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496 | https://historysoa.com/items/show/496 | Index to The Author, Vol. 13 (1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+%281903%29">Index to <em>The Author</em>, Vol. 13 (1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index">Index</a> | 1903-The-Author-13-index | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew & Co.</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors">The Society of Authors</a> | | | | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903">1903</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a> | | | | https://historysoa.com/files/original/4/496/1903-The-Author-13-index.pdf | publications, The Author |
476 | https://historysoa.com/items/show/476 | The Author, Vol. 13 Issue 01 (October 1902) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+01+%28October+1902%29"><em>The Author</em>, Vol. 13 Issue 01 (October 1902)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1902-10-01-The-Author-13-1 | | | | | 1–28 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1902-10-01">1902-10-01</a> | | | | | | | 1 | | | 19021001 | Che Mutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XITI.—No. 1.<br />
<br />
OcroBER 1sT, 1902.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
CHANGE OF ADDRESS.<br />
<br />
—_—<br />
<br />
As mistakes still occur with regard to the<br />
Address of the Society, it has been thought<br />
expedient to continue this Notice, that the Office<br />
of the Society is situated at—<br />
<br />
39, OLD QUEEN STREET,<br />
STOREY’S GATE, S.W.<br />
<br />
The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
—___—__—_—_e —<>—_e___—_<br />
<br />
NOTICES.<br />
<br />
—<br />
<br />
OR the opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tux Editor begs to inform Members of the<br />
Authors’ Society and other readers of 7he Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
—<br />
<br />
The Pension Fund of the Society.<br />
<br />
THE Investments of the Pension Fund at<br />
present standing in the names of the T'rustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou. XIII.<br />
<br />
<br />
<br />
money value can be easily worked out at the current<br />
price of the market.<br />
<br />
CON aOlE 25 goer eee ne Lolo 5 6<br />
MigGal LGAs 2 ee 404 10 0<br />
Victorian Government 3 % Con-<br />
<br />
solidated Inscribed Stock............ 991 19 11<br />
War loan 201 9 8<br />
<br />
<br />
<br />
<br />
<br />
otal 3. £1714 4 8<br />
<br />
There is, in addition, a balance of £30 to £40<br />
in the Bank to cover current expenses and the<br />
payment of pensions.<br />
<br />
The subscriptions and donations from the<br />
beginning of the year are as follows.<br />
<br />
Further sums will be acknowledged from month<br />
to month as they come to hand.<br />
<br />
<br />
<br />
DONATIONS.<br />
<br />
Jeu. 24, Cherch, Prof. B. Ai H.....-- £2.32 0<br />
Jan. 29, Toplis, Miss Grace ............ ~ 0 4.6<br />
Feb. 1, Perks, Miss Lily............... 010 0<br />
Feb. 12, Brown, Miss Prince ......... t 1.0<br />
Feb. 15, Wilkins, W. H. (2nd donation) 11. 0<br />
Bebo 15.8. @. 2... 1 0<br />
Feb. 17, Hawkins, A. Hope.........-.. 50 0 0<br />
Feb. 19, Burrowes, Miss H. ............ 010 0<br />
Mch. 16, Reynolds, Mrs. .............-. 0.5 0<br />
April 28, Wheelright, Miss Ethel...... 100<br />
April 29, Sheldon, Mrs. French,<br />
<br />
BRGS, ...3.....5..... 0 5 0<br />
May 5, A Beginner ..........-...:...+. ti 0<br />
May 20, Nemo <.........6--1.seeeee eee ee 2.700<br />
May 20, Dr. A. Rattray ..........--... 0 5 0<br />
July 17, Capes, Bernard E. ............ 5 0<br />
July 19, Warden, Miss Gertrude ... 0 5 0<br />
<br />
ANNUAL SUBSCRIPTIONS.<br />
Jan. 17, Prelooker, J. ........-:.-.-.... 0 5.0<br />
dan. 20, Nacholls, B.C. 7.770.052... 0 5 0<br />
Jan. 22, Carey, Miss R. Nouchette ... 11.0<br />
Feb., Gidley, Miss B.C. ............... 010 6<br />
Mch. 20, Beeching, Rev. H.C. ...... 0.5 0<br />
Mich. 25, siroud, Eo 010 6<br />
Apr. 9, Kitcat, Mrs. ..........--...-.05++ 11 0<br />
May 1, Heatley, Richard F............. 0 5 0<br />
THE AUTHOR.<br />
<br />
Sir Walter Besant Memorial Fund.<br />
<br />
Tue amount standing to the credit<br />
of this account in the Bank is......... £327 15 0<br />
<br />
There are a few promised subscriptions still<br />
outstanding. The total of these is, roughly, about<br />
£4. The subscriptions received from-March to<br />
<br />
the date of issue are given below :—<br />
<br />
Anonymous. : ; ; og<br />
Champneys, Basil<br />
<br />
“ Colonia,” Natal, 8. Africa<br />
<br />
Fife Cookson, Lt.-Col. F.C.<br />
<br />
Gunter, Lt.-Col. E. A. :<br />
<br />
Harding, Capt. Claud, R.N.<br />
<br />
Hurry, A. 3 : : . ‘<br />
<br />
Keary, C. F. (amount not to be men-<br />
tioned)<br />
<br />
Kinns, The Rey. Samuel, D.D. .<br />
<br />
Millais, J.G. . : : ;<br />
<br />
Quiller Couch, Miss M.<br />
<br />
Sterry, J. Ashby. :<br />
<br />
Temple, Lieut.-Col. Sir R. C.<br />
<br />
Underdown, Miss E.<br />
<br />
Lockyer, Sir T. Norman<br />
<br />
Beale, Miss Mary<br />
<br />
Bolam, Rev. C. E.<br />
<br />
Egbert, Henry<br />
<br />
Eccles, Miss O’Connor<br />
<br />
Darwin, Francis ; : :<br />
<br />
Campbell-Montgomery, Miss F. F.<br />
<br />
Medlecott, Cecil : 3<br />
<br />
Saxby, Mrs...<br />
<br />
Caine, T. H. Hall<br />
<br />
Marris, Miss Murrell<br />
<br />
S. B. : ;<br />
<br />
Bloomfield, J. H. .<br />
<br />
F. O. B. (Coventry) .<br />
<br />
Seton-Karr, H. W. .<br />
<br />
Heriot, Cheyne :<br />
<br />
Charley, Sir W. T., K.C.<br />
<br />
“« Esme Stuart ” :<br />
<br />
Charlton, Miss Emily<br />
<br />
Kroeker, Mrs.<br />
<br />
Aflalo, F. G.<br />
<br />
Patterson, A. :<br />
<br />
Salwey, Reginald E.<br />
<br />
Gidley, Miss E. C.<br />
<br />
= 8<br />
ma or<br />
<br />
me or OT OST HE OT<br />
<br />
in pla<br />
oS<br />
<br />
put<br />
<br />
orc<br />
<br />
COFCO He Oo<br />
Tore Or Oro o1cr<br />
<br />
COorwse<br />
— ee a<br />
CcCOoOrRNWCSD<br />
<br />
eg<br />
<br />
FROM THE COMMITTEE.<br />
<br />
—<br />
<br />
T the meeting of the Committee held in July<br />
<br />
A 13 members and associates were elected.<br />
<br />
This raises the number of elections for the<br />
current year to 113.<br />
<br />
Thus the average of past years is well maintained.<br />
<br />
In 1901, 113 members exactly were elected up to<br />
July, and in 1900,118. The Society still continues<br />
to show a vigorous growth.<br />
<br />
At the same meeting, it was decided to place<br />
one case on behalf of a member into the solicitors’<br />
hands, with a view to taking action if necessary,<br />
and on behalf of two other members of the Society<br />
to take counsel's opinion on a difficult point of law.<br />
<br />
Since the last issue of the Author, twenty-seven<br />
cases have been in the hands of the Secretary.<br />
They may be classified as follow :—<br />
<br />
Twelve for the payment of money; six dealing<br />
with accounts ; eight for the return of MSS.;<br />
and the remaining one dealing with a general<br />
settlement. Of the money cases, two embraced<br />
considerably more than one member’s claim, one<br />
was against a magazine in bankruptcy, and the<br />
other against the proprietor of a magazine that<br />
had ceased to exist. A dozen members at least<br />
were involved.<br />
<br />
It is satisfactory to relate that of the twenty-<br />
seven, nineteen have been closed advantageously<br />
to the authors, and the remainder are now in the<br />
course of settlement.<br />
<br />
Action has been commenced by the solicitors of<br />
the Society in four other cases.<br />
<br />
Two of these cases have been settled, one by a<br />
County Court trial, the other by payment into<br />
court; in the latter case the sum paid in was<br />
accepted by the plaintiff. The other actions are<br />
still awaiting trial.<br />
<br />
At the same meeting of the Committee, it was<br />
decided, at the suggestion of Sir Gilbert Parker,<br />
that representatives of the Society should meet Sir<br />
Wilfrid Laurier in order to give them an oppor-<br />
tunity of laying their views on the copyright<br />
question before the Prime Minister, and if, the meet-<br />
ing could be arranged, that representatives of the<br />
Copyright Association and the Publishers’ Associa-<br />
tion should at the request of the Society be also<br />
asked to attend.<br />
<br />
Accordingly, before Sir Wilfrid Laurier left for<br />
the Island of Jersey and the Continent with Sir<br />
Gilbert Parker in August, a private meeting was<br />
held at Sir Gilbert Parker's house. Mr. A. Hope<br />
Hawkins, Mr.G. H.Thring, on behalf of the Society,<br />
Mr. John Murray and Mr. Daldy, on behalf of the<br />
Copyright Association, and Mr. C. J. Longman<br />
and Mr. Frederick Macmillan, on behalf of the<br />
Publishers’ Association, and Sir Gilbert Parker, a<br />
member of the Committee and Council of the<br />
Authors’ Society, composed the deputation. It<br />
would not be right to give a report of what was<br />
said and done on that occasion, but all who are<br />
interested in copyright will be glad to know that<br />
Sir Wilfrid Laurier gave assurances upon the ques-<br />
tion of Imperial Copyright and its bearing upon<br />
the Canadian question which cannot but lead to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 3<br />
<br />
satisfactory results. It is more than probable that<br />
the Imperial Copyright Bill will be brought in<br />
next Session of Parliament by the Government.<br />
<br />
ene peepee pnenene<br />
<br />
Tur death of Mrs. Hector, who wrote under<br />
the name of Mrs. Alexander, occurred shortly<br />
after the publication of the July number of<br />
The Author. The Committee chronicle the event<br />
with deep regret. She had been a member of the<br />
Society since 1892, and had steadily maintained<br />
her position in literature. Her later works show no<br />
appreciable falling off from those which made her<br />
name— The Wooing O’t”’ and “ Barbara.”<br />
<br />
et eg ame,<br />
<br />
THE publication of the List of Members will<br />
take place during the month. The list is pub-<br />
lished for circulation among members of the<br />
Society only.<br />
<br />
The Committee trust that any member desirous<br />
of making an alteration or correction in his name<br />
or address will communicate with the Secretary.<br />
It is exceedingly difficult to edit a long list of<br />
names without a mistake in the first instance, but<br />
every effort has been made to keep the issue correct.<br />
<br />
a<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—_—+<br />
<br />
UCAS MALET, who has been taking a well-<br />
earned rest for nearly twelve months, has<br />
just commenced a new book, but it will not<br />
<br />
be published until this time next year at the earliest.<br />
It is to be brought out in London by Messrs.<br />
Hutchinson & Co., and by Messrs. Dodd, Mead &<br />
Co. in New York.<br />
<br />
The scheme of the story has been complete in<br />
the writer’s mind for some months. It is a novel<br />
very much of the present day, and the scene is laid<br />
in London and the suburbs.<br />
<br />
Mr. J. A. Hobson’s new work, “ Imperialism :<br />
A Study,” consists of two parts. The first part is<br />
an investigation of the economic origin and value<br />
of the new Imperialism, in which Great Britain has<br />
taken the lead since 1870.<br />
<br />
The second part is a study of the mission of<br />
civilisation in its effects upon lower or alien peoples,<br />
and its political reactions upon the Western nations.<br />
Mr. Hobson treats the subject from the standpoint<br />
of political pathology, but the outlines of a con-<br />
structive policy of internationalism are sketched<br />
in the concluding chapters. The American edition<br />
is published by Messrs. Pott, of New York. Messrs.<br />
James Nesbit & Co. are the publishers here.<br />
<br />
Mr. Hobson has sailed for America, where, for<br />
the next. nine or ten months, he will lecture and<br />
<br />
investigate social conditions. His economic works<br />
are largely used as text-books on the other side, so<br />
he is sure of a welcome from friends and followers.<br />
<br />
Sir Martin Conway’s “ Aconcagua and Tierra del<br />
Fuego” is just out (Cassell & Co.). It is a most<br />
interesting book of climbing, travel and exploration,<br />
and has twenty-seven illustrations and a map.<br />
After thirty years of climbing, which have left him<br />
fonder than ever of mountains—of their beauty,<br />
their problems and the activities of mind and body<br />
to which mountains give scope—the author tells us<br />
in his preface :—<br />
<br />
“ This book is the record of the last of my own mountain<br />
explorations that I shall write. . . . The world is wide and<br />
contains other things besides mountains, delightful to study.<br />
<br />
. It is life, after all, that is the greatest field of<br />
exploration.”<br />
<br />
Sir Martin, with his two guides, Maquignaz and<br />
Pellissier, started for the final climb which landed<br />
two of them on the summit of Aconcagua at<br />
3.30 a.m. He says :-—<br />
<br />
“Tt is impossible to exaggerate the toil we underwent<br />
upon this slope ; once only did a small patch of snow give<br />
momentary relief. ... The higher we rose the more we<br />
were driven to the left and the looser the stones became.<br />
As they gave way beneath our feet we often fell violently<br />
to the ground and lay panting like wounded men, unable<br />
to rise ; our breathing became louder and louder. It was<br />
a relief now and again to empty the lungs with a groan,<br />
and refill them with a more than ordinary volume of thin<br />
air. Arms had to be kept well away from the sides to leave<br />
the lungs more free for expansion. The left hand was<br />
generally tucked into a waist belt, while the right grasped<br />
the head of the ice-axe and used it as a walking-stick.<br />
The desire to halt frequently was intense, but the ever-<br />
increasing cold as imperatively urged us to movement.”<br />
<br />
The entire descent, including all halts for food<br />
and packing, was accomplished in less than six<br />
hours. In that time they came down 10,000 feet.<br />
<br />
When, after six hours’ riding from the base<br />
camp they reached the Baths of Inca, Dr. Cotton<br />
was at the door and came forward to greet them in<br />
a sympathetic manner :—<br />
<br />
“JT am sorry to see you back so soon,” he said, “ but I<br />
suppose you concluded that the weather was broken?”<br />
<br />
“Not at all,’ I replied. ‘We have come back because<br />
we have accomplished the ascent.”<br />
<br />
“What!” he said. “Already? It seems incredible.<br />
You have only been away from this house five days and a<br />
half. J congratulate you with all my heart.”<br />
<br />
One more extract —it will have a special interest<br />
for our readers :—<br />
<br />
“ Near Lake Maravilla a young Englishman has success-<br />
fully started a sheep farm. I was anxious to ride up and<br />
visit him, but time did not allow. The trip would have<br />
inyolved five days’ hard riding. His house looks out upon<br />
a glacier that shoots icebergs into the lake. His nearest<br />
neighbour lives forty miles away. Before Christmas he<br />
had paid a visit to Sandy Point and had carried back in<br />
his saddle-bag a copy of Stevens’ book, ‘With Kitchener<br />
to Khartoum.’ The battle of Omdurman was fought on<br />
the 2nd of September, 1898, and before the 2nd of January,<br />
1899, the full story of the campaign had been written in<br />
THE AUTHOR.<br />
<br />
the Soudan, printed, bound, and published in London,<br />
exported to Magellan Strait, and carried up to the<br />
remotest point in Patagonia.”<br />
<br />
Mr. Jerome K. Jerome’s novel, ‘ Paul Kelver”<br />
(Hutchinson & Co., 6s.), is autobiographical only<br />
as regards the mental life of the hero. ‘The<br />
incidents and surroundings are drawn from the<br />
author’s knowledge but are not his own personal<br />
experiences. In fact “ Paul Kelver” stands to his<br />
author as “David Copperfield” may have stood<br />
to Dickens—the story is suggested by, but not<br />
founded upon, the author’s own life.<br />
<br />
“Paul Kelver” is a long story—there are three<br />
hundred and ninety-eight pages—but it is not a<br />
page too long. Pathos, sentiment, humour are to<br />
be found in those pages. Paul himself is well<br />
worth knowing; there are besides, his parents,<br />
his aunt, the O’Kellys, Miss Rosina Sellars, who<br />
“can’t a-bear a flirty man”; Dan, who indulged<br />
in heavy cookery;. Urban Vane, the morally<br />
crooked, Paul’s tempter; and there is Norah,<br />
strong and sweet.<br />
<br />
Mr. R. 8. Crockett, who has been resting, and<br />
holiday-making, and travelling in little-known<br />
parts of Spain, has, however, written a considerable<br />
portion of his serial for next year’s ‘ Windsor<br />
Magazine.” he publishers of his ‘‘The Banner<br />
of Blue” are Messrs. Hodder and Stoughton.<br />
<br />
Mr. Crockett’s “« The Scott Country” (Black,<br />
<br />
6s.) has been doing very well.<br />
illustrated.<br />
<br />
Miss Nora Hopper (Mrs. Chesson) will shortly<br />
publish, through Mr. Grant Richards, a volume of<br />
poems and fantasies to be called “The Woman<br />
with Two Shadows.”<br />
<br />
Mrs. Campbell Praed has recently issued through<br />
Mr. Fisher Unwin an illustrated volume of<br />
