert<br />
who are entrusted with the task of reviewing their criticism. Hither were sent for review copies of<br />
works.<br />
two books of mine in succession. After the first<br />
It may sound paradoxical to say that the worst (although it sold well enough to cover a three-<br />
notice is no notice at all ; and it is not true, in any figure advance and was excellently received by the<br />
case. There is, nevertheless, from the author's Press in general) had been left unreviewed, the<br />
point of view a real injustice in being compelled to second was treated to half-a-dozen lines of short<br />
send out a copy it may be of an expensive net notice, which made not the slightest pretence to<br />
book) for review, to find the book ignored and thus deal with it. About this time the Parthenon<br />
lose the royalty on that copy to no purpose. It is abounded in these “short notices” full of spleen<br />
easy to say that the work was not worth notice; against quite respectable authors in one particular<br />
and doubtless there are shoals of such published line of writing. As far as any knowledge of the<br />
every year. It is not of these worthless produc- books themselves was concerned, these paragraphis<br />
<br />
<br />
## p. 221 (#673) ############################################<br />
<br />
THE AUTHOR.<br />
221<br />
might have been written by the office-boy after the pulpit. You cannot reply to him on the spot,<br />
inspection of the covers. But the style was not and so you do not make your appeal to the original<br />
office-boy's ; and, further, why should an office- audience. You are lucky if you are permitted to<br />
boy nurse such malice ? Again, I know the case reply at all. An editor will occasionally, it is true,<br />
of an author to whom a journal (which may be insert a letter from the author answering the<br />
called the Thunderer) always meted out these short attack upon him—but very often, be it noted, with<br />
damnatory paragraphs until one day he published a concurrent retort from the reviewer or else an<br />
a book under an alias ; when, behold! he received editorial “ crusher,” which makes your case seem<br />
an excellent review. Can any explanation be worse than before.<br />
suggested in such cases except that of personal Is there then no amelioration to be looked for in<br />
spite on the part of some critic ?<br />
the sad lot of the reviewed ? None, it is to be<br />
The incompetent reviewer is a grievance to the feared, except through the growth of a sense of<br />
author, but à less dangerous affliction than the justice in the critic or of intelligence in the reading<br />
unjust one. Happily he is very frequently aware public. And who among the authors is optimistic<br />
of his deficiencies, and, although his notice is enough to hope for so much in our dear friends ?<br />
worthless critically, he does not wish to give him- Probably the only remedy is to<br />
self away, so contents himself with mild patronage<br />
and plentiful quotation of passages which seem<br />
Learn to deride the critic's starch decree<br />
to him interesting ; particularly from the introduc- and, when the opportunity occurs,<br />
tion, if there is one, for why should he read<br />
further ? Such reviews may very likely benefit the<br />
Break him on the wheel he meant for me.<br />
author by increasing the sale of the book—some Which line of conduct, of course, is very immoral<br />
consolation, at least, for the absence of intelligent<br />
appreciation.<br />
Phokion.<br />
There is a complaint which has often been made,<br />
but without the effect of removing the grievance.<br />
IS IT WORTH IT?<br />
In fact, that grievance is greater at the present day<br />
than ever before, and is increasing as periodicals<br />
multiply. I am speaking of the pluralist reviewer. TN Mr. Herbert Smith's article—“ The Hazard<br />
The unsophisticated reader, confronted with a mass 1 of the Pen," in a past number—we have one<br />
of reviews, probably imagines quot sententiæ tot and all been asked to cogitate upon Robert<br />
homines. Whereas, on the contrary, the fact is Buchanan's reply “Is it worth it ? ” when asked<br />
that one man, who may be an enemy, has some what he had to say about his calling, and in<br />
times the chance of noticing your book in half-a- Mr. Arthur Lovell's protest upon the question<br />
dozen columns; with the result that you get six we have been reminded that “the author is the<br />
hostile criticisms which the public takes to be teacher and leader of mankind.” And our<br />