Australian scenes and impressions called ‘‘ My<br />
Australian Girlhood.” It has also been published<br />
in America and the Colonies, and is about to be<br />
included in a set for continental circulation.<br />
<br />
Mrs. Praed is now at work on a short novel<br />
called “The Ghost,” meaning a literary ghost. It<br />
is to be published in shilling form early next year.<br />
This busy authoress is also just completing a story<br />
of modern London life, to be published in 1903,<br />
and is writing short stories for a Syndicate.<br />
<br />
Mr. Bernard Capes, whose ‘‘ Love Like a Gipsy”<br />
was published last year by Messrs. Constable & Co.,<br />
‘would have issued a new novel last month through<br />
Messrs. Smith Elder. He has, however, been<br />
obliged to postpone its publication until next<br />
spring owing to the action of a publisher. This<br />
publisher has foisted upon the public, as new, an<br />
old novel of Mr. Capes.<br />
<br />
The new story, which we must now wait for, is<br />
to be named “A Castle in Spain,” and it deals,<br />
<br />
It is profusely<br />
<br />
something more than incidentally, with a supposed<br />
resurrection of Louis XVII. Apropos of which,<br />
the novel was designed and three parts written<br />
when it was found that:the-motive had been fore-<br />
stalled elsewhere, in a book (from America) called<br />
‘“‘ Lazarre.”’ But Mr. Capes feels that it would be<br />
quite unnecessarily heroic to sacrifice the close<br />
labour of months on that score, so ‘‘A Castle in<br />
Spain ” stands.<br />
<br />
Helen Mathers (Mrs. Henry Reeves) will publish<br />
a long book—some 100,000 words—through Messrs.<br />
Methuen next spring ; but she may possibly be<br />
represented by a volume of Essays this autumn.<br />
Her recently published novel, “ Honey,” is in a<br />
second edition ; while “ Becky,” in sixpenny form,<br />
has been reprinted. A new edition of “ Bam<br />
Wildfire ” has been called for, and is now ready.<br />
<br />
“« A Man of To-Day,” by this writer, is published<br />
at 6d. (John Long), and Messrs. Digby Long are<br />
bringing out a volume of short stories for her this<br />
autumn. Reprints of all Helen Mathers’ earlier<br />
works and noveletites are now available.<br />
<br />
Mr. R. O. Prowse, whose “ Voysey ”’ (Heinemann,<br />
1901) was appreciated by those who know and care<br />
fer good work, will not have anything ready to put<br />
into the publisher’s hands for some time to come.<br />
<br />
Mr. Prowse has published three novels so far.<br />
His first, ‘ A Fatal Reservation,” was begun when<br />
he was at Oxford. After running as a serial in<br />
“The Cornhill”? for a year, it was published by<br />
Messrs. Smith Elder in 1895. In 1892 Messrs.<br />
Methuen issued his second novel, “‘ The Poison of<br />
Asps.” It is a clever study of a certain aspect of<br />
life in a little Suffolk county town: the author<br />
culls it Tattlebridge.<br />
<br />
Three historical tales of Miss Everett-Green’s<br />
will appear this autumn. (1) “A Hero of<br />
the Highlands” (Nelson), dealing with the °45.<br />
(2) “Fallen Fortunes” (Nelson), a story laid in<br />
the reign of Queen Anne. (3) “‘ My Lady Joanna”’<br />
(Nisbet), a tale embodying the early history of<br />
that turbulent daughter of Edward the First, who,<br />
although his fayourite child, gave him more trouble<br />
than all the rest put together.<br />
<br />
Messrs. Hutchinson will issue a novel by this<br />
authoress entitled “ Where there’s a Will——.”<br />
It is a story of domestic life, and has done duty<br />
as a serial in the Church Family Newspaper.<br />
<br />
Mr. Richard Pryce is at work on a novel which<br />
he hepes to finish some time next year—probably<br />
it will be ready in the autumn. This book is<br />
perhaps more in the manner of “ Jezebel” than of<br />
the author’s earlier novels.<br />
<br />
A seventeenth edition (Sweet and Maxwell:<br />
Stevens and Sons) of perhaps the longest-lived of<br />
those technical works which Charles Lamb, with<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 5<br />
<br />
amusing but, perhaps, not quite merited scorn,<br />
wrote of as “ B(Bdia 4BiBAa,” will shortly be pub-<br />
lished. It is just a hundred years ago that the<br />
late Mr. William Woodfall, of the Middle Temple<br />
—the son of “Memory Woodfall,” the famous<br />
Parliamentary reporter and journalist, and nephew<br />
of tle printer and publisher of J unius—first brought<br />
out his treatise on the law of landlord and tenant,<br />
which he dedicated to that fine old-crusted lawyer,<br />
Lord Eldon, in the first year of his chancellorship.<br />
<br />
Mr. Lely’s forthcoming edition of this venerable<br />
work will contain a reprint of Woodfall’s original<br />
preface, a notice of all decided cases up to Michael-<br />
mas Day last—including Mr. Justice Darling’s<br />
decision just before the Long Vacation on the<br />
vexed question of the liability to pay for Corona-<br />
tion Procession Seats—and some dozen editorial<br />
suggestions for further amendment of the law of<br />
the relationship of Landlord and Tenant, “a condi-<br />
tion from which” (wrote Mr. Woodfall in 1802)<br />
“a very small part of the community is exempt.”<br />
<br />
Miss Montgomery-Campbell’s book, of which the<br />
scene is laid in the Tyrol, has been delayed owing<br />
to her recent illness in Austria. But two new<br />
children’s story-books by her, entitled respectively<br />
“ A Christmas Surprise Packet,” and ‘Two Lov-<br />
able Troops,” will be issued by Messrs. Jarrold in<br />
the course of this month.<br />
<br />
Rita’s new serial, ‘The Jesters,” is at present<br />
running in The Queen. The scene of this story is<br />
laid at King Arthur’s Castle Hotel, Tintagel,<br />
where the authoress was staying last autumn.<br />
<br />
“ Alexandre Dumas: His Life and Works,”<br />
such is the title of an important book lately<br />
published through Constable & Co., by Mr. Arthur<br />
F. Davidson, M.A., formerly Scholar of Keble<br />
College, Oxford. In his admirable preface the<br />
author says :—<br />
<br />
After a fairly extensive study, during the last fifteen<br />
years, of Dumas and whatever has been written about him,<br />
it seemed to me that there was room for a co-ordination of<br />
facts which might represent, in justly balanced proportion,<br />
and with some pretence of accuracy, both the life of the<br />
man and the work of the author. . . . The various French<br />
works concerning Dumas have all confined themselves to<br />
some particular side of his talent or some particular period<br />
of his life; there does not exist in his own country any<br />
comprehensive and continuous work—biographical and<br />
literary—such as this is intended approximately to be.”<br />
<br />
In view of the ground to be covered, Mr.<br />
Davidson has divided the work into large sections<br />
or chapters, with commonplace _ titles, which<br />
roughly indicate the nature of their contents.<br />
The order followed is, as a rule, chronological.<br />
We have room for one quotation only from a book<br />
chock-full of interesting matter :—<br />
<br />
“That Dumas was an improvisateur goes without saying,<br />
In this quality he gloried as a rule, and took credit to<br />
<br />
himself for the speed at which he could turn off a play or<br />
anovel. But he is careful to point out that the improvisa-<br />
tion is not always so great as it seems.<br />
<br />
“ Paper (blue foolscap), pens, ink ; a table neither too<br />
high nor too low. Sit down—reflect for half-an-hour—<br />
write your title—then chapitre premier. Arrange fifty<br />
letters to each line, thirty-five lines to each page; write<br />
two hundred pages if you want a two-volume novel, four<br />
hundred if you want a four-volume ditto, and so on. After<br />
ten, twenty, or forty days, as the case may be—assuming<br />
you write twenty pages, 7.e., seven hundred lines, between<br />
morning and evening—the thing is done. What could be<br />
more simple? Such is my method, say my critics: only<br />
they forget one slight detail. Before any of this apparatus<br />
is put in motion I have often thought for six months, a<br />
year, perhaps even several years, about what I am going to<br />
write. Hence the clearness of my plot, the simplicity of<br />
my methods, the naturalness of my dénodments. Asa rule,<br />
I do not begin a book until it is finished.”<br />
<br />
Messrs. Longmans are publishing for M. E.<br />
Francis (Mrs. Francis Blundell) in England and<br />
America, this month, another Dorset novel of hers,<br />
“The Manor Farm.” The same firm is serialising<br />
for her in ‘‘Longman’s Magazine” a musical<br />
romance, called “ Christian Thal,” the first chapters<br />
of which will appear in the January number. The<br />
scene is laid for the most part in Vienna, and the<br />
work deals with a certain well-known School of<br />
Music in that city.<br />
<br />
“The Country Life Library” of fiction was<br />
recently inaugurated by a volume from the pen of<br />
this popular authoress, entitled “ North, South, and<br />
Over the Sea,” being a collection of peasant stories,<br />
Lancashire, Dorset, and Irish. It is illustrated by<br />
Mr. H. M. Brock.<br />
<br />
Mr. H. A. Bryden has completed a “ History of<br />
South Africa,” which Messrs. Sands will shortly<br />
publish. A cheap edition of this author’s romance,<br />
<br />
“An Exiled Scot,” has been announced by Messrs.<br />
Chatto and Windus.<br />
<br />
Mr. Reynolds-Ball has an instructive and enter-<br />
taining article in the September number of<br />
“ Chambers’s Journal,’ on the Canadian Pacific<br />
Railway, entitled “‘ The Romance of the OPK<br />
It deals at some length with the picturesque<br />
episodes in the history of this colossal undertaking.<br />
<br />
Mr. Reynolds-Ball seems to make a speciality<br />
of colonial railway enterprises, as in the August<br />
number of “The New Liberal Review ” appeared<br />
a rather striking article by him on a railway pro-<br />
ject in futuro, under the title ‘London to<br />
Melbourne in Three Weeks.”<br />
<br />
Miss Elizabeth Derbishire and Mrs. Jean Carlyle<br />
Graham are at present preparing a documented<br />
and illustrated history of San Gimignano.<br />
<br />
Miss Marjory G. J. Kinlock had an interesting<br />
and well-informed article on “Scottish Corona-<br />
tions,” in the April issue of “The Dublin Review.”<br />
A second article by her, on the same subject,<br />
appeared in the July number of that quarterly.<br />
THE AUTHOR.<br />
<br />
His Majesty has accepted a copy of Mrs. Aylmer<br />
Gowing’s poem, “The King’s Desire,” which,<br />
appropriately enough, appeared in 7’he Queen.<br />
<br />
The first edition of John Bull, the new penny<br />
weekly, edited by Mr. Arthur W. A’Beckett, con-<br />
sisted of 100,000 copies. From the editor’s fore-<br />
words to this special imperial issue of John Bull<br />
we quote the following :—<br />
<br />
“He is cosmopolitan and yet patriotic, he has a feeling<br />
of goodwill to foreigners whatever may be their nationality,<br />
but has a particularly tender place in his heart for his kith<br />
and kin all the world over.<br />
<br />
“He appreciates the humour of his American cousin and<br />
can trace the Anglo-Norman vivacity in the gaiety of Paris,<br />
the Anglo-Saxon subtlety in the satire of Berlin. He is<br />
incapable of jealousy, as he does not admit a rival.”<br />
<br />
The Writer’s Year Book (1s. 6d. nett) is a very<br />
useful commercial! directory for professional writers,<br />
photographers and artists, giving address, time of<br />
payment, and conditions of contributorship of all<br />
magazines, papers, syndicates, and agencies pur-<br />
chasing MSS., photographs, or drawings. It is<br />
published by the Writer’s Year Book Co., Gran-<br />
ville House, Arundel Street, London.<br />
<br />
We have received a tiny volume ‘of loyal verse<br />
entitled “The Lily Sceptre,” by Bertha Pasmore.<br />
It is dedicated to Her Royal Highness the Princess<br />
Christian of Schleswig-Holstein. It is published<br />
and printed by the Exeter Evening Post, Limited.<br />
<br />
“Albrecht Diirer,” by Lina E. Eckenstein,<br />
authoress of “Woman under Monasticism,” is a<br />
careful study of the great artist. This little<br />
volume with its thirty-seven illustrations is one of<br />
Messrs. Duckworth & OCo.’s excellent ‘“ Popular<br />
Library of Art” series.<br />
<br />
In Mr. Henry Arthur Jones’s new play, “Chance<br />
the Idol,” which was produced at Wyndham’s<br />
Theatre on the evening of September 9th, Miss<br />
Lena Ashwell has made another decided hit, while<br />
Mr. H. V. Esmond, who acts a cynic’s part in the<br />
same piece, has never played better.<br />
<br />
Mr. J. M. Barrie’s “Quality Street” was pro-<br />
duced at the Vaudeville Theatre on the evening of<br />
Wednesday, September 17th, and was very well<br />
received indeed. The story of this fantastic<br />
comedy is very simple. Miss Ellaline Terriss, Mr.<br />
Seymour Hicks, and Miss Marion Terry delighted<br />
an appreciative audience. Miss Terry received a<br />
special call at the fall of the curtain.<br />
<br />
Mr. Hall Caine’s “ Eternal City ” is to be pro-<br />
duced at His Majesty’s Theatre on the evening of<br />
October 2nd, and in America about the same date.<br />
Mr. Caine is to sail for New York on the 11th of<br />
October.<br />
<br />
Weunderstand that Mrs. Patrick Campbell began<br />
her second American tour at the Garden Theatre,<br />
New York, on September the 16th, with a marked<br />
success. Mrs. Campbell was enthusiastically<br />
<br />
applauded in the new and clever play specially<br />
written for her by Mr. E. F. Benson.<br />
<br />
“The Bishop’s Move” is doing exceedingly well<br />
at the Garrick Theatre. Mr. Arthur Bourchier as<br />
<br />
the Bishop excels himself; he is at his best. Miss.<br />
Violet Vanbrugh plays up to him admirably ; and<br />
the joint authors, John Oliver Hobbes and Mr.<br />
Carson, are to be warmly congratulated ; they have<br />
given us a charming and wholesome play.<br />
<br />
PARIS NOTES.<br />
<br />
ogee<br />
<br />
HILST waiting for the opening of the<br />
<br />
Vy autumn publishing season, we have been<br />
<br />
very well supplied with books of travel,<br />
<br />
memoirs, and biographies, but there has certainly<br />
<br />
been a dearth just recently of interesting and<br />
original novels.<br />
<br />
Paul Bourget’s “ L’Etape”’ has been very much<br />
discussed, and long letters have been exchanged<br />
between the author and the Comte d’Haussonville<br />
with regard to the theories contained in this.<br />
novel.<br />
<br />
Another book which has given rise to many<br />
newspaper articles is entitled “ Souvenirs du Lieu-<br />
tenant-Général Vicomte de Reiset.” M. de Reiset<br />
joined the army as a volunteer in 1792, at the age-<br />
of seventeen. His memoirs are valuable, as they<br />
give an idea of the life of the soldiers of the First<br />
Empire. The book is not so much a volume of<br />
history as a study of the times and of the habits<br />
and customs of the men with whom the Vicomte-<br />
de Reiset came into contact. The descriptions of<br />
the war with Spain are particularly interesting,<br />
and the pages devoted to the Duc de Berry once<br />
more roused the interest of the public with regard<br />
to the romantic story of the Duc’s English wife.<br />
<br />
Another volume of this kind is M. Victor du<br />
Bled’s “ Société francaise du XVI* siécle au XX°<br />
siecle.” M. du Bled is a well-known lecturer on<br />
French society of every epoch, and these lectures,<br />
which are afterwards published in volume form,<br />
are full of anecdotes and witty sayings. “Il y a,”<br />
says M. du Bled, “des mots qui valent mieux que<br />
des diplémes, des compliments et des sourires qui<br />
détruisent ou édifient des traités d’alliance.”<br />
<br />
M. Henry Lapauze has published a volume of<br />
“Lettres inédites de Mme. de Genlis,’” which<br />
show this famous woman under quite a new light.<br />
These letters were written to her adopted son,<br />
Casimir Becker (1802—1830), and are certainly<br />
most curious.<br />
<br />
“Tia Comtesse Agenor de Gasparin et sa<br />
famille,” by Madame Barbey-Boissier, is a most<br />
welcome book, as the name of the once famous<br />
<br />
<br />
<br />
<br />
<br />
<br />
-a book well worth reading.<br />
<br />
-enthusiasm to his readers.<br />
<br />
<br />
<br />
THE AUTHOR. 7<br />
<br />
Mme. de Gasparin is almost forgotten by the<br />
present generation, and her works are very little<br />
read nowadays. ‘‘ Les Horizons prochains,” by<br />
Mme. de Gasparin, had great success some fifty<br />
years ago. M.A. Filon has written an eloquent<br />
preface to this biography.<br />
<br />
A book to be read by politicians is “ Rome,<br />
Naples et le Directoire,” by M. Joseph du Theil.<br />
There are very few anecdotes in this volume, but<br />
-a fund of information.<br />
<br />
Another historical book on the ‘‘ Guerres<br />
d’Espagne sous Napoléon,” by M. Guillon, bears<br />
<br />
out much which is said by the Vicomte de Reiset<br />
<br />
in his “‘ Souvenirs.”<br />
<br />
“Dominique Larrey et les Campagnes de la<br />
Revolution et de l’Empire,” by M. Paul Triaire, is<br />
“Oe Dominique<br />
Larrey,” said Napoleon, “est le plus honnéte<br />
homme que j’aie connu ; si jamais l’armée éleve<br />
une colonne a la reconnaissance, elle doit l’eriger<br />
a Larrey.” No monument has been erected, and<br />
so Dr. Paul Triaire has published this volume in<br />
honour of the brave and loyal army surgeon.<br />
<br />
Every publishing season brings us new books of<br />
history or memoirs of the Revolution epoch, and<br />
one of the great difficulties of historians is to<br />
discover the documents they require for their<br />
work.<br />
<br />
The City of Paris is having an index compiled<br />
of printed works relating to the Revolution period,<br />
and another index of manuscripts. The compiler<br />
<br />
-of the latter, M. Tuetcy, has his index ready for<br />
<br />
publication. It is the result of twenty years of<br />
work, and gives the summary of all that exists in<br />
the French archives dating from the Revolution.<br />
«TAme du Voyageur,” the posthumous volume<br />
by Prince Henri d’Orléans, was published by the<br />
Duc de Chartres on the anniversary of the death<br />
ofhisson. It is a well-written book, full of thought<br />
and shrewd observation. In the preface M.<br />
Eugéne Dufeuille gives us a brief account of<br />
the life of the Prince, who was born at Ham<br />
Common in 1867, and who died at Saigon last<br />
<br />
“year.<br />
<br />
The first chapter, “ L’Ame du Voyageur,” gives<br />
its title to the volume, and is the keynote to the<br />
whole book. Prince Henri was no ordinary, care-<br />
less traveller. He had gone abroad to observe, to<br />
learn, and to discover, and he has the gift of<br />
imparting something of his own interest and<br />
The second part<br />
of the book consists of five chapters describing<br />
the journey, “ De Paris au Tonkin par Terre.”<br />
Then comes a chapter on “Les Missionnaires<br />
francais au Thibet,” and four more chapters on<br />
<br />
“Une Excursion en Indo-Chine.” ‘There are<br />
other chapters on ‘ Madagascar, Recherches<br />
<br />
_ Philologiques dans le Yunnan, La Province de<br />
<br />
Battambang, L’ Assam, L’Abyssinie et le Trans-<br />
vaal,” and on ‘L’Insurrection des Boxers et la<br />
Politique de la France en Chine.”<br />
<br />
M. Camille Flammarion has just published a<br />
book which has come at the right moment, “ Les<br />
Eruptions volcaniques et les Tremblements de<br />
terre.”<br />
<br />
The popular edition just issued of M. Albert<br />
Charmolu’s book, “ La Justice gratuite et rapide<br />
par l’arbitrage aimable,” will probably not appeal<br />
to a large public in England.<br />
<br />
A timely book has been published by M. Moreau<br />
on “Sir Wilfred Laurier.”<br />
<br />
“Te Monde invisible” is the title of the new<br />
volume by M. Jules Bois.<br />
<br />
Translations from all languages are still very<br />
much in favour in France, and several of the serials<br />
running through daily papers are by English<br />
authors.<br />
<br />
M. Harancourt wrote a long article on “ Kim,”<br />
comparing Rudyard Kipling as an “ ironiste”<br />
with Toussenel.<br />
<br />
Another translation which has recently appeared<br />
is “In Kedar’s Tents,” by H. Seton Merriman.<br />
<br />
George Gissing’s “ New Grub Street” has also<br />
just been published in volume form as “ La Rue<br />
des Meurt-de-faim,” and has been most favourably<br />
received.<br />
<br />
The theatres are announcing their new plays for<br />
the winter season. M. Antoine has a long list<br />
in store for us. Among his first ones are “ Les<br />
Demi-solde,” by MM. d’Esparbes et Coulangheon,<br />
and “ Sainte Héléne’”’ by Mme. Séverine. This is<br />
an episode in the life of Napoleon. There are<br />
other pieces by M. Veber, M. Brieux, M. Bergerat,<br />
and M. Trarieux.<br />
<br />
Among the new pieces with which Madame<br />
Réjane is to commence her season in Paris on<br />
her return from America are: “La Meilleure<br />
Part,” by Pierre de Coulevain and Pierre<br />
Decourcelle ; “La Troisitme Lune,’ by Mme.<br />
F. Gressac, and a new piece by M. Sardou.<br />
<br />
Auys HALLARD.<br />
oo —__———<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
———+<br />
<br />
“Mr. Absolute” again.<br />
<br />
OME curious’ clauses appearing from time<br />
to time in publishers’ agreements have<br />
been freely criticised in The Author. The<br />
<br />
agreements drafted by the Publishers’ Association<br />
contained many examples of such clauses. It is<br />
necessary once again to criticise Mr. Absolute’s<br />
methods, as his agreement has been too much in<br />
8 THE AUTHOR.<br />
<br />
evidence during the past year. The clause that<br />
needs special attention runs as follows :—<br />
<br />
“‘ This agreement is entered into by the publisher on the<br />
warranty by the author, that the said work does not<br />
infringe any copyright, and that the said work does not<br />
contain anything of a libellous nature. If the said work<br />
does contain anything constituting or alleged to constitute<br />
a breach of such warranty, and proceedings are threatened<br />
or brought for any alleged infringement of copyright, or<br />
for any alleged libel, and it is deemed advisable by the<br />
publisher in his absolute discretion not to contest the<br />
matter but to arrive at a settlement thereof; or, if the<br />
action is successfully contested, then in any and every case<br />
the author shall pay in advance to the publisher a sufficient<br />
sum to cover the estimated costs of the publisher in defend-<br />
ing such action, or settling such action or threatened pro-<br />
ceedings, and shall at the same time give to the publisher<br />
security satisfactory to him to indemnify him against any<br />
damages awarded in such action; and shall, on demand,<br />
repay to the publisher all costs (as between solicitor and<br />
client), damages, and expenses incurred by the publisher<br />
in respect of, or resulting from, or incidental to such action<br />
or threatened proceedings, or the settlement thereof; and<br />
shall also, if the said work is withdrawn from publication,<br />
repay to the publisher all costs and expenses of and inciden-<br />
tal to the publication, advertisement of, and other dealings<br />
with the said work, to the effect that the publisher shall<br />
have a full and complete indemnity from the author in<br />
respect of all out-of-pocket expenses in connection with<br />
the said work.”<br />
<br />
In this particular agreement the publisher pur-<br />
chased the copyright from the author. In such a<br />
case there is no reason why the anthor should sign<br />
any guarantee clause or clause of warranty. In these<br />
<br />
circumstances the motto, caveat emptor, should<br />
rule the decision.<br />
<br />
Yet there is no harm iu the author giving a<br />
guarantee, should he desire to oblige the publisher<br />
<br />
or to avoid dispute. It is not likely that any<br />
author would knowingly sell to a publisher a work<br />
which was not copyright or which was libellous.<br />
<br />
In cases, however, where the author is only<br />
giving to the publisher a licence to publish, where<br />
the publisher is not acting as principal, but is<br />
acting practically as the author’s agent under<br />
specific agreement, it is only fair the publisher<br />
should be guaranteed that the work he is producing<br />
is not an infringement of copyright, and does not<br />
contain anything of a libellous nature. But as the<br />
publisher is not acting as a mere agent on com-<br />
mission, but is himself reaping a large—sometimes<br />
the larger—share of the profits, there is no reason<br />
why he should be indemnified from all costs and<br />
charges. As it is the author’s property that is in<br />
dispute, he should have the chief voice in regard<br />
to the defence of any action, the commencement of<br />
any action, and the settlement of any action.<br />
<br />
Let us turn, however, to the clause quoted above.<br />
<br />
Firstly, under the agreement from which this<br />
clause is extracted the publisher purchases the<br />
copyright.<br />
<br />
Secondly, he obtains the larger proportion of the<br />
profits,<br />
<br />
Thirdly, the wording of this clause under any<br />
conditions is, from the author’s point of view, quite<br />
absurd, and no sensible author should think of<br />
signing an agreement in which it occurs,<br />
<br />
The clause should never have been inserted.<br />
If it is inserted merely to obtain power, then it<br />
must as candidly be stated that no man ought<br />
to give to his dearest friend such power or place<br />
himself so unreservedly in his hands.<br />
<br />
The author is putting too much trust in the<br />
bona fides of the publisher. It is possible that<br />
some scoundrel (this does not refer to the publisher)<br />
might for his own reasons commence action against<br />
the publisher, even when there was no foundation<br />
for a charge of libel or infringement of copyright.<br />
It would lie in the publisher’s power to settle on<br />
what terms he thought fit, and the author would<br />
be bound to pay the costs of the proceedings, even<br />
if the case from the publisher’s standpoint was<br />
successful.<br />
<br />
This deduction seems quite reasonable, for there<br />
is no statement contained in the clause that the<br />
author shall obtain the return of his money ; and<br />
even if the publisher obtained damages in an action,<br />
the author would have to pay any extra costs as<br />
between solicitor and client, yet would not obtain<br />
any portion of the amount received in damages.<br />
But worse is to follow.<br />
<br />
It is possible for the publisher to withdraw the<br />
book on terms of settlement with the opposing<br />
party, and the publisher might possibly be inclined<br />
to do so supposing that it would be difficult to<br />
determine exactly whether the book was an infringe-<br />
ment of copyright or not, or where the action was<br />
inclined to be long and involved. Further, the<br />
defendants might offer a sum for the withdrawal<br />
of the book, and the publisher might settle on<br />
terms highly advantageous to himself. Under<br />
these circumstances the author is not only bound<br />
to pay all the costs that have been incurred, but he is<br />
also bound to pay the publisher “all costs and<br />
expenses of and incidental to the publication, adver-<br />
tisement of, and other dealings with the said work,<br />
indemnifying him from all out-of-pocket expenses,”<br />
<br />
As already stated, it cannot for a moment be<br />
supposed that any publisher would force the inter-<br />
pretation of the clause to its logical and legitimate<br />
conclusion. Then why insert it? It is not right<br />
that any author should sign an agreement which<br />
should put such chances and such powers in the<br />
hands of the publisher. Nothing should be left<br />
to the generosity of the publisher in a case of<br />
difficulty. It is exactly from a position of this<br />
kind that disputes and bad feeling have arisen<br />
in past years. Only the other day a publisher<br />
objected to make some alterations on the excuse<br />
that there should be ‘“ mutual confidence.”<br />
<br />
Unfortunately, in the case of the “ confidence<br />
<br />
<br />
<br />
<br />
<br />
<br />
trick,” the confidence is that given on the side of<br />
the victim. The other party takes good care not<br />
to be in the position of loser.<br />
<br />
Those publishers who insist and persist in placing<br />
agreements containing monstrous and impossible<br />
clauses before authors are bound in the end to sap<br />
the confidence of their employers, and lose business.<br />
<br />
That this is the case is evident to those who<br />
watch the literary output, and are aware of the<br />
publisher’s agreements.<br />
<br />
G.I.<br />
<br />
—— 4<br />
<br />
Tauchnitz Editions.<br />
I<br />
<br />
AN article, signed by “G. H. T.,” appeared<br />
under the above title in the June number of The<br />
Author, but reached my hands too late to enable<br />
me to answer it in the next issue.<br />
<br />
Although I abstain in general, out of considera-<br />
tion for the authors represented in the Tauchnitz<br />
edition, from publishing any business details or<br />
figures, I hope that the columns of The Author<br />
will be opened to the following short explanation.<br />
From it will be seen that the calculations of<br />
«G@. H. T.” are deduced from false premises and<br />
based on a misunderstanding, while one grave<br />
error, due no doubt to mere inadvertence, will<br />
also be called attention to.<br />
<br />
Your correspondent finds that my average<br />
selling price to the trade is M. 0°95, and _he takes<br />
this figure as a basis for calculations which lead<br />
him to the conclusion that royalties of 3d., 4d.,<br />
and 6d. a volume would be a fair remuneration to<br />
authors for editions of 3,000, 5,000, and 10,000<br />
‘copies respectively of their works.<br />
<br />
Permit me to call attention to some of his most<br />
obvious errors.<br />
<br />
(1) The average price at which my volumes are<br />
sold to the trade is not M. 0°95 but M. 0°83°225<br />
(this figure is the result of the most careful and<br />
exact calculation). The prices quoted by “G. H. T.”<br />
(M. 1:20, M. 1-05, M. 0°95, M. 0°90, and M. 0°85)<br />
are correct only for a portion of the trade, and do<br />
not apply to another and much larger part for<br />
which quite different and lower terms are allowed.<br />
But even if the above prices had been applicable,<br />
it would yet be entirely incorrect to strike an<br />
average as “G. H. T.” has done, since the sale<br />
of volumes at the higher prices is in no proportion<br />
at all to that of works at M. 0°85. The general<br />
“‘publisher’s expenses” amount to 17 per cent. of<br />
the average sale price of M. 0°83, and not to 10 per<br />
cent.of the profit! This figure is exactly calculated,<br />
and reduces our M. 0°83 to M. 0°70, which must<br />
accordingly be taken as the basis of all calculations<br />
instead of the M. 0°95 of your correspondent.<br />
<br />
(2) The sale of volumes of the Tauchnitz<br />
<br />
THE AUTHOR. 9<br />
<br />
edition is smaller than “G. H. T.” seems to take<br />
for granted. Three thousand copies represent a<br />
very fair sale, which is never reached by a con-<br />
siderable number of the works published ; a sale<br />
of 5,000 copies is only attained in the case ot<br />
works by exceptionally popular authors ; while a<br />
sale of 10,000 can only be recorded in the case of<br />
six books out of the 800 volumes published during<br />
the last ten years.<br />
<br />
(3) “G. H. T.” is wrong in taking £20 as<br />
the average honorarium paid for volumes of the<br />
Tauchnitz edition. The actual figure is very<br />
considerably higher, and is always conscientiously<br />
calculated according to the measure of the author’s<br />
popularity on the Continent.<br />
<br />
(4) The cost of production, though varying<br />
considerably in point of fact according to circum-<br />
stances, is fairly accurately given by “G. H. T.”<br />
for editions of 8,000 and 5,000 copies, but his<br />
estimate for 10,000 copies is too low. However,<br />
I am quite willing, for the purposes of argument,<br />
to accept the figures he gives. In this connection<br />
I may call attention to a curious mistake your<br />
correspondent makes. In the case of 3,000 and<br />
5,000 copies he correctly finds the publisher’s<br />
profit by deducting from the sum the sale of the<br />
copies brings in, the cost of production of the<br />
edition ; while in the case of a sale of 10,000 copies<br />
he entirely forgets to deduct this very considerable<br />
item of M. 2,800 or £140 (although he expressly<br />
says he has done so), and so arrives at the<br />
astonishing conclusion that the profits of publisher<br />
and author are in the proportion of 8 to 1, and pro-<br />
poses that the latter shonld receive a royalty of<br />
6d. per copy.<br />
<br />
If “G. H. T.” will now make his calculations<br />
anew on the corrected basis, and allow royalties of<br />
3d., 4d., and 6d. as he proposes, he will arrive at<br />
the following results :<br />
<br />
In the case of an edition of 8,000 copies :—<br />
Profits of sale M. 2,100<br />
Less cost of production 1,400<br />
<br />
<br />
<br />
<br />
<br />
Total profit. M. 700 or £35 0 0<br />
Less 3d. royalty<br />
<br />
(Author’s profit) far 10. 0<br />
Nett loss to publisher £210 0<br />
<br />
In the case of an edition of 5,000 copies :—<br />
Profits of sale M. 8,500<br />
Less cost of production 1,800<br />
<br />
<br />
<br />
Total profit. M. 1,700 or £85 0 0<br />
Less 4d. royalty<br />
<br />
(Author’s profit) . 88.66 0<br />
<br />
Nett profit to publisher<br />
<br />
<br />
10<br />
<br />
In the case of an edition of 10,000 copies :—<br />
<br />
M. 7,000<br />
2,800<br />
<br />
Profits of sale . :<br />
Less cost of production<br />
Total profit M. 4,200 or £210 0<br />
Less 6d. royalty<br />
<br />
(Author’s profit) 250 0 0<br />
<br />
£40 0 0<br />
<br />
Nett loss to publisher<br />
<br />
The above figures speak for themselves, and I<br />
feel sure from the friendly tone of “ G. H. T.’s ”<br />
article that he will be the first to form a more<br />
favourable opinion of the transactions between<br />
myself and British authors.<br />
<br />
Faithfully yours,<br />
<br />
TAUCHNITZ.<br />
es<br />
<br />
Il,<br />
To the Editor of THe AvuTHoR.<br />
<br />
Srtr,—I beg to thank. you for allowing me an<br />