independent.<br />
answer will be exactly in accordance with our<br />
Nor is this an evil for which the remedy is conception of the calling of literature. If we<br />
provided by signed reviews. The pluralist reviewer conceive of it as a genteel and dignified trade, in<br />
has many signatures. These may be known to the which we may do well unto ourselves that men may<br />
author if he is familiar with the coulisses of the speak good of us, in which the capital is brains, and<br />
literary world. But the general reading public does the sole purpose to make money, and to make it<br />
not dream of identifying, say, “ X.Z.," “ Polonius quickly, then we shall most certainly answer that it<br />
Redivirus." and “A Blankshire Map," whose is not worth it, and, if we are wedded to the ink,<br />
criticisms he sees in various columns. Undoubtedly we would do well to turn to some craft of penman-<br />
we should get fairer and more careful reviews if ship which is not literature, such as advertisement<br />
the writer were obliged to append his actual name writing, which opens out immense possibilities for<br />
to them ; and we should abolish the undue influence the wielding of words to express the excellencies of<br />
of the pluralist critic. But anonymity, or at the trade commodities at a rate of payment which is<br />
very least pseudonymity, is still a great fad in certain and highly satisfactory, and therefore indeed<br />
English journalism, and editors cling desperately to worth it. But if we have had the smallest glimmer<br />
the "we" that has been consecrated to their use of a vision that the calling of literature stands alone,<br />
Try as he may, not even G. K. Chesterton has been above and beyond every other calling by reason of<br />
able to slay the editorial We.<br />
its power over the minds and souls of men--greater<br />
But even an editor is not all bad, it may be than that of the parson, because the world is our<br />
objected. He will allow the criticised author, parish, and of the schoolmaster, because our work<br />
smarting under the sense of wrong, to defend him- is for all time--if we have at all conceived that the<br />
self. Yes, but a reviewer is like a preacher in author is the teacher and leader of mankind, we<br />
<br />
<br />
## p. 222 (#674) ############################################<br />
<br />
222<br />
THE AUTHOR.<br />
shall be slow to answer in the negative. If we enters upon it without being aware of the privations<br />
have in any degree grasped the awful burden of and sufferings it entails, privations which will in<br />
responsibility for our influence upon the thoughts most cases undermine his health and cripple his<br />
and actions of our fellow men which we as authors usefulness. And wbat is equally serious is that he<br />
must bear, whether we will or no, we shall begin to is always under the temptation to write poor un-<br />
realise that in the nature of things our work can worthy stuff because, sad to say, that is to a beginner<br />
never be adequately paid for in the coin of the what pays the best. But the author, who follows<br />
realm. That author who has glorified the cowardly some other vocation for his living and writes at the<br />
act of suicide in his novel is responsible for the same time, proves, to use Mr. Lovell's words, that<br />
suicide from suggestion which is the result—the “he is a real author who has something to say which<br />
blood is on his head. And that author, who has must at all costs come out whether the listeners are<br />
inspired the souls of his fellows and turned many to few or many," and if the output be less the work<br />
righteousness, sball shine as the stars of heaven- will be greater. Mr. Herbert Smith will murmur,<br />
he shall have his reward. For by reason of the “ Amateur authors." But no one would call<br />
solidarity of mankind the influence of the written Spenser, or Thomson, or Wordsworth, or Matthew<br />
word is never ending, not alone through the Arnold amateur authors. And yet each of these<br />
immortal literature of the great, read by the few, pursued some other vocation as help to a livelihood<br />
but, alas, through the trivial fiction of mushroom -Spenser and Thomson, secretaryships, Words-<br />
growth, read by the many–from which minds un- worth, a distributor of stamps, Matthew Arnold an<br />
consciously receive impressions which react on other inspectorship of schools. When Matthew Arnold's<br />
minds, only to react again and again. Thus it is old friend, Dr. Fitch, asked him why he accepted<br />