early perusal of Baron Tauchnitz’s letter.<br />
<br />
I mnst apologise to the Baron for omitting to<br />
deduct the cost of production in calculating the<br />
figures for the sale of 10,000 copies; but even if<br />
this cost is deducted it makes the ratio between<br />
publishers’ and authors’ profits about 54 to 1—a<br />
substantial difference.<br />
<br />
In answer to objection two, urged from the<br />
Leipzig house, I can only say that the prices at<br />
which the books are sajd to the booksellers were<br />
collected from Italy, Switzerland, Germany and<br />
France, and did not differ, save in the rate of<br />
exchange, in any of the countries.<br />
<br />
In answer to No. 3 I can but repeat that a long<br />
and intimate acquaintance with the current prices<br />
of literature and authors’ rights confirms me in my<br />
opinion that £20 is a fair price to have named.<br />
<br />
T am glad that the Baron admits that the cost<br />
of production is reasonable. Where, however, a<br />
publisher prints his own books the cost must be<br />
considerably cheaper than an estimate, such as<br />
mine, obtained in the open market.<br />
<br />
Yours truly,<br />
G. H. f.<br />
<br />
— 9<br />
<br />
Matters of Account.<br />
<br />
THE manner in which certain publishers render<br />
accounts is frequently a cause for complaint by the<br />
author. To prevent friction between author and<br />
publisher should be the constant aim of both<br />
parties ; the latter should endeavour to meet the<br />
author wherever he can do so without difficulty to<br />
<br />
THE AUTHOR.<br />
<br />
himself, especially as he is constantly complain-<br />
ing of the lack of that friendly feeling which is<br />
supposed to have existed in the good old days.<br />
<br />
The method of rendering halt-profit accounts is<br />
not under discussion.<br />
<br />
Accounts of books published on the half-profit<br />
system are nearly always unsatisfactory to the<br />
author, and need considerable investigation.<br />
<br />
Where books are published on the royalty<br />
system the case is different. The simplest method<br />
of rendering accounts with a view of satisfying the<br />
author is that adopted by some of the best houses<br />
in London.<br />
<br />
A statement is made of the number of books<br />
printed—the printer’s voucher is enclosed with the<br />
account—and a statement is made of the number<br />
of books on hand. The difference between the<br />
two amounts is fully accounted for, and the<br />
royalty paid. This is satisfactory to the author,<br />
and even to the most unbusinesslike is simple and<br />
plain. He learns the number of the issue, and<br />
feels secure that there has been no double dealing,<br />
as the printer’s voucher is furnished with the<br />
statement.<br />
<br />
The following method of rendering accounts is<br />
unsatisfactory. It at once breeds suspicion in the<br />
author’s mind, especially when after a formal<br />
demand the publisher refuses to give the author<br />
further particulars, or refuses to allow an<br />
accountant to check the books. The method<br />
referred to is simply stating “so many copies<br />
sold, so much royalty.”<br />
<br />
It would be possible for the author, if<br />
he was a member of the Society, to compel the<br />
publishers to produce their books and vouchers,<br />
This course, however, is one of considerable<br />
expense to the Society, considerable trouble to<br />
the author, and does not as a rule return a benefit<br />
commensurate with the trouble and the expense.<br />
<br />
It is possible that the publisher may argue that<br />
the author has a statement, and a correct statement,<br />
of the number of copies sold, and is paid a royalty<br />
on the amount. This argument may to a certain<br />
extent be sound, but experience shows that the<br />
method is a bad one. It arouses suspicion in the<br />
mind of the author, withholds information that<br />
the author is entitled to, and in consequence tends<br />
to friction. It is so easy to render accounts giving<br />
full explanations that the publisher should when<br />
possible avoid causing annoyance, and in no case<br />
more so than where questions of the monetary return<br />
are concerned.<br />
<br />
There is another method of rendering accounts<br />
on the royalty system which is even more unsatis-<br />
factory to the author. This applies rather to<br />
American than to English publishers.<br />
<br />
Books are sent out on sale or return, but the<br />
fact is not notified in the accounts, and the royalty<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
if<br />
{LF<br />
<br />
SA. hh gee<br />
a eS<br />
<br />
=<br />
<br />
a<br />
<br />
<br />
<br />
is paid on these books. Some of the books are<br />
returned. ‘The publisher has two courses open.<br />
Both are unsatisfactory. The first is to deduct<br />
the royalty already paid and debit the account (it<br />
is a question whether the publishers could actually<br />
demand the return of the money); the second is to<br />
reduce the sales in the next account rendered by<br />
the amount returned, without notifying the fact in<br />
the account, thus to the author's astonishment<br />
bringing the sales to an extraordinarily low figure.<br />
<br />
If either of these courses is adopted, the author<br />
not unnaturally gives vent to some angry eXx-<br />
pressions. All these difficulties could have been<br />
avoided if in the first instance the publisher, when<br />
rendering his accounts, had stated that of the<br />
books sent out a certain number were sent out<br />
on sale or return and either (1) refused to pay<br />
the royalty until the returns were ascertained, or<br />
(2) paid the royalty subject to the books being<br />
returned.<br />
<br />
It cannot be too often repeated that the publisher<br />
who renders fullest accounts, who is always<br />
willing without any trouble or unnecessary delay<br />
to meet the author with full particulars, will, firstly,<br />
be much less likely to be troubled by the authors<br />
for whom he is acting in the matter of book investi-<br />
gation (they will feel assured that everything is<br />
open to them should they desire to make enquiry),<br />
and, secondly, will reap considerable benefit owing<br />
to his enhanced reputation.<br />
<br />
A. B.<br />
<br />
—+—~—+<br />
<br />
Publisher and Author.<br />
<br />
Mr. Exuior Srock, publisher, 62, Paternoster<br />
Row, brought an action against Mr. Henry Har-<br />
rison, author, to recover the sum Of 91 10s. Id..<br />
being the balance of charges for printing and<br />
publishing a book for him. Mr. Arnholz appeared<br />
for the plaintiff, the defendant conducting<br />
his own case. It seemed that the book was<br />
published in 1898. At the time the plaintiff<br />
advertised the work, and obtained reviews in<br />
various newspapers. The defendant complained<br />
that the plaintiff had been guilty of recklessness<br />
in inserting advertisements in London papers<br />
when the book dealt with Liverpool. The plain-<br />
tiff repudiated the suggestion of carelessness, and<br />
said that all Liverpool people and antiquarians<br />
generally were interested in the subject. It<br />
seemed that the plaintiff’s advertising clerk was on<br />
his holiday, and could not testify to some of the<br />
smaller details. A compromise was suggested ;<br />
and, in the end, judgment was given, by general<br />
approval, for the plaintiff for six guineas, without<br />
costs.<br />
<br />
The defendant had, before the date of the trial,<br />
offered the plaintiff 5/, 5s. in full settlement.<br />
<br />
THE AUTHOR. 11<br />
<br />
Mechanical Reproduction and Musical Rights.<br />
<br />
Aw interesting case is being tried in the<br />
United States courts to determine whether the<br />
production of music by means of perforated rolls<br />
used in piano-organs and similar instruments is<br />
an infringement of copyright.<br />
<br />
From the judgments given up to the present<br />
time in the United States it would appear that<br />
such reproduction is not an infringement of copy-<br />
right. This point was decided in the English<br />
courts some time ago. But though such produc-<br />
tion is not an infringement of the copyright, it is<br />
undoubtedly an infringement of the performing<br />
right, and could be easily stopped by an injunction<br />
if musical composers took care to protect them-<br />
selves in their agreements in order to preserve<br />
these rights.<br />
<br />
The publishers, in the majority of instances,<br />
endeavour to obtain every conceivable right from<br />
the unfortunate musical composer, and seem to be<br />
quite indifferent to this form of infringement. It<br />
would be as well if, in addition to waging war<br />
<br />
against the street vendors of music, they took:<br />
<br />
steps against those who reproduce music by means<br />
of mechanical process.<br />
<br />
The point is one of growing importance now<br />
that pianolas and pianotists are sold in such large<br />
quantities.<br />
<br />
In former years Sir Walter Besant on several<br />
occasions endeavoured to get the musical composers<br />
to combine with the authors and band them-<br />
selves together to protect their own property.<br />
Some of the best known composers in England<br />
joined the society, but in spite of this endeavour<br />
they lacked the energy to adopt a virile and<br />
energetic policy.<br />
<br />
Is it a hopeless matter to ask them once more<br />
to “set in order their house” and fight for the<br />
maintenance of what is their own? It would be<br />
impossible to secure a better arrangement in the<br />
musical market immediately, but a gradual<br />
improvement would no doubt take place if the<br />
publishers saw that the main body of the musical<br />
composers were really-m earnest.<br />
<br />
SEE tiene a a<br />
<br />
True Tales.<br />
<br />
Unper the heading of “‘ Literary Property,” in<br />
the February, 1901, issue of The Author, some<br />
curious instances were quoted in which publishers,<br />
without a real breach of their agreement, had killed<br />
authors’ books. ‘The instances were all authentic,<br />
and should be carefully studied.<br />
<br />
We call the article to mind as a curious case on<br />
somewhat similar lines has come to our knowledge.<br />
<br />
A publisher produced a book on an agreement to<br />
pay a royalty which should rise after the sale of a<br />
certain number of copies. When the fixed number<br />
<br />
<br />
12<br />
<br />
of copies was reached he stated that it was impos-<br />
sible to re-issue the book, as he could not afford to<br />
pay the higher price, but he added that he was<br />
willing to cancel the contract. He made one or<br />
two statements with regard to expenses, with a view<br />
to cover his position; these, however, were not<br />
borne out by the facts of the case. The author<br />
was placed in the awkward position of being com-<br />
pelled to bring an action for damages (always<br />
unsatisfactory), or to go to the trouble and annoy-<br />
ance of endeavouring to place the book in the hands<br />
of another publisher, with the additional risk of its<br />
not being accepted. Would the Publishers’ Associa-<br />
tion consider such a case if it was placed before<br />
them, and issue a criticism on its moral aspects ?<br />
If so, we shall be glad to give full details.<br />
<br />
The end of the story is, however, satisfactory.<br />
The book was successfully transferred to another<br />
publisher. The author obtained the advanced<br />
royalty from the beginning, in spite of the fact<br />
that the book had again to be set up in type.<br />
<br />
Another strange story may point a moral to<br />
authors :—<br />
<br />
A certain well-known publishing body wrote to<br />
an author who was just coming into fame, and<br />
asked him to write a book. They made him an<br />
offer of a sum down in payment. The author<br />
refused, as he stated he could always get twice as<br />
much for anything he wrote, but he went to see<br />
the manager of the establishment in order to<br />
explain his position. The manager thereupon<br />
stated that he was astonished at the objection<br />
made, as Mr. (naming an author whose popu-<br />
larity is at the present day undoubted) had written<br />
for them at that price.<br />
<br />
This was a statement of fact, but the manager<br />
omitted to add that when Mr. had written<br />
for them at that price he was practically an unknown<br />
and struggling author, and the books had been<br />
written nearly twenty years before.<br />
<br />
The end of this story was also satisfactory.<br />
The young author was not deceived, but refused the<br />
<br />
contract.<br />
ep<br />
<br />
Denmark and the Berne Convention.<br />
<br />
Our valuable contemporary Le Droit d’ Auteur<br />
<br />
contains the highly interesting intelligence that a<br />
movement in Copenhagen in favour of the Berne<br />
Convention, with which the name of Mr. Bang<br />
is honourably associated, has led to satisfactory<br />
results. On the occasion of a reception of the<br />
deputation of the Association of Danish Authors<br />
by the Minister of Public Instruction, the latter<br />
informed them that he intended laying before the<br />
Parliament during the next session a law that<br />
would prepare the way for the entrance of Denmark<br />
into the International Union.<br />
<br />
THE AUTHOR.<br />
<br />
Italian Copyright Law.<br />
<br />
PRELIMINARY discussions of the reform of the<br />
present Italian law of copyright have been going<br />
on since the beginning of the year. ‘The questions<br />
raised respecting the duration of the copyright<br />
have led to interesting disclosures and resolutions,<br />
Italy stands alone in having a system by which,<br />
after the expiration of the criginal right (twenty-<br />
five years), a second period ensues of another<br />
twenty-five years during which a royalty is paid<br />
to the State. This has been regarded by the<br />
supporters of perpetual copyright as a step in the<br />
right direction, by which the community (not the<br />
publishers alone) benefit by the abiding value of<br />
works that continue to be popular. It appears,<br />
however, that the purely commercial instincts of<br />
the publishers mamage here also to get evil out of<br />
good. It is just those works which pay this<br />
royalty that the publishers prefer mot to reprint.<br />
In consequence, Italy will probably fall back upon<br />
a copyright of life and fifty years. That of life<br />
and forty years, preferred by the recent new law of<br />
Germany, has been happily rejected. It is a<br />
singular thing that the Latin races have distinctly<br />
more advanced and wider views about the duration<br />
of copyright than Englishmen and Germans. But<br />
this last instance of a capacity for breadth of<br />
vision is only one of many evidences of that fact.<br />
<br />
Oo<br />
<br />
CANADIAN COPYRIGHT—ANOTHER POINT<br />
OF VIEW.<br />
<br />
a<br />
<br />
Being a paper read before the Canadian Press Association<br />
at its Annual Mecting in February.<br />
<br />
Literature and its Handicaps.<br />
<br />
HERE is an intimate relationship between<br />
a literature and journalism. In the days<br />
when there was no journalism there was<br />
<br />
little literature, and what there was brought but<br />
small return to its producers. In this golden age<br />
of journalism—and it is a golden age—literature<br />
flourishes as the green-bay tree. The writer of<br />
poems, instead of hoarding up his verses until he<br />
has enough to fill a volume, gives them out one by<br />
one to the daily, weekly, or monthly Press, and<br />
receives an immediate hearing and some immediate<br />
return for the finished product of his art. The<br />
writer of short stories wins fame and a competence<br />
by helping to fill’the voracious columns of the<br />
daily or weekly paper. Through journalism he<br />
takes his first steps towards success, makes the<br />
first steps of his ability to supply the public with<br />
<br />
<br />
<br />
<br />
<br />
<br />
interesting material. The writer of novels tests<br />
his material with the editors of magazines and<br />
daily papers; if he cannot win a hearing with<br />
them, it is not likely, though it sometimes occurs,<br />
that he will win the favour of a great book pub-<br />
lisher. Through journalism, the novelist widens<br />
the circle of his devotees and wins a quick mone-<br />
tary return. It is said that Sir Gilbert Parker<br />
received over $5,000 for the serial rights of each<br />
of his last two novels, while Mr. Kipling gets as<br />
high as a shilling a word for his compositions.<br />
<br />
It is just this intimate relationship between<br />
journalism and literature which accounts for much<br />
of the backwardness of Canadian literature. Jour-<br />
nalism in Canada has been fighting a stern battle,<br />
and has been able to give literature but little<br />
encouragement. Therefore, literature’s first handi-<br />
cap may be stated to be the weakness of the support<br />
given by journalism. If a Canadian poet could<br />
receive $5 or $10 for each poem sent to a daily<br />
paper, he would be stimulated to a greater produc-<br />
tion and to a higher grade of work. Ifa Canadian<br />
short-story writer could get $50 for each short<br />
story from a daily paper, or from a syndicate of<br />
daily papers, his work would be of a higher quality.<br />
If a Canadian novelist could get $200 to $1,000<br />
for the serial rights of each long story produced,<br />
we would soon have a new school of novelists. If<br />
a dozen literary periodicals were competing for the<br />
work of poets, descriptive writers, and novelists,<br />
the production of material would be increased, and<br />
a higher grade of literature would be the result.<br />
But we have not yet reached that stage.<br />
<br />
A bright Canadian writer who recently went to<br />
London to live desired to supply a.weekly letter to<br />
Canadian dailies. I undertook to syndicate the<br />
work for her. I sent a glowing letter to about<br />
thirty of our leading dailies, and offered to give this<br />
weekly letter for exclusive publication in such dis-<br />
trict at $1 to $2 per week. I received only one<br />
acceptance. Let me give another example. I<br />
arranged to syndicate Canadian short stories and<br />
supply them to daily papers on the same conditions<br />
at $1 a week, but could get no support for my<br />
venture.<br />
<br />
Another handicap from which Canadian litera-<br />
ture is suffering is the lack of a Copyright Act. If<br />
this market were confined to Canadian publishers,<br />
the books of Canadian authors would be published<br />
by strong firms and well marketed. There will be<br />
little Canadian literature until a Canadian Copy-<br />
right Act prevents this country from being exploited<br />
as a slaughter market for the publications of foreign<br />
printers and publishers.<br />
<br />
Still another handicap is the freedom with which<br />
United States periodicals circulate in this country.<br />
Nearly three millions a year of these weeklies and<br />
monthlies find their way into this market, crowding<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
13<br />
<br />
Canadian publications to the wall. Unprinted<br />
paper is charged 25 per cent.; printed paper, con-<br />
taining the work of United States writers, artists,<br />
engravers, and printers, pays no duty. Not only<br />
is Canadian literature unprotected, but it is dis-<br />
criminated against to the extent of 25 per cent.<br />
The producer of milk cans and agricultural imple-<br />
ments is protected ; the producer of literature is<br />
not only unprotected, but is actually handicapped,<br />
The handicap on a publisher desiring to publish a<br />
10-cent magazine in this country amounts on a<br />
50,000 edition to $7,500 a year. This tax prevents<br />
publishers employing Canadian writers and artists.<br />
<br />
In a recent address Principal Grant stated that<br />
the journalists are weaving the organic filaments<br />
of a new and higher social state; that the only<br />
sovereigns in these days are the literary men. lf<br />
this be true, Canada is, in a great measure, allowing<br />
United States journalists and literary men to weave<br />
the organic filaments of this new nation. During<br />
the past few months a New York paper, by the<br />
name of Success, has been organising Success Clubs<br />
in connection with our Church societies. ‘There<br />
are several of these clubs in Toronto. Acqui-<br />
escence in this sort of thing may be excused in an<br />
unthinking public, but it cannot be excused in<br />
journalists and publicists. Upon the journalists<br />
of Canada rests, to some extent, the duty of seeing<br />
that Canadians are fed upon the proper kind of<br />
intellectual food.<br />
<br />
The fourth handicap is shared by both journalism<br />
and literature. The Imperial postage rate on<br />
newspapers and periodicals is eight cents a pound,<br />
and an Imperial circulation cannot be secured<br />
with such a handicap. If London publications<br />
sold more freely in Canada, they would require<br />
more of Canada’s literary products.<br />
<br />
The fifth handicap is the complacency of the<br />
public. No other country in the world buys<br />
foreign periodicals and books in such quantities<br />
as Canada. Great Britain does not, because she<br />
has as neighbours the French and Germans, whose<br />
languages erect a natural barrier, while the<br />
Atlantic separates her from the United States and<br />
prevents the competition between the two countries<br />
which would exist were they side by side. So the<br />
United States is protected by the Atlantic from<br />
the inroads of British periodicals, and by an astute<br />
Copyright Act from the competition of British<br />
book publishers. Canada is only one concession<br />
removed from the United States, and the language<br />
is the same. Only the loyalty of the Canadian-<br />
reading public could save this market for the<br />
Canadian journalist and Jdttérateur. This loyalty<br />
is evident in the support given to the publication<br />
with which I am connected, in the great sales of<br />
<br />
the works of Ralph Connor and Gilbert Parker<br />
and in other ways.<br />
<br />
But this loyalty must be<br />
<br />
<br />
14<br />
<br />
assisted and fostered by such legislation as will<br />
cive us bright literature at popular prices, Canadian<br />
literature in popular form. he loyalty of a small<br />
portion of our people must not be taxed by this<br />
unfair competition from another country.<br />
<br />
With all these handicaps it is small wonder that<br />
we have little native literature and few native<br />
writers of prominence. ‘The best writers who have<br />
been unfortunate enough to be born in this country<br />
have soon discovered the mistake and hastened to<br />
change their abode. Grant Allen, Robert Barr,<br />
Gilbert Parker, Sara Jeanette Duncan, Bliss<br />
Carman, Charles G. D. Roberts, and a dozen<br />
others have shaken the dust of Canadian soil from<br />
off their feet because it was unholy ground. They<br />
have gone to find fame, appreciation and wealth<br />
in other lands. ‘They have removed to countries<br />
that have a strong journalism, a stern Copyright<br />
Act, a protected home market, favourable postage<br />
rates, and a not indifferent public.<br />
<br />
This protest of mine may be a kick against the<br />
pricks. Ido not believe it is. I believe I shall<br />
live to see the day, if I have luck, when Canadian<br />
journalism shall be strong enough to afford sub-<br />
stantial encouragement to Canadian writers, when<br />
Canada shall give her writers the profits of a copy-<br />
righted market, when the evils of foreign com-<br />
petition shall be duly limited, when Canadian<br />
periodicals will circulate throughout the Empire<br />
under the sgis of penny postage, when a loyal<br />
public will give greater encouragement to the man<br />
who is putting the genius of the nation into song<br />
and story. The influencesare at work, the struggle<br />
for bread and butter is nearly past, the struggle<br />
for literary supremacy is at hand. When the new<br />
day arrives, Canadian literature and Canadian<br />
journalism will be found working together to give<br />
this people the food which makes for intellectual<br />
greatness.<br />
<br />
Joun A. CooPER,<br />
Editor, Canadian Magazine.<br />
<br />
—<br />
<br />
BOOKS AND THE PUBLIC.<br />
<br />
oo<br />
<br />
The Method of Distribution.<br />
<br />
ROM time to time The Author has published<br />
interesting articles bearing on the relation-<br />
ship between author and agent and the<br />
<br />
various methods of publishing, and I have expected<br />
to see another on “The Method of Distribution.”<br />
To my mind this is by far the most important, for<br />
however ably written, disposed of, and published,<br />
all will be in vain if the buying public are not<br />
induced to buy what the author, agent, and<br />
publisher have produced.<br />
<br />
THE AUTHOR.<br />
<br />
Now, as to the present method of distributions<br />
Are your readers satisfied with present arrange.<br />
ments ? If so, there is nothing more to be aid or-<br />
done. But if the greater number, leaving out the<br />
successful writers of fiction who can command<br />
sales of many thousands, do not feel satisfied that<br />
their books are well displayed and given a fair<br />
chance, there is ample reason for discussing the<br />
matter.<br />
<br />
To those unacquainted with the process it may<br />
be well to state that the usual course appears<br />
to be for the publisher, having previously para-<br />
graphed the work in hand for all he is worth,<br />
to show round a copy, or subscribe as it is called,<br />
to the London trade and libraries ; simultaneously<br />
he shows a copy, by means of his traveller, to the<br />
country bookseller. By “the trade” it must be<br />
understood that we mean not only retailers but<br />
also wholesale buyers, and those who are known as<br />
“exporters,” mostly agents for well-known Colonial<br />
or American booksellers.<br />
<br />
We will suppose that we have to deal with an<br />
ordinary book, fiction or otherwise, by a practically<br />
unknown author. The bookseller does indeed look<br />
at the cover, glance through a few pages, consider<br />
the size and weight of the volume with reference to<br />
its price, and then courteously or otherwise inform<br />
the anxiously waiting traveller that he “ will not<br />
subscribe, but wait until he is asked for it and get<br />
it from one Simpkins.” Naturally enough he<br />
can’t stock all books. He knows the names of<br />
a few well-known authors, and he prefers to buy<br />
enough of these to make a big heap, to which he<br />
knows his assistants will run while cuckooing the<br />
usual note, “ Here is the latest by So-and-so. We<br />
are selling hundreds.” But how fares our unlucky<br />
author ? If the wholesale buyers put it into their<br />
stock at all, they must have an additional discount<br />
to induce them to do so ; and rightly, for they do<br />
take some risk if they take but little trouble.<br />
They also will wait ‘till they are asked for it.”<br />
And the chances are that they will be asked for it,<br />
because a vast expenditure must be incurred by<br />
the publisher in advertising, to say nothing of the<br />
copies he sénds for review.<br />
<br />
But so far what has the trade done for the<br />
book ? Absolutely nothing. For the most part the<br />
booksellers have not stocked it, therefore they can-<br />
not show it. The book-buyer cannot see it. He<br />
must “ order” it, buying “a pig in a poke,” on the<br />
faith of what a reviewer has said, or caught by the<br />
showy advertisement that the clever pubiisher has<br />
concocted. But the bookseller having taken his<br />
order, and in due course ordered it from Simpkins,<br />
is content to pack up the book, send it to his<br />
customer, get the money when he can, and dis-<br />
contentedly grumble at his profit. He has<br />
done packers’ work and been paid at packers’<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
wages. As-a salesman he has done nothing, as a<br />
literary helper he has done less, and in all proba-<br />
bility he has never seen the book, having left all<br />
the seeing and distributing to his assistants.<br />
Yet pretty well half the published price of the<br />
book has disappeared in this process. Truly one-<br />
fourth is allowed as discount to the buyer, but<br />
there can be little doubt that the other fourth has<br />
been swallowed up by a very extravagant method of<br />
distribution. Sales there have not been—except<br />
so far as advertisements have produced them. In<br />
other words, the shopkeeper only supplies a demand<br />
created by other means—and he is no book-seller<br />
at all.<br />
<br />
Are there remedies? Yes. 1. The post-<br />
office “ cash on delivery ” system would be cheaper.<br />
2. Let publishers refuse to give any trade allow-<br />
ances on single collected copies, but increase the<br />
allowance considerably when books are taken by<br />
men who intend to sell them by personally knowing<br />
something of their contents.<br />
<br />
Probably these suggestions will be considered<br />
no remedy, but amongst the many brilliant readers<br />
of The Author surely there is one who will show us<br />
how to get rid of the present inefficient shopkeeper<br />
and set up a well-paid and contented book-seller.<br />
<br />
+-—<—_+—_—__<br />
<br />
COLONIAL ART COPYRIGHT.<br />
<br />
—<br />
<br />
Y a decision given in the Supreme Court of<br />
Appeal of Ontario, by four Judges, it has<br />
been held that a British copyright owner has<br />
<br />
no protection in the Dominion of Canada in the<br />
matter of artistic copyright. The case arose<br />
over a photogravure published by Messrs. Henry<br />
Graves and Co., Ltd., the copyright of which<br />
was duly registered in Stationers’ Hall. The<br />
photogravure was entitled “ What we _ have<br />
we'll hold,” and represented a bulldog, in defiant<br />
attitude, standing on the Union Jack. This had<br />
been pirated in Canada in divers ways—by copies<br />
made in oil, by reproductions in photogravure, by<br />
process work, by lithography, both plain and in<br />
colours, by being reproduced on envelopes, note-<br />
paper, post-cards, brooches, match-boxes, and in<br />
yarious other ways, and the piracies had even been<br />
exported to England. Messrs. Henry Graves and<br />
Co., Ltd., accordingly took action in Canada,<br />
and, as the matter was a vital one to all who have<br />
a direct or indirect interest in the subject of<br />
artistic copyright, an influential society of artists,<br />
fine art publishers, engravers, &., was formed,<br />
with Sir Edward Poynter, Bart., P.R.A., as Pre-<br />
sident, under the title of the Society for the<br />
Protection of British Fine Art Copyright in the<br />
Colonies, in order to protect the interests of the<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
15<br />
<br />
various professions, businesses, and industries<br />
affected. A deputation from the Association<br />
waited on Sir Wilfred Laurier, the Canadian<br />
Premier, who was asked to accord to Great<br />
Britain at least as much protection in Canada<br />
as was received by British copyright owners<br />
in various foreign countries, such as France,<br />
Germany, Italy, Japan, or even Hayti. It was<br />
pointed out that the position was most anomalous<br />
whilst these countries received from Great<br />
Britain just the same protection as was accorded<br />
to Canada, Canada gave Great Britain no<br />
protection whatever. Mr. J. F. E. Grundy<br />
(Secretary of the Association), Messrs. Walter<br />
Dowdeswell, J. B. Pratt, J. J. Elliott, and<br />
Adolf Tuck having spoken, a petition on the<br />
matter, headed by Sir Edward Poynter, and signed<br />
by most of the Royal Academicians and others<br />
interested in fine art copyright, was handed to<br />
Sir Wilfrid Laurier. The Canadian Premier, who<br />
gave the deputation a most courteous reception,<br />
whilst carefully guarding himself from any expres-<br />
sion of opinion likely to commit his Ministry,<br />
promised to give this important question his full<br />
and most sympathetic consideration on his return<br />
to Canada. Meanwhile, he promised in the interval<br />
to forward the petition to the responsible Minister<br />
in Canada. The deputation thanked Sir Wilfrid<br />
Laurier for his courtesy.<br />
<br />
——_——_——__+—<>—_+—__—-<br />
<br />
THE ART OF INDEXING.*<br />
<br />
——_-—+—<br />
<br />
N interesting monograph on indexes and<br />
A index-makers has been added to the Book-<br />
Lover’s Library, but the compiler addresses<br />
experts and the profession rather than authors.<br />
No one knows better what a good index should be<br />
than Mr. Wheatley ; but he makes so much of his<br />
subject that possibly his book will deter the busy<br />
author from attempting a task well within his<br />
compass, for this treatise is at once too diffuse and<br />
too advanced to be of real service as a guide to<br />
writers who wish to make an index to their own<br />
books, instead of having the work inadequately<br />
performed by costly hired assistants.<br />
<br />
It is an admirable exposé of the mind of the<br />
professional index-maker, therefore useful to all<br />
who have to consult indexes. There is much<br />
interesting padding about the growth of indexes ;<br />
the mistakes of indexers, their facetiousness and<br />
even malevolence, but not enough of practical<br />
instruction. ‘The anecdote of Wellington's breeches<br />
and the Bishop of London is not even remotely<br />
<br />
Oo<br />
* How to Make an Index,” Henry B. Wheatley, F.S.A.<br />
Elliot Stock, London, 1902.<br />
<br />
<br />
16<br />
<br />
connected with indexing, and its whole point is<br />
that a writer must mind his n’s and u’s. The<br />
omissions are many ; there are points on which<br />
the opinion of an expert would be valuable ;<br />
amongst them—the use of abbreviations, and of<br />
technical contractions in the index; uniformity of<br />
practice as to abid., id., op. cit., etseq., ff., etc. Is or<br />
is ib not permissible in an index to disregard the<br />
special spellings with mixed founts—as of Indian<br />
and Old English words—and accented letters, as<br />
they appear in the text ? How far the typographical<br />
art can aid the consulter of the index in finding a<br />
particular item should have been shown by speci-<br />
men pages of indexes, in which, by differences of<br />