not in the nature of things that work of eternal an inspectorship he replied, “ Because I wanted to<br />
value can receive its due in gold and silver. When marry." There is of course a special kind of<br />
one goes to buy a coat one considers the sum of sacrifice involved in choosing the wiser course.<br />
guineas it will cost and asks, “ Is it worth it? Will There is a peculiar joy in doing the thing for<br />
it last a certain length of time ? ”—because the coat which you were made and doing it habitually ; in<br />
will in due time perish. And if one buys it the feeling the thought spring to birth upon the pen-<br />
tailor has his reward. In this case I give my a joy the like of which is felt in no other profession.<br />
money for something of material value, and I do Until he had beaten his music out of it, Matthew<br />
well to ask if it is worth it. But when I give Arnold found little that was congenial in the<br />
myself for work of eternal value, I know that it is inspection of schools, when he had to accept<br />
worth it, and my question shall rather be—“Is it hospitality from the noncomformist of his day, who,<br />
worthy?”<br />
in loving zeal and pity for his ignorance, made<br />
We owe a debt of gratitude to Mr. Herbert Smith mention of him in the family prayer as “our poor<br />
for bringing this question forward, for until we as misguided brother."<br />
authors settle it each for oneself we shall be able to It is most saddening to think of the heart-<br />
accomplish no great work. Who could imagine breaking disappointments and privations that great<br />
Shakespeare, as he wrote his immortal plays, writers have had to face, but let this not make us<br />
pausing to ask himself—“Is it worth it?" or pessimistic. Let us rather be thankful for their<br />
Bunyan, as he wrote his immortal allegory in noble example of pluck and endurance, ard resolv-<br />
Bedford jail, being troubled with doubts as to ing to try to emulate them, take heart again. Did<br />
whether it would ultimately bring him an adequate the world ever appreciate the message of those who<br />
monetary reward ? And both of these immortal would save it best? It has been ever the same all<br />
writers were in their day as poor and obscure as any down the pages of history, from the voice of the<br />
struggling author to-day.<br />
prophet to that of the Divine Son. Let us learn to<br />
Yet withal authors must live, and it is quite realise the treasures of darkness, that we too must<br />
true that food and raiment and cash for the rates suffer if we would do great work, that we, like all<br />
and taxes will not fall like manna from heaven, and the truly great, must be<br />
an author who is harassed by butcher's and baker's<br />
Heated hot with burning fears,<br />
bills can never give of his best to the world. But<br />
And dipt in baths of hissing tears,<br />
the point to be weigbed is this. While there are<br />
And battered with the shocks of doom<br />
so many other openings by which people with<br />
To shape and use,<br />
brains can earn an income-certain even if it be for 6 he that suffers most has most to give"<br />
small-18 it justifiable for authors without private Robert Buchanan asked the question. Is it<br />
means to launch upon such a precarious enterprise worth it?" That question was a little less than<br />
as authorship as a sole means of livelihood ? Is it<br />
Robert Buchanan. Yes, it is worth it, after all.<br />
fair to those dependent on him ; is it even fair to<br />
himself ? For no such author in the present day<br />
VIOLET GLADE<br />
<br />
<br />
## p. 223 (#675) ############################################<br />
<br />
THE AUTHOR.<br />
223<br />
“ COPYRIGHT : ITS HISTORY AND ITS misprinting them, and pleading for legislation<br />
LAW.”*<br />
to protect literary works. The issue of ancient<br />
classics under printers' privileges led to the grant<br />
of an exclusive right to print the works of contem-<br />
THIS is a valuable and comprehensive work on<br />
porary authors, and in this way printers and authors<br />
1 copyright, being thoroughly up to date and<br />
acquired a copyright in the modern sense of the<br />
dealing with the law of copyright in all<br />
term.<br />
countries. It contains a summary of the principles<br />
A chapter on the history of copyright in the<br />
and practice relating to copyright, with special United States contains a summary of the salient<br />
reference to the American Code of 1909 and the features of the new American law of 1909. Under<br />
British Code of 1911.<br />