type, the entries are seen to refer respectively to<br />
original statements, quotations, descriptions with<br />
pictorial illustrations, chapter headings, proper<br />
names, and dates. It is true Rule XIII. says that<br />
the titles of all books quoted are to appear in the<br />
index, and the word “ quoted” added in italics ;<br />
but what would be the appearance of such an<br />
index to, say, Sir John Lubbock’s ‘“ Pleasures of<br />
Life” ? Then, if small capitals indicate chapter<br />
headings, why is each first reference under each<br />
letter so printed in indexes? Should not capital<br />
initials be reserved for proper names? What is<br />
the cost of indexing? The book gives no answer.<br />
<br />
When a subject runs on from page to page the<br />
reference is to be from the first page to the last.<br />
In this book the indexing of prefixes is dealt with<br />
in pages 141 to 144. There is no entry to prefixes<br />
in the index, but under “ Names ”’ is a sub-heading<br />
referring to “the rules for the arrangement of<br />
foreign and English respectively, 141, 142,” which<br />
surely should be 141-144; the two numbers<br />
when separated by a comma suggesting references<br />
to distinct items, not the continuation of a single<br />
reference.<br />
<br />
For making the index Mr. Wheatley recom-<br />
<br />
mends foolscap, upon which the entries are made<br />
seriatim. The foolscap sheets are then cut into<br />
slips full width of the paper; these slips must be<br />
arranged in proper alphabetical order, then pasted<br />
down in that order on wider sheets of paper, and<br />
so sent to press. For headings to which there are<br />
likely to be many references, the separate sheets<br />
are kept in a lettered folio. Altogether the method<br />
is old-fashioned and troublesome.<br />
<br />
The more expeditious and accurate way is to<br />
use sheets of post-card or small note size. Write<br />
one reference on each, and as soon as done throw<br />
it into a box; if there are many references for one<br />
heading do the same—it is less trouble to write on<br />
a new sheet than to find a particular one in a<br />
lettered folio. A contraction may be used ; “Edward<br />
VII.” by oft repetition becomes “Ed. 7,” and<br />
other abbreviations, being as natural, are never<br />
misunderstood when the time for sorting comes.<br />
<br />
THE AUTHOR.<br />
<br />
After sorting all references headed, say, “ Ed. 7,”<br />
can be copied on to one card, or two, in proper<br />
order. If later on a reference is found under, say,<br />
Q or W, which would be. preferable under an<br />
earlier heading, the position of the sheet can be<br />
altered at once; or if the sheets are already<br />
numbered seriatim for the printer, there is plenty<br />
of room on any slip for several entries, or if not,<br />
additional sheets can be inserted and numbered 6a,<br />
6b, etc. The sheets all range perfectly, so are easy<br />
to handle, are not likely to be lost, and give com-<br />
paratively little trouble to indexer or compositor ;<br />
and really Mr. Wheatley would find it preferable<br />
to give his sorted slips to a typist to write out,<br />
than to paste down for the printer—a method<br />
almost obsolete save in Government offices.<br />
<br />
There is much in the book which makes it one<br />
every author and compiler of books should possess<br />
and study, and if these criticisms are mistaken for<br />
a lack of appreciation, it is because Mr. Wheatley’s<br />
dicta have provoked suggestions, which possibly<br />
may be of greater use than complimentary phrases,<br />
towards further perfecting a guide to the somewhat<br />
obscure art of indexing—an art to which more<br />
belongs than is comprised in Mr. Wheatley’s<br />
scholarly account of its practice.<br />
<br />
W. G.<br />
<br />
Oa<br />
<br />
THIRTEEN AS TWELVE.<br />
<br />
—_t-~<br />
<br />
e ESSRS. B. to render a royalty statement<br />
<br />
\ i half-yearly, viz., June 30th and Decem-<br />
<br />
ber 31st ; and it is understood that in<br />
<br />
making up such royalty thirteen copies shall be<br />
reckoned as twelve.”<br />
<br />
During the past few years one of the unfortunate<br />
results of the agitation created by the Authors’<br />
Society for better terms for its members, is to be<br />
seen in the fact that publishers have by all kinds<br />
of methods struggled to keep their profits up to<br />
the old standard. One instance may be quoted:<br />
the deplorable innovation of thirteen copies<br />
reckoning as twelve. In the old days none of<br />
the best publishing houses paid the royalty on<br />
thirteen as twelve, but on every copy sold; and<br />
on this understanding the calculation of royalties<br />
set out in “The Methods of Publishing” was<br />
based. The argument for paying the royalty<br />
on thirteen copies as twelve is generally that the<br />
publisher has to sell to the booksellers under this<br />
arrangement. ‘This is an excuse which will not<br />
hold good for two reasons. Firstly, as stated, the<br />
royalties in “The Methods of Publishing” have<br />
been reckoned as paid on every copy (in the cost<br />
of production of the work it had already been<br />
calculated that the publisher had sold to the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bb}<br />
<br />
bookseller “thirteen as twelve” ; consequently, if<br />
the royalty is paid thirteen as twelve in addition,<br />
then the calculations in “The Methods of Pub-<br />
lishing” show a false return, and a reduction to<br />
the author). Secondly, the booksellers do not<br />
buy thirteen as twelve, except when purchasing<br />
large quantities.<br />
<br />
Tf, however, publishers insist upon inserting in<br />
the agreement that the royalty shall be paid on<br />
this basis, then the following little sum must be<br />
taken into consideration by all authors.<br />
<br />
The question is a matter of vital importance, as<br />
touching very nearly the author's income.<br />
<br />
By the aid of mathematics, the different results<br />
can be expressed with absolute precision.<br />
<br />
Thus, algebraically :—Let a be the price, in<br />
shillings, at which a book is sold, and } the royalty<br />
per cent. which the publisher agrees to pay the<br />
author.<br />
<br />
Then, author’s royalty on each copy = a<br />
shillings.<br />
<br />
And author's royalty on 100 copies = 4 b<br />
shilling.<br />
<br />
Thus, for example : If a book is sold at G6s., and<br />
the author’s royalty is 10 per cent.,<br />
ab<br />
<br />
Author's royalty on each copy 0<br />
of a shilling ; or 73d.<br />
<br />
Author’s royalty on 100 copies = 4 b = 60<br />
shillings.<br />
<br />
In the above cases the author receives his royalty<br />
on every copy. If, however, the publisher inserts<br />
in his agreement a clause that royalties are to be<br />
paid “counting thirteen copies as twelve,” the<br />
author then receives royalties on twelve copies only<br />
out of every thirteen sold ; or, which is the same<br />
thing, loses his royalty on every thirteenth copy ;<br />
or, which is again the same thing, receives only +2<br />
of what he would have received if the royalty had<br />
been paid upon every copy.<br />
<br />
Algebraically the result may be expressed thus :<br />
if, as before, a be the price, in shillings, at which<br />
the book is sold, and } the royalty per cent.<br />
(thirteen copies being counted as twelve),<br />
<br />
12 a 0<br />
Author’ It h = —<br />
uthor’s royalty on each copy aT<br />
shillings.<br />
Author’s royalty. on 100 copies = _<br />
vo<br />
<br />
shillings.<br />
<br />
For example, taking again the above case of a<br />
book sold at 6s., and the author’s royalty at 10 per<br />
cent. (thirteen copies counted as twelve),<br />
<br />
9,<br />
<br />
Author’s royalty on each copy = 7500<br />
<br />
= 2, = 55384...of a shilling: a little more<br />
<br />
12 x 6 x 10<br />
<br />
THE AUTHOR. 17<br />
<br />
than 64d. (Author’s exact loss on each copy is<br />
7:2 — 6°64608... =°55392... of a penny, or a little<br />
more than a halfpenny.<br />
<br />
°) ><br />
Author’s royalties on 100 copies = ee a2 -<br />
vo<br />
= 220 — 5575040)... shillings ; a little more than<br />
55s. 44d.<br />
<br />
The calculations for any price, royalty, or<br />
number of copies can be easily made, so that the<br />
subject need not be here pursued any further; but<br />
it is interesting to compare the actual results of the<br />
two systems, of royalty on every copy, or when<br />
thirteen are counted as twelve. Again, the case is<br />
taken of a book which is sold at 6s., with royalties<br />
of 5, 10, or 15 per cent. The author's royalties on<br />
100 copies are :<br />
<br />
5 per cent. 10 per cent. 15 per cent.<br />
<br />
Oe fs 0. £8<br />
<br />
Has 12st 10; 0 3.0 0 4.10 0<br />
ifen12: 1 7 St 215 44 4 38 = OF<br />
Authors loss. 0 2 32 © 4 7% 0 61144<br />
<br />
A problem of some interest now naturally sug-<br />
gests itself. Ifthe publisher insists upon counting<br />
<br />
thirteen as twelve, what higher royalty ought the<br />
<br />
author to demand so as not to lose by the thirteenth<br />
<br />
copy ?<br />
<br />
Let a = the price, in shillings, at which the<br />
book is sold.<br />
<br />
b = the royalty proposed by the publisher;<br />
with which the author would be<br />
contented, if it were paid upon every<br />
copy.<br />
<br />
x = the royalty author must demand, so<br />
that when it is paid upon “ thirteen<br />
counted as twelve” he may receive<br />
as much as if 2 had been paid upon<br />
every copy-<br />
<br />
Then, from what has been said above, we have:<br />
<br />
<br />
<br />
1300-100<br />
a7<br />
et<br />
1<br />
130<br />
f— -<br />
12<br />
<br />
The author must demand a royalty increased<br />
in the proportion of 13 : 12; or, in other words, he<br />
must demand 1s. 1d. in the place of every 1s, of<br />
the royalty expressed by 0. So he will ask for<br />
13 per cent. in the place of 12 per cent. ; or 64<br />
per cent. in the place of 6 per cent.<br />
<br />
In conclusion, when ‘“ thirteen are counted as<br />
twelve,” the author loses 7°69..., or rather more<br />
than 7% per cent.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
GENERAL MEMORANDA.<br />
<br />
0<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —:<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, 7/ a proper<br />
price can be obtained, But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(8.) Not to allow a special charge for ‘ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
<br />
connected with royalties are published in Zhe Author.<br />
Readers can also work out the figures themselves from the<br />
“Cost of Production.”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :— .<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
—_—————-—~<>—4<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
——+—<—+<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(4.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (i.¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case. S<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
— eee<br />
HOW TO USE THE SOCIETY.<br />
<br />
—_——<br />
<br />
1, VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society's<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements, do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
udvancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
———__+—___—______<br />
<br />
THE READING BRANCH.<br />
<br />
——+<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
—_——__+—_-__¢—____—_—<br />
<br />
NOTICES.<br />
<br />
—_+—<+—_<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
THE AUTHOR. 19<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
—_—__—_——_+——_-—___—_<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EpIToR on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—+—<br />
<br />
N August the 8th the King granted a Royal<br />
Charter incorporating “the British Academy<br />
for the promotion of Historical, Philoso-<br />
<br />
phical, and Philological Studies.”<br />
<br />
We are printing an article this month on an<br />
Academy of Letters by Mr. Herbert Trench.<br />
<br />
The Committee consider that the subject is one<br />
eminently fitted for discussion in the pages of<br />
this periodical, but, whatever may be the opinion<br />
of individual members, desire to disassociate them-<br />
selves as a body from the views put forward.<br />
<br />
Another article in this number, the question of<br />
Canadian copyright, is dealt with by a Canadian.<br />
It is a pity he has not studied the universal evolu-<br />
tion of copyright in all countries. He would have<br />
discovered that the wider the market given to the<br />
authors of any country the greater would be the<br />
literature of that country. Under the Imperial<br />
Acts copyright is almost world-wide.<br />
<br />
<br />
<br />
We must congratulate the American Authors<br />
Society in having secured President Roosevelt as<br />
one of its members.<br />
<br />
Is it possible that so practical a President, the<br />
author of so strenuous a life, will turn his attention<br />
to the question of copyright ? The committee of<br />
the American Society should use its utmost<br />
influence in that direction.<br />
<br />
<br />
20<br />
<br />
The Master’s Report of and the Decree in the<br />
case of Samuel Eberly Gross, A. M. Palmer, Richard<br />
Mansfield, and Richard Mansfield Co. in the United<br />
States courts has been printed and circulated. In<br />
plain words, this is the decree given by consent of<br />
both parties with regard to M. Rostand’s famous<br />
play “ Cyrano de Bergerac.”<br />
<br />
It may be there has been a case of plagiarism,<br />
but the evidence put forward “pace the decree”<br />
would hardly lead us to that conclusion if we put<br />
aside the commonplace resemblances that are bound<br />
to exist in many plots and many characters, heroes<br />
and heroines.<br />
<br />
The two main points which take the case out of<br />
the commonplace are the duel scene and the<br />
balcony scene, but in these, however close the<br />
resemblance in the action, the dramatic power and<br />
the production of strong poetic and sympathetic<br />
effect lies wholly with M. Rostand.<br />
<br />
Mr. Gross’s duel is a mere hurling of vituperation<br />
by one duellist at the other, a fanciful burlesque,<br />
fit for a farce.<br />
<br />
It is the old story of the German duel but with-<br />
out the drinking. M. Rostand’s duel (it is needless<br />
to describe it) has a touch of genius that robs it<br />
of whatever plagiarism it may contain. The same<br />
remark may apply to the balcony scene.<br />
<br />
In Mr. Gross’s play one man woos for the other.<br />
Does this not occur in “Twelfth Night” ? In Mr.<br />
‘Gross’s play the shadow is the secretary of the lover,<br />
and has no feeling of passion towards the heroine.<br />
<br />
In M. Rostand’s play the shadow is the friend<br />
of the lover, and is himself in love with the heroine.<br />
‘So, too, in ‘Twelfth Night,” only substitute “hero”<br />
for “ heroine.”<br />
<br />
M. Rostand has grasped the idea, and turned a<br />
commonplace incident into a dramatic situation.<br />
He has made aplot of passions. He has controlled<br />
force by force. He has brought about that struggle<br />
-of the emotions which alone raises the interest of<br />
the spectators.<br />
<br />
Is it plagiarism ? It maybe. Then Shakespeare<br />
was also a plagiarist.<br />
<br />
The following episode may serve as a useful hint<br />
to writers of short stories :—<br />
<br />
A beginner in newspaper work, who occasion-<br />
ally “sent stuff” to one of the dailies, picked up<br />
last summer what seemed to him a “big story.”<br />
Hurrying to the telegraph office, he “ queried ” the<br />
telegraph editor, “Column story on So-and-so.<br />
‘Shall I send it ?”’ The reply was brief and prompt,<br />
‘but to the enthusiast unsatisfactory. ‘‘Send six<br />
hundred words,” was all it said. ‘Can’t be told<br />
in less than twelve hundred,” he wired back.<br />
Before long the reply came, ‘‘Story of creation of<br />
world told in six hundred. Try it.”<br />
<br />
THE AUTHOR.<br />
<br />
OF DISTANT AUTHORS.<br />
<br />
1<br />
<br />
EAR books! and each the living soul,<br />
Our hearts aver, of men unseen,<br />
<br />
Whose power to strengthen, charm, control,<br />
Surmounts all earth’s green miles between.<br />
<br />
For us at least the artists show<br />
Apart from fret of work-day jars :<br />
We know them but as friends may know,<br />
Or they are known beyond the stars.<br />
Their mirth ; their grief; their soul’s desire,<br />
When twilight murmuring of streams<br />
Or skies high touched by sunset fire<br />
“nchant them to pure worlds of dreams ;<br />
Their love of good ; their rage at wrong ;<br />
Their hours when struggling thought makes way;<br />
Their hours when fancy drifts to song<br />
Lightly and glad as bird-trills may ;<br />
All these are truths. And if as true<br />
More graceless scrutiny that reads,<br />
“These fruits amid strange husking grew ”—<br />
“These lilies blossomed amongst weeds ”—<br />
Here no despoiling doubts shall blow,<br />
No fret of feud, of work-day jars.<br />
We know them but as friends may know,<br />
Or they are known beyond the stars !<br />
<br />
New Zealand. Mary CoLuBorNzE-VEEL.<br />
<br />
<9 —_____—_<br />
<br />
THE AUTHOR OF “FESTUS.”<br />
<br />
— 1+<br />
<br />