this code copyright is effected by publication with<br />
· The publication of the work at the present time<br />
the copyright notice, and completed by registration<br />
is particularly interesting, because it marks the<br />
and deposit of two copies sent to the Register of<br />
an<br />
new stage of copyright developments. The<br />
Copyrights at Washington “promptly after<br />
American Code and the British Code, which have<br />
publication.<br />
oblication<br />
The manufacturing clause is con-<br />
The<br />
taken the place of all previous legislation on copy-<br />
tinued and extended, by the requirement of printing<br />
right, show a gratifying advance upon the earlier<br />
and binding as well as typesetting in the United<br />
laws. Portugal bas joined the International Copy-<br />
States. The musical composer is given control<br />
right Union by adherence to the Berlin Convention<br />
over mechanical reproductions, subject to the<br />
in 1911, and there are hopeful indications that all<br />
provision for a compulsory licence in case he permits<br />
the countries of Europe will soon realise the<br />
any such reproduction. The copyright term is<br />
advantage of uniformity and join the Copyright<br />
twenty-eight years with a like renewal term,<br />
Union. With this object in view Russia has<br />
making fifty-six years in all. Rights of perform-<br />
already shaped, and Holland is shaping, domestic<br />
ance are included under copyright, and unpub-<br />
legislation. Even in the East there has been some lished works are specifically protected by special<br />
progress, for China in 1910 decreed copyright registration<br />
protection throughout her vast empire of ancient In the second part of the work the author deals<br />
and reviving letters. Another further step is the<br />
with literary and general copyright, chiefly with<br />
Buenos Aires Convention of 1910, already ratified<br />
reference to the provisions of the new American<br />
by the United States, which made a new basis for Code, but incidentally mentioning analogies of the<br />
copyright protection throughout the Pan-American<br />
English law. This includes the scope and subject-<br />
Union.<br />
matter of copyright, its ownership and duration,<br />
The first part of this work contains matters of<br />
the formalities as to notice, registration and deposit,<br />
academical interest, dealing with the nature and<br />
and the manufacturing clauses.<br />
origin of copyright, the early history of printing<br />
Dramatic, musical, and artistic copyright is the<br />
and its monopolies, showing how the exclusive subject of the third part of the work : while the<br />
privilege of multiplying copies was first granted to fourth part deals with infringement and remedies.<br />
the person who made an accurate copy of some<br />
importation, and the methods and practice of the<br />
classic work and obtained a certificate of the<br />
copyright office.<br />
correctness of his copy. The earliest incunabula<br />
Under International and Foreign Copyright the<br />
came from Germany, the cradle of the art of new British Code is summarised, and a chapter<br />
printing, and some decades later printing<br />
deals with copyright in other countries, both those<br />
privileges were developed in Italy. Aldus which belong<br />
which belong to, and those which are outside, the<br />
Manutius was given the privilege of printing any Copyright Union.<br />
Greek texts for a term of twenty years, and A useful table called a " Conspectus of Copyright<br />
another privilege of printing works in italics, an by Countries” sets out the formalities as to regis-<br />
invention of his own modelled on the handwriting tration and deposit in all countries, the requisites<br />
of Boccaccio, as a quasi-patent. The rights for<br />
as to notice, the terms of copyright, and Inter-<br />
other languages were granted to other printers.<br />
national treaties. This is exactly on the lines of<br />
In Venice there was a provision, similar to the the table in “ Playright and Copyright in all<br />
modern manufacturing clause, which made the Countries” by Colles and Hardy, to whom the<br />
privilege dependent upon the works being printed author gratefully acknowledges his indebtedness.<br />
in that city. In 1528 Luther raised his voice As a matter of policy, in dealing with such a<br />
against the wrongs of authors, complaining that complicated subject as copyright, it seems pre-<br />
many printers were engaged in spoiling books by ferable to keep the law, as it exists at the present<br />