R. PHILIP JAMES BAILEY, whose death<br />
we regret to record, was perhaps the most<br />
striking example of a “one book man”<br />
<br />
He wrote<br />
<br />
N<br />
that our modern literature affords.<br />
<br />
“Festus” when he was little more than a boy, and<br />
he spent the rest of his long life in re-writing and<br />
<br />
expanding it. It is a striking poem, though its<br />
immense success was probably due less to its<br />
poetical merits than to what seemed sixty years<br />
ago the daring optimism of its theological specula-<br />
tions. The same reason may explain why its vogue<br />
did not prove to be enduring. Its theme, indeed,<br />
is one of eternal interest, but the progress of<br />
criticism has altered the general attitude towards<br />
the problems which it discusses, and much in it<br />
that seemed startlingly novel when it appeared is<br />
now either rejected altogether or accepted as a<br />
matter of course. As a treatise, therefore, it has<br />
passed out of date, while as a poem it lacked the<br />
rare gualities which make the very best poetry a<br />
possession to be treasured for all time. Its fame,<br />
however, though now no more than a memory, is<br />
one of the most interesting memories in the annals<br />
of early Victorian literature.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
A FORM OF SELFISHNESS.<br />
<br />
to<br />
<br />
\ | ANY old prejudices have been pulled up by<br />
ao the roots and flung away as cumberers of<br />
the ground where modern thought and<br />
conduct desire free room to move. Some of<br />
these discarded prejudices were no doubt old-<br />
fashioned flowers without whose sweetness the<br />
world is by so much the less sweet and beautiful.<br />
Others again were weeds whose noxious influence<br />
killed much that might have been both useful and<br />
fair. Among the weeds of prejudice that survive<br />
at the present day, I would class the curious notion<br />
that it is below the dignity of an author to seek<br />
adequate return or payment for his work.<br />
<br />
Laying aside metaphor, let us ask ourselves, Is<br />
this view really as high-minded as it appears to<br />
be? And is it likely to bring about the best<br />
results? Because if so, let us stick to it by all<br />
manner of means. But when the matter is looked<br />
into, it would seem that the reverse is the fact.<br />
It is evident that only those who do not live by<br />
the pen, but enjoy an income apart from literary<br />
work, can write freely that which they honestly<br />
think and desire to write, unaffected by the chances<br />
of future sale and publication. Here at once is<br />
created a narrowing qualification, which would<br />
debar many splendid intellects from entering, as<br />
freedmen, into the profession of literature. Under<br />
the old condition of things a poor man entered as<br />
a slave of the market, held in bondage by a<br />
specially cruel law of supply and demand. Were<br />
these limitations likely to produce the best<br />
results ?<br />
<br />
After all the question returns to the same point,<br />
the high ideal fades into air, for it is plain that<br />
to give of his highest and best a writer living by<br />
his pen should have assured rights and the power<br />
(which can only come by combination) of enforcing<br />
those rights, so that he may be in a position to<br />
demand a fair return for his labour, and so become<br />
as far as possible an independent force.<br />
<br />
And this is precisely the point which the late<br />
Sir Walter Besant and his colleagues clearly per-<br />
ceived. It was in September, 1883, that the idea<br />
of founding a society for the protection of the<br />
rights of authors was first mooted. Soon after-<br />
wards it became an accomplished fact. But the<br />
commercial side of the matter was by no means<br />
the chief side in the eyes of those clear-sighted<br />
nen who unselfishly desired to help their weaker<br />
fellows. The Society of Authors was not founded<br />
solely to improve the financial position of authors.<br />
Tts aim was far higher. It was founded to improve<br />
the status of literature. And it has succeeded to<br />
a wonderful extent.<br />
<br />
For eighteen years the Society has been working<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
21<br />
<br />
in a sound and practical manner to advance the<br />
condition of literature. All writers have benefited<br />
by these efforts, and it is curious to find that some<br />
few of them do not appear to realise their indebted-<br />
ness, or, at any rate, do not show their appreciation<br />
of what is being done by joining the Society or in<br />
the smallest way helping on the movement.<br />
<br />
One has only to look back a score of years and<br />
recall the undignified and legally helpless condition<br />
of authors in those days, and the days which went<br />
before, to come to a full comprehension of the<br />
changes effected by the Society. Save at the<br />
houses of some notable firms there was small<br />
mercy, not to speak of justice, dealt out to the<br />
ordinary run of writers. The traditional taint of<br />
Grub Street yet hung about the name of an author.<br />
He was, besides, more than likely to be by tempera-<br />
ment an extraordinarily unbusinesslike individual,<br />
and he was made to suffer accordingly. We know<br />
gad stories of some of our greatest writers, whose<br />
work was cramped and often spoiled by the condi-<br />
tions which obtained, and the relations which<br />
existed between authors and publishers.<br />
<br />
Unless a man had private means he was bound<br />
to produce what his publisher ordered. The scale<br />
of payment was very low, and he was not infre-<br />
quently unfairly treated. He had no one at his<br />
back, and single-handed he was helpless to resist.<br />
It is plain that no man could work with freedom<br />
or give out the best that was in him under such<br />
circumstances, knowing that the bread and coffee<br />
of his breakfast, and perhaps that of his family,<br />
depended upon the whim of another. It is good<br />
for no man to live in a state of perennial depen-<br />
dence—to take his work to a patron instead of<br />
dealing on a legalised basis with an equal.<br />
<br />
There was a crying need for such a society as<br />
this, a fighting suciety, to get justice and recogni-<br />
tion for a class supposed from time immemorial<br />
to be peculiarly unfitted to secure any such rights<br />
for themselves. What a need there was can scarcely<br />
be understood to-day. If the old state of affairs<br />
could be rung back into the present, and writers<br />
experience the hardships and rebuffs of the past,<br />
the few individuals of whom I write would rush to<br />
place themselves under the flag of the Society of<br />
‘Authors! The conditions under which the calling<br />
of literature in any of its forms may now be<br />
pursued has been so ameliorated by the exertions<br />
of the Society that the conditions obtaining in<br />
pre-Society days seem grotesque and impossible.<br />
<br />
Authors, save a few, a very few, did not in those<br />
days of anonymous contribations and copyright-<br />
purchasing live by their pens, or they lived as<br />
poorly as an agricultural labourer. The full industry<br />
of more than one author whose name has since<br />
passed into ahousehold word hardly kept the manin<br />
house-rent. Those were the days of fine sentiment.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Writing for money was degradation. Literature, the’<br />
dictum went forth, and was trumpeted abroad by<br />
those who drew advantage fromit, must notbe self-<br />
supporting. ‘The idea has only to be carried to its<br />
logical conclusion to show itself the sham it is.<br />
“There is no need to labour this side of the ques-<br />
tion. But apart from the false sentiment that was<br />
then in the air, or rather as one result of it, the<br />
pursuit of literature was made difficult by the kind<br />
of agreements into: which authors were expected to<br />
enter. Anyone who reads the organ of this Society<br />
will recognise the sort of contract to which I refer.<br />
The light of publicity was carefully excluded from<br />
these hole-and-corner transactions, publishers<br />
accepted the work of British authors, and having<br />
brought it before the public, and made money out<br />
<br />
of it, deemed their side of the contract fulfilled. |<br />
The amount of return that fell to the author was |<br />
<br />
curiously small. Often it was nl.<br />
<br />
the power and all the business knowledge rested in<br />
the hands of the latter.<br />
brought the Society into being. It was met with<br />
a wide-spread opposition which proved beyond<br />
question how necessary was its existence. An<br />
author in doubt or in difficulty at length had<br />
someone to apply to, who could give advice,<br />
guidance and help on all practical points such as<br />
<br />
agreements and so forth, matters which take ©<br />
<br />
special study. Few literary men have either the<br />
time or the opportunity for working up the com-<br />
mercial and legal sides of their calling, but the<br />
Society being expert in these subjects supplies<br />
<br />
the want.<br />
“From the outset the Society have made it their<br />
aim to consolidate and define the rights of all<br />
those who follow the calling of literature; they<br />
have given legal protection in numberless cases<br />
where writers, left to themselves, must have been<br />
helpless. By its action the Society, far from<br />
degrading the calling of literature, has raised<br />
it to a higher level, for the world is not<br />
altogether chivalrous, and the man who knows his<br />
rights and can enforce them is likely to hold an<br />
infinitely better place in public estimation than a<br />
man who may be defrauded with impunity.<br />
<br />
and defined and defended the rights, of his clags.<br />
And it seems pretty clear that each man owes it<br />
to himself to pay that debt as well as he can.<br />
Every author should become a member of the<br />
Society, and not only a member but a living<br />
force, working as opportunity offers for the general<br />
good of his fellows, a course which must react in<br />
good to himself. Though one occasionally hears<br />
jan author say, “ But I have excellent relations<br />
;with my publisher, I do not see how they can be<br />
| improved.” Very possibly, but thanks more or<br />
<br />
‘less to all that the Society has done in the past.<br />
| One great object in the work of the Society is to<br />
<br />
:<br />
<br />
x<br />
<br />
i promote friendly relations between the author and<br />
<br />
his publisher. The more defined the author’s<br />
rights are, the less likelihood is there of any<br />
quarrel interrupting pleasant connections. .<br />
<br />
It should be recollected that this Society is the<br />
<br />
‘ only one for the protection of literature that<br />
At the best the relative positions of author and i<br />
publisher were far from satisfactory, because all |<br />
<br />
These were the facts that —<br />
<br />
exists in the Empire. Every British writer shares<br />
in the benefits it has already bestowed, and which<br />
it is daily bestowing, upon the calling to which he<br />
belongs. He cannot escape its good influence,<br />
and to the direct mind, it hardly seems possible<br />
<br />
_ that he would wish to escape by mere idleness or<br />
for some other selfish reason from the debt he<br />
<br />
could at any rate partially pay by becoming a<br />
<br />
“member of the Society himself, and by inducing<br />
_ others to join algo.<br />
<br />
__. There are many waverers in the world, ready to be<br />
_blown this way and that by every expressed opinion.<br />
<br />
_ It would be well to remind such that by not only<br />
<br />
oining, but also by working for an association of<br />
<br />
intelligent men and women, whose aims in life are<br />
<br />
Yet one sometimes (not often) hears an author \<br />
say, “That is all very well, but the Society of |<br />
Authors has not done anything for me.” Perhaps |<br />
<br />
this may be true in so far that he has not directly<br />
<br />
received advice or assistance from the Society in ©<br />
<br />
any dealings of his own; but it is impossible to<br />
<br />
publish a book or to contribute even a couple of<br />
<br />
articles to a magazine without sharing in the<br />
many benefits brought about by the efforts of<br />
<br />
the Society. Every literary an owes a debt to |<br />
<br />
the combination that has bettered the standing, |<br />
<br />
_indentical with his own, an author is more likely<br />
to forward his own interests than by a too close<br />
adherence to what he may consider momentarily<br />
conducive to his own immediate benefit.<br />
<br />
Heskero Prrowarp, _<br />
ees<br />
AN ACADEMY OF LETTERS.<br />
<br />
—1—< +<br />
<br />
HE ancient question of a British Academy of<br />
Letters is one which will not be allowed<br />
<br />
to sink away into silence, I trust, before<br />
it has received renewed attention.<br />
Never, within the last three centuries, have we<br />
needed such a body more than now.<br />
A recent writer, in dealing with this question,<br />
<br />
as usual characterises British literature as a<br />
literature of power, in contrast with the Gallic<br />
literature of intellivence; and, for some reason<br />
unexpressed, fears lest a literature of power should,<br />
in receiving an organisation, lose originality and<br />
variety. He states that between the Gallicliterature<br />
<br />
<br />
<br />
cas 6 Ss Sas See<br />
<br />
see<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
a1,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
of “good sense” and the English literature<br />
of free force there is a great gulf fixed. He<br />
thinks that an incorporated society might snuff<br />
out Wordsworths, Coleridges, Blakes, and Shelleys.<br />
<br />
Now I venture to draw from the undoubted<br />
force and freedom of the English spivit in litera-<br />
ture the hope of precisely the opposite result. The<br />
French Academy, although it did not produce,<br />
certainly did not snuff out, the “ free force” of<br />
Rabelais, Montaigne, Diderot, Rousseau, Balzac,<br />
Hugo, De Musset, Verlaine. Freedom, originality,<br />
variety, daring, and all the signs of exuberant<br />
life, denote a strength that would be far more<br />
swiftly effective, far more dignified, far more<br />
temperate and clear-seeing than it is, if there co-<br />
existed with British freedom in British letters a<br />
public association of the best and strongest men,<br />
a public recognition of the rank of minds and<br />
imaginations. The truth is that we, having a<br />
literature of power, need an Academy far more<br />
than France, where a tradition of classic ood<br />
sense” (perhaps through the influence of French<br />
classic drama) prevails.<br />
<br />
The English, said an acute foreign critic the<br />
other day, have gained more liberty in things<br />
external than any other people ; but in the things<br />
internal—in the freedom of thinking, in liberality<br />
of mental atmosphere—they are far less free than<br />
certain Continental peoples.<br />
<br />
But how is it that we have gained liberty in<br />
externals ? By the habit of organisation. And<br />
from organisation what is to be feared? By<br />
organisation I mean the drawing together in the<br />
public sight of those various forceful and excel-<br />
lent masters who are recognised by their common<br />
concurrence to be masters. And what are the<br />
boons that such an organisation could confer<br />
on the people? To realise them requires insight<br />
as to the present state of affairs. That, I imagine,<br />
is nothing less than the merest tumultuous anarchy.<br />
Our ears are deafened, as in some market place,<br />
by hucksters each selling his own wares ; there<br />
are street-cries, chafferings, in uproar andmud. We<br />
have here and there a novelist on his inverted<br />
tub selling fictions by flaring gas-jets, his voice<br />
raucous with shouting. We see the common<br />
people, having no better guide, gaping at every<br />
charlatan for a genius. There is an immense<br />
waste going on; a waste of publishers’ money in<br />
competition for publicity.<br />
<br />
The lower forces of literary productiveness are<br />
amply organised. The higher are without repre-<br />
sentation. There is no Council at the head of<br />
literature to control or keep order, or by example to<br />
<br />
~discountenance indecencies of advertisement. The<br />
luminaries of to-day flash on us with mechanical<br />
periodicity, like the pink and green articles of diet<br />
the signs of which ennoble Trafalgar Square.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
23<br />
<br />
The “millions,” God rest them, are anodyned<br />
and idiotised by instructive publications of the<br />
“penny weekly” type. The “ thousands” have a<br />
similar, but more costly pabulum of magazines.<br />
But all these are written and published, in the<br />
first place, to make money.<br />
<br />
Our Society of Authors—admirable body that it<br />
is—exists only to protect literature as an article of<br />
commerce. ‘he last concern of that prominent<br />
Society is with literature as an art, and as more:<br />
than an art.<br />