* “Copyright: Its History and its Law," by Richard<br />
time, distinct and separate from the history of its<br />
Rogers Bowker. Houghton Wifflin Company, The River<br />
development, and it is probable that this book<br />
side Press, Cambridge, Mass., U.S.A. 208.<br />
might be of more practical service, if certain<br />
<br />
<br />
## p. 224 (#676) ############################################<br />
<br />
224<br />
THE AUTHOR.<br />
chapters had been confined to the historical growth early page, not only that he does not write plays, but<br />
of copyright and the other chapters had dealt also that he feels incapable of writing them. More-<br />
exclusively with the existing law. For in using a over, though he has carefully analysed the methods<br />
work of reference with a view to ascertaining the of the men who write plays both successfully and<br />
law of copyright in a particular country, it is unsuccessfully, he finds those methods so various<br />
embarrassing to find the introduction of paragraphs and contradictory that he feels it very difficult, if<br />
relating to what the law used to be, or what amend- not absolutely impossible, to deduce a code of rules<br />
ments were proposed while the Bill was before from them. But that is no great matter. The art<br />
Parliament. The chapter on" Copyright through- of writing plays, like all the arts, is, or should be.<br />
out the British Empire” furnishes an illustration progressive, and progresses, or should progress, by the<br />
of this confusion ; for it contains the provisions breaking of old rules and the substitution of new<br />
of the new code of 1911, which are stated some ones therefor. The rules which suited Sardou would<br />
what too generally for practical purposes, while by no means suit Mr. Bernard Shaw. Either of<br />
here and there are interspersed references to the those two dramatists would probably have failed if<br />
previous law, and eren detailed statements of the he had taken the other for his model ; both of them<br />
modifications of the Copyright Bill in the Committee by going their own way, have succeeded, -the one<br />
stage and the proposals it contained in its earlier employing a rigid but complicated technique, the<br />
form.<br />
other flinging technique to the winds, and trusting<br />
“ Copyright law is exceptionally confused and to wit, audacity, and the kind of paradox which he<br />
confusing," as the author tells us in his “ Fore- himself professes to regard as platitudinous troism.<br />
word,” and the dominating idea arising from a All that is common to them is the habit, natural or<br />
perusal of this work is the regret that so much acquired, of thinking in terms of the theatre; and<br />
history should be introduced into the chapters no man, of course, can teach another man to do that,<br />
which appear to be primarily intended to give a though he may sometimes be able to point out to him<br />
clear exposition of the existing law. Historical that he is not doing so.<br />
references, which are illuminating, and are made It follows that the possibilities of usefulness of<br />
for the purpose of explaining the meaning of some such a manual as Mr. Archer has produced are<br />
statutory phrase or expression, undoubtedly serve limited. It does not follow that it is useless ; and<br />
a useful purpose ; but this work contains perhaps we imagine that, though it will help the neophyte<br />
too much historical detail, and there is some con- very little, the most practised dramatic hands will<br />
fusion in its arrangement. It is difficult, however, be able to derive profit from its perusal. All of<br />
for one who has during the last twenty-five years them have had their failures, comparative if not<br />
participated in copyright development, in the absolute; and by no means have all of those compara-<br />
conferences and the draftings of the new American tive failures been glorious in the sense of being due<br />
Code, to entirely separate comment from exposition. to a subtlety or an artistry which the public was too<br />
The author has, moreover, included some of the inartistic or too stupid to appreciate. In many<br />
historical material of the Bowker-Solberg volume cases they have been attributable to defects of<br />
of 1886, which has been carefully verified, extended, craftsmanship wbich might have been avoided, and<br />
and brought up to date. The work is evidently can easily be detected by the looker-on who sees<br />
the result of a wide experience and great industry, most of the game. Mr. Archer's analyses of the<br />
and will be of use and interest to authors, pub- causes of the conspicuous failures of certain plays<br />
lishers, and others in helping them to realise their which have been by no means devoid of merit con-<br />
rights and to secure protection in all copyright tain many valuable hints, both express and implied:<br />
countries for every form of intellectual property. and so—though in a less degree-do his analyses of<br />
HAROLD HARDY. the means by which certain notable effects have<br />
been produced. We might name as particalarly<br />
illuminating his remarks on the elaborate ingenuity<br />
THE ART OF THE DRAMATIST.*<br />
with which Oscar Wilde, though a mere beginner,<br />
raised curiosity and expectation to fever heat in the<br />
final passage of the first act of Lady Windermere's<br />
M HE reviewer, not being a dramatist, cannot<br />
Fan.<br />
undertake to say whether better plays are M r. Archer's counsels have the logical complete-<br />
likely to be written by people who read Mr.<br />
ness which one has long associated with his work as<br />
Archer's manual than by people who do not read it.<br />
a dramatic critic. He deals in separate * books,".<br />
It is, at any rate, doubtful; and the doubt seems to with the beginning" the middle and the end<br />
be shared by Mr. Archer himself, who states, on an<br />
of plays. He discusses the point of attack": he<br />
* " Play-making : A Manual of Craftsmanship," by<br />
shows how “ curiosity” is sustained and how<br />
William Archer. Chapman and Hall. 78. 6d. net.<br />
• interest” is aroused. He shows that it is better<br />
<br />
<br />
## p. 225 (#677) ############################################<br />
<br />
THE AUTHOR.<br />
225<br />
to “ foreshadow" than to “forestall” the climax to<br />
which the writer is working up; he warns us against<br />
the danger of “blind alley themes," discourses of<br />
“ character and psychology” and “ dialogue and<br />
details," and insists upon the superiority, for dra-<br />
matic treatment, of those subjects which involve that<br />
* peripety " first spoken of by Mr. A. B. Walkley's<br />
favourite philosopher. It is all exceedingly interest.<br />
ing-to the playgoer, no less than to the playwright;<br />
and novelists who propose to dramatise their novels<br />
will be able to learn something from it. It will not,<br />
indeed, introduce them to any royal road to fortune,<br />
but it may help to save them from many of the<br />
mistakes to which their habit of working in another<br />
and more plastic medium makes them prone.<br />
power,” vouched for by “several literary men of<br />
established reputation,” send in his valuable work<br />
to a competition unless he felt that winning it<br />
would be a stepping-stone in his career not to be<br />
despised? Would not his book, if so “unusual,”<br />
be strong enough to stand (or fall) by itself, without<br />
the advertisement of winning a competition ?<br />
I only remember at this moment the works of<br />
one winner. She has certainly established a literary<br />
reputation for herself, and if not in the first flight<br />
is hardly in the ranks of the “third-rate." I also<br />
saw the published opinion of Mr. A. C. Benson<br />
and his fellow judges on the winning book in<br />
Messrs. Lane's last competition, and they did not<br />
complain of the “low level ” of the books submitted<br />
to them.<br />
I fancy if I were a “sorter,” which might, or<br />
might not, be a pleasant task, I should grasp very<br />
joyfully the merest hint of inspiration. Think of<br />
the many, many books that are written without it.<br />
Yours truly,<br />
“ A WRITER.”<br />
CORRESPONDENCE.<br />
NOVEL COMPETITIONS.<br />
DEAR SIR, -In reference to the letters of<br />
**Tamel ” and “A Novelist," I should like to say<br />
that I was recently invited, with two very well-<br />
known novelists, to judge one of these competitions.<br />
The publisher's letter of invitation clearly stated<br />
that I should not have to read more than six or<br />
seven manuscripts. I declined—I hope politely-<br />
to take part in such a farce. Another point: -I<br />
have been a publisher's reader, and I know that an<br />
important manuscript, already sifted from a mass,<br />
cannot be read and comparatively estimated in less<br />
than a day. The publisher was therefore offering<br />
me a full week's tedious work. The fee which he<br />
suggested was either twenty guineas or twenty<br />
pounds—I forget which. I should be interested to<br />
know whether the writers who were to collaborate<br />
with me considered twenty guineas to be suitable<br />
payment for a week's work, with the lustre and<br />
sanction of their renown thrown in.<br />
The reason for the continuance of these com-<br />
petitions is to my mind obvious. They are very<br />
profitable to the enterprising publisher. I see no<br />
ħarm in that ; indeed I rather admire the clever-<br />
ness of the enterprising publisher ; but I think that<br />
artistically reputable novelists should meditate long<br />
before they decide to dignify with their names a<br />
purely commercial project.<br />
Yours truly,<br />
ARNOLD BENNETT.<br />
III.<br />
SIR,—The letters which you have published in<br />
the two last numbers of The Author on the subject<br />
of “novel competitions " inflict-quite unintention-<br />
ally, no doubt—a great injustice on the publisher's<br />
reader. If one were to judge from what “ Tamel”<br />
and “A Novelist " say of him, one would take that<br />
individual to be a mechanical drudge, devoid of any<br />
artistic feeling and inspired only with commercial<br />
zeal. I do not, of course, know with what readers<br />
the two letter-writers are acquainted. I happen to<br />
have been acquainted, more or less intimately, during<br />
the past twenty years, with a great number of<br />
readers, and wish to state emphatically that I have<br />
found them a better educated and more cultured<br />
class of men (or women) than the average writer of<br />
novels. Self-respect compels me to state that I<br />
have myself been a “sorter," and that I am quite<br />
willing to have my artistic taste compared, by any<br />
impartial jury, with that of the novelists of to-<br />
day. “Tamel” and “A Novelist " seem to think<br />
that if the judges, as advertised, read all the books<br />
sent in for competition, the verdict would be fairer<br />
than it is when the sorters weed out the list for<br />
them. I presume that neither of your correspon-<br />
dents has read for a prize competition. Otherwise<br />
he would know what a lot of “impossible” books<br />
are sent in-crude, illiterate, and artistically worth-<br />
less. It is hard on the sorter to be compelled to<br />
read even a few chapters of such. I totally fail to<br />
see what would be gained by asking the supreme<br />
judges to cast a weary eye upon them. As for the<br />
deliberate rejection by the sorters of artistic novels,<br />
there is no justification for this charge at all in the<br />
II.<br />
DEAR SIR,-I am not a member of the Society<br />
of Authors, or a prize winner in a “Novel Com-<br />
petition," but I venture to say that I think<br />
* Tamel's " letter to The Author (in the March No.)<br />
not a little unfair to the winners of such competi-<br />
tions. Why did the author of a book of “ unusual<br />
<br />
<br />
## p. 226 (#678) ############################################<br />
<br />
226<br />
THE AUTHOR.<br />
competitions organised by any reputable publisher. appointment, remorses, humiliation, health and<br />
The fact is that an author and his personal friends strength, youth and courage, these are what the<br />
are not necessarily the best judges of what is artistic. author may receive and give-but even then the<br />
There are numberless authors, and their friends, price of his giving and getting are his own secret.<br />
richement doués de suffisance et d'insuffisance, who I write now of the purely business aspect of a book.<br />
arrogate to themselves the gift of infallible taste. For my first novel, published June, 1910, I<br />
It is precisely to check the extravagant pretensions received nothing for the copyright, but I obtained<br />
of such people that the poor sorter exists.<br />
a 15 per cent. Royalty on all copies sold of the<br />
“A Novelist ” says : “The initiated are perfectly English edition (price 6s.), and 3d. on every copy<br />
aware what kind of books will be weeded out before sold of the Colonial edition ; thirteen copies being<br />
the rest are sent on to the judges. They are the counted as twelve.<br />
books that are unconventional, unsensational, and The sales, and the financial profit to myself, after<br />
artistic ; the books that would not please the great the book had been a year on the market, were as<br />
mass of uneducated readers.” Sir, the initiated follows, viz :-<br />
know nothing of the sort. The initiated know that Copies of Home edition sold, 1,262.<br />
the writer of an "unconventional” book invariably Copies of Colonial edition sold, 1,151.<br />
deems it to be “ artistic.” The initiated also know Total sum received by me, £73 3s. 2d. (seventy-<br />
that many unconventional books, while they show three pounds).<br />
promise, are both artistically and commercially im The circumstances under which the novel was<br />
possible and would stand no chance of a prize in published were briefly these-I was absolutely un-<br />
any competition, except where the author and his known in the literary world, and to all journalists,<br />
friends packed the bench. Why then should the critics, and fellow authors. I write under a nom<br />
competition judges be asked to waste their time in de plume. So the sales—such as they were, owed<br />
looking at these crude productions ?<br />
nothing to my friends and acquaintances in the way<br />
It is an unpleasant shock, no doubt, to have your of creating a public. The secret of my identity was<br />
supposed masterpiece “weeded out.” But you well kept till four months or so after the book was<br />
should not be so self-centred as to imagine that published.<br />
the only reason possible for such a catastrophe is It received about thirty or so reviews: these were<br />
that the sorters are base commercial persons. Let favourable, and one or two were of sufficient weight<br />
us see the claims of the masterpiece substantiated to call some attention to the novel perhaps. But the<br />
by successful publication, after it has failed to pass rest were devoid of all criticism of any weight or<br />
the test of the preliminary reader, and then we shall value, and merely gave a curiously unattractive<br />
have proof of the sorters' incompetence.<br />
outline of the contents of the book.<br />
READER. I published a second novel last month through<br />
the same publisher. I received nothing for the<br />
A PUBLISHER'S TERMS.<br />
copyright, and exactly the same royalties as for the<br />
first novel. I have, however, been paid the royalties<br />
SIR,-I gather from the list of new members of for all copies subscribed for up to date of publica-<br />
the Author's Society, published in The Author, that tion. On the date of publication I received £24.<br />
many of them are, like myself, beginners in their For those whose terms for the publication of a<br />
literary career. As such they may be beset with first and second novel have been less or more<br />
questions to which their own inexperience can find favourable than mine I add the following informa-<br />
no answer. It is probable that some feel that theytion : I am not dependent on writing for my living,<br />
suffer from a lack of exact information with regard but under certain circumstances I might find myself<br />
to the-not unimportant-financial side of success with an income of only £100 to live on. I employ<br />
for a new novel. Perhaps, like myself, they would an agent, who under my present circumstances 15<br />
like to know how many sales constitute a “success- not handicapped by my requiring him to obtain<br />
ful first novel," and what is the average sales of a cash for me on the first terms that offer. I am<br />
first novel, and what the average profit made by obliged for years at a time to live out of Europe and<br />
the author from the first venture. In fact, the have not been in England since February, 1910, 80<br />
beginner wants to know the state of the market. I find an agent very necessary. I am bound to him<br />
Could not The Author give us data upon which to for "all novels" unless the contract is broken by<br />
base an appreciation of financial success or failure, “mutual consent.” To my publisher I am in no<br />
and the chances of a future income from a second or wise bound for any other novel I may write.<br />
third novel ? This may sound sordid, but the I should he very glad of any enlightening com.<br />
writer is far indeed from thinking that an author's ments or conclusion drawn from the above facts<br />
work can be priced by £ s. d. alone ; the joy of and figures.<br />
conception and execution, fame, praise, one's dis-<br />
"A FIRST AND SECOND NOVEL."<br />
<br />
<br />
## p. 226 (#679) ############################################<br />
<br />
ADVERTISEMENTS.<br />
vii<br />
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Authors in need of a good, sound, and reliable Agent should<br />
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<br />
<br />
## p. 226 (#680) ############################################<br />
<br />
viii<br />
ADVERTISEMENTS.<br />
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