<br />
Thus while men of science and medicine have<br />
their Royal Societies and general councils, men of<br />
the religious professions, learned men, stockbrokers,<br />
artists in the plastic arts, all have their societies,<br />
to influence, to keep order, to recognise rank and<br />
confer honour, pure literature «alone the most<br />
aristocratic calling, the most needing independence,<br />
the only mirror of life as a whole, has no organ im<br />
letters apart from and above pecuniary requirements,<br />
no society whose aim is to sustain the name, and<br />
publicly represent to foreigners and to the com-<br />
munity the power of English intelligence and<br />
imagination. If we believe that there is such a<br />
power and that it is beneticial, how can the organisa-<br />
tion of the power be objected to? It will readily<br />
be admitted that the people, that men in non-<br />
literary professions, that the hundreds of librarians<br />
of the new free public libraries, and above all,<br />
the eager and intelligent young, simply thirst for<br />
guidance in these matters. But there is no public<br />
and independent body to guide them, to indicate<br />
principles of criticism, or to indicate, however<br />
roughly and imperfectly, the values, proportion,<br />
status of living writers. And the conclusion is<br />
easily illustrated by the distress which exists in<br />
the minds of officials when some State occasion<br />
arises, such as the funeral of the late Laureate or<br />
<br />
the Royal procession of this summer. Who shall<br />
be asked to represent the higher literature at such<br />
a ceremonial? Nobody knows. The obvious<br />
knights, the most popular novelists, the com-<br />
posers of music-hall ditties, flash upon our<br />
fatigued retina; but an uneasy suspicion remains<br />
that these do not sum that world. Can it be<br />
possible that we have no literature? Nay; it is<br />
merely that we have no organ of discrimination. |<br />
Priests of the true and beautiful, where are ye?<br />
Buried far hence, may be, in some dingy suburb<br />
or quiet shire. But you it is that the men who<br />
know, your equals, could summon, far off, isolated,<br />
reluctant, to your true places of esteem.<br />
<br />
Again, to make peers or knights of men of letters<br />
is a mere dull ineptitude. But the republican and<br />
Academic body that I conceive should, in order to<br />
guide the public, confer titles of merit or excellence<br />
(such as the Prix Gobert) at the end of each year op<br />
works of worth. At present such books like Edward<br />
<br />
<br />
<br />
<br />
24<br />
<br />
Fitzgerald's “Omar Khayyam” frequently sink for<br />
along time out of sight, although a few experts<br />
are well aware of their excellence, simply because<br />
the experts may be too few and too ill-placed to<br />
impress the public. Such books as the Rev.<br />
Hastings Rashdall’s “ Universities in the Middle<br />
Ages,” Sir Henry Johnston’s “ British Equatorial<br />
Africa,” or Mr. F. H. Bradley’s “ Appearance and<br />
Reality,” have suffered in this manner by their own<br />
excellence. Experts are too few, and the reviewers<br />
are necessarily too hasty to judge them properly.<br />
The public is therefore unable, except after the<br />
lapse of many years, to distinguish these books<br />
from specious imitations of their kind. This is<br />
even more the case with poetry and novels. What<br />
qualified person believes that the poetry of Matthew<br />
Arnold—so pure, so salutary for our time—yet<br />
occupies its just place in the minds of the multitude<br />
which still acclaims Tennyson as a demi-god ?<br />
Who shall hall-mark the fine quality of most of the<br />
Garnett translations of Ivan Tourgeniev’s novels<br />
—novels which are, with Tolstoi’s, the chief novels<br />
of our time ?<br />
<br />
It is by no means to confer advantage on those<br />
men who would be nominated that I venture to<br />
urge the formation of an Academy of Letters. It<br />
is for the sake of the British people that it is desir-<br />
able. It is in order to give us more national dignity<br />
and self-respect. From what public quarter comes<br />
the recognition of the Beautiful in literature ?<br />
And the need of a Society of the Intellect and<br />
Spirit seems to me tenfold greater, in that every<br />
year sees us sinking into a grosser state of com-<br />
placent animalism. Every year our people, as a<br />
whole, like those of the United States, seem to be<br />
marching steadily, slumberously, into new and<br />
vaster Dark Ages ; Dark Ages not of mere igno-<br />
rance, but of the wildest positive error. The<br />
weltering Anglo-Saxon peoples have no intellectual<br />
standards, no thought-centre, no axis.<br />
<br />
One result of the existence of some such Society<br />
of the Spirit would be the attraction to literature of<br />
men of more powerful talent, now absorbed by the<br />
Bar and commerce. Those men would be induced<br />
to speak who now stand aloof and silent, in over-<br />
whelming disgust. Then, and not till then, would<br />
Enelish critics appear, whose work might compare<br />
in volume and quality with that of Sainte Beuve,<br />
Taine, Scherer, and Hennequin.<br />
<br />
The public and the daily Press—ready and even<br />
eager to recognise merit—are nevertheless unable<br />
_ to assign to merit its station and degree. Nor<br />
<br />
‘can this task be done by the publishers’ monthly<br />
reviews or quarterlies, or by young journalists<br />
who undertake to summarise to the world a year’s<br />
literatnre in newspaper articles at Christmas. Jf,<br />
as advocates of laissez-faire urge, these matters are<br />
best left to time and chance, why ts any critical judg-<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
ment felt to be wanted al all? And if it 7s wanted,<br />
why is it wholly left to an anarchy of criticism ¢<br />
In truth, it is a task which requires the mature and<br />
leisured judgment of equals ; and the masters them-<br />
selves are the only critics worth hearing. It is weak<br />
to plead that an Academy would be a prey to wire-<br />
pullers and intriguers. Any dignified human<br />
society that is worth framing must undergo, and<br />
can weather, such dangers. Our problem is simply<br />
to profit by the experience of the French Academy,<br />
and to construct a better one.<br />
<br />
Let us conclude with practical proposals.<br />
<br />
Let the House of Commons, through its leader,<br />
nominate a small committee of, say, six or eight<br />
men of letters who would indisputably be members<br />
of any Academy. The names, for instance, of<br />
Mr. George Meredith, Mr. Lecky, Mr. John<br />
Morley, Mr. J. G. Frazer, Mr. Bryce, Mr. Edward<br />
Dowden, and Mr. Bury will occur to most people<br />
as a fair committee.<br />
<br />
Let these themselves freely nominate the<br />
remainder of the body ; proceeding on the two<br />
principles that the work to be honoured must be<br />
in any case good literature ; that is,<br />
<br />
(1) It must be couched in language noble,<br />
admirable, and sincere.<br />
<br />
(2) It must be work faithful to the more serious<br />
truths of the imagination, emotions, and intelli-<br />
<br />
ence.<br />
<br />
Let this Academy of Letters meet periodically<br />
for discussion.<br />
<br />
Let them consider it their duty to protect the<br />
honour of the higher forms of British literature,<br />
without any regard to worldly respectability or<br />
success ; to become a Society of the Spirit,<br />
free from the blight of Royal patronage, and<br />
requiring not the smallest outward or social<br />
rank of any kind in its members. A society to<br />
promote and encourage talent, and to hasten<br />
recognition of it ; to confer distinguishing marks<br />
of merit on good work which has been previously<br />
published for at least two years: and to advise<br />
ministers (who are at present without proper<br />
advice) in the award of pensions. The issue of a<br />
brief annual Gazette would be a useful part of their<br />
functions ; and possibly also the occasional publi-<br />
cation of fine books, which could not be published<br />
for profit, by the poorer members.<br />
<br />
As regards endowment for this body, I conceive<br />
that, beyond the provision of rooms for meeting,<br />
there had better be little or none. But on that<br />
score certainly there need be no difficulty in this<br />
country.<br />
<br />
HERBERT TRENCH.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 25<br />
<br />
MUSICAL COPYRIGHT.<br />
<br />
—+-—~< + —<br />
<br />
An Act TO AMEND THE LAW RELATING ro MusiI-<br />
caL Copyricut (2 Epw. 7, On. 15.)<br />
22nd JuLY, 1902.<br />
<br />
E it enacted by the King’s most Excellent<br />
Majesty, by and with the advice and con-<br />
sent of the Lords Spiritual and Temporal,<br />
<br />
and Commons, in this present Parliament assem-<br />
bled, and by the authority of the same, as<br />
follows :<br />
<br />
jy. A court of summary jurisdiction, upon the<br />
application of the owner of the copyright in any<br />
musical work, may act as follows : If satisfied by<br />
evidence that there is reasonable ground for<br />
believing that pirated copies of such musical work<br />
are being hawked, carried about, sold, or offered<br />
for sale, may, by order, authorise a constable to<br />
seize such copies without warrant and to bring<br />
them before the court, and the court, on proor<br />
that the copies are pirated, may order them to be<br />
destroyed or to be delivered up to the owner of the<br />
copyright if he makes application for that delivery.<br />
<br />
2, If any person shall hawk, carry about, sell, or<br />
offer for sale any pirated copy of any musical work,<br />
every such pirated copy may be seized by any<br />
constable without warrant, on the request in<br />
writing of the apparent owner of the copyright in<br />
such work, or of his agent thereto authorised in<br />
writing, and at the risk of such owner.<br />
<br />
On seizure of any such copies, they shall be<br />
conveyed by such constable before a court of<br />
summary jurisdiction, and, on proof that they are<br />
infringements of copyright, shall be forfeited or<br />
destroyed, or otherwise dealt with as the court<br />
may think fit.<br />
<br />
3. “Musical copyright” means the exclusive<br />
right of the owner of such copyright under the<br />
Copyright Acts in force for the time being to do<br />
or to authorise another person to do all or any of<br />
the following things in respect of a musical work :<br />
<br />
(1) To make copies by writing or otherwise of<br />
such musical work.<br />
<br />
(2) To abridge such musical work.<br />
<br />
(8). To make any new adaptation, arrangement, or<br />
setting of such musical work, or of the melody<br />
thereof, in any notation or system.<br />
<br />
“ Musical work” means any combination of<br />
melody and harmony, or either of them, printed,<br />
reduced to writing, or otherwise graphically pro-<br />
duced or reproduced.<br />
<br />
“Pirated musical work” means any musical<br />
work written, printed, or otherwise reproduced,<br />
without the consent lawfully given by the owner<br />
of the copyright in such musical work.<br />
<br />
4, This Act may be cited as the Musical (Sum-<br />
mary Proceedings) Copyright Act, 1902, and<br />
<br />
shall come into operation on the first day of<br />
October one thousand nine hundred and two, and<br />
shall apply only to the United Kingdom.<br />
<br />
The Musical (Summary Proceedings) Copyright<br />
Act is essentially a publishers’ Act. ;<br />
<br />
To a certain extent, however, the Act must<br />
benefit all owners of musical copyright, whether<br />
composers or publishers.<br />
<br />
A careful perusal of its scope tends to show that<br />
the Act, hurriedly conceived, and as hurriedly pushed<br />
through the House, scarcely covers the most impor-<br />
tant difficulties connected with this musical piracy.<br />
It is unsatisfactory, and only fills a small space In<br />
a wide gap. What are the penalties to be enforced ?<br />
There is no mention of penalty. Are the cheap<br />
piratical printers, the arch offenders, to escape the<br />
court of summary jurisdiction ? It would appear<br />
to be the case.<br />
<br />
This omission is inexplicable; the unlicensed<br />
vendor has little to fear if he still retains the<br />
sympathy of the printer. He may even be an<br />
innocent holder, if, as is often the case, the printer<br />
stamps the copies as copyright.<br />
<br />
This Act, like all other copyright Acts, seems to<br />
suffer from a common complaint. Lack of interest<br />
gives rise to an inadequate knowledge of the<br />
subject, and inadequate knowledge is supplemented<br />
by poor draftsmanship. For instance, the power<br />
given in Clause 1 appears to be unnecessary, con-<br />
sidering the much wider scope of Clause 2, and<br />
the definitions of ‘‘ musical work ” and “ pirated<br />
musical work,” Clause 3, instead of containing<br />
the same terms, contain a variation that may give<br />
rise to legal difficulties. “ Otherwise graphically<br />
produced or reproduced” and “otherwise repro-<br />
duced’ raises an essential difference. How, again,<br />
will these definitions affect the present Acts, or<br />
bear upon such a case as Lover v. Davidson ? Sec-<br />
tion 3 is very all-embracing. The Act gives food<br />
for thought. It is to be hoped that its interpre-<br />
tation will not make confusion worse confounded.<br />
The musical publishers are, no doubt, jubilant.<br />
<br />
Will it work as an unmixed blessing to musical<br />
<br />
composers ?<br />
——__—_ > ___<br />
<br />
A BOOK ON COPYRIGHT.*<br />
<br />
—1.—<—+ —<br />
<br />
R. MACGILLIVRAY’S work is an exceed-<br />
M ingly valuable addition to the books<br />
~~ dealing with copyright law, but THE<br />
BOOK on copyright has yet to be written.<br />
<br />
* “A Treatise upon the Law of Copyright,” by E. J.<br />
Macgillivray, LL.B. Publisher : John Murray, Albemarle<br />
Street.<br />
<br />
<br />
26<br />
<br />
Mr. Copinger’s important treatise is practically<br />
out of date, the last edition was published in 1893,<br />
and many things have taken place in the copy-<br />
right world since then. The second edition of<br />
Mr. Scrutton’s work was published in 1896, and<br />
another edition is seriously needed. It is possible<br />
that the author is waiting for the passing of that<br />
Copyright Law which for so long has hovered in<br />
its flight but never settled. We trust he will wait<br />
no longer; but neither Mr. Scrutton’s book nor Mr.<br />
Macgillivray’s can be said to be the final book on<br />
the subject.<br />
<br />
Mr. Scrutton, with a very clear insight into all<br />
the details of these complicated questions, comes<br />
to his opinions and conclusions, and declares them<br />
so positively that to the casual reader ignorant of<br />
actual texts and actual cases, the many points still<br />
in doubt appear to be finally settled. So far, how-<br />
ever, it is a satisfactory and clear guide for the<br />
general public, but not for the legal world.<br />
<br />
Mr. Macgillivray, on the other hand, by an<br />
elaborate statement of all the cases bearing on<br />
special issues, is inclined to emphasise the dis-<br />
crepancies, and to increase the difficulties of the<br />
casual reader by raising up from their grave, points<br />
upon which it is admitted the present position of<br />
the statute and case law is fairly clear. What,<br />
however, Mr. Macgillivray has stated in his Intro-<br />
duction that he has attempted to do, he has done<br />
exceedingly well. He has given an exhaustive<br />
text book of the case law, and on the case law no<br />
satisfactory work had as yet been produced. With<br />
one or two statements, however, we must find fault.<br />
<br />
Mr. Macgillivray doubts for reasons he sets<br />
forth whether a foreigner non-resident in England<br />
or the British Dominions is entitled to copyright.<br />
This conclusion is, as it would appear, against<br />
the weight of evidence, and against the established<br />
custom, since the American copyright arrangement<br />
has been in existence. He therefore raises a doubt<br />
as to the validity of the present position of<br />
English authors. Surely this is carrying the<br />
matter a little too far. A discussion of the question<br />
(if indeed it can be discussed) is of very little use<br />
to the general reader.<br />
<br />
Again, take the question of performing rights.<br />
Mr. Scrutton distinctly states ‘‘ Dramatic pieces<br />
in manuscript, neither printed nor represented, are<br />
the perpetual property of the author by common<br />
law.” Mr. Macgillivray denies this common law<br />
right, though he owns that the author may have<br />
a certain property ; but that the remedy would be<br />
on breach of implied contract. These are academic<br />
questions.<br />
<br />
The method, however, in which he deals with<br />
performing rights is full of confusion. Even fora<br />
careful reader, for one reading the book from the<br />
legal standpoint with a certain amount of technical<br />
<br />
THE AUTHOR.<br />
<br />
knowledge, it is impossible to find out exactly what<br />
the performing rights of the author are, in case he<br />
should happen to print and publish the book of<br />
his dramatic work before he performs it. Here,<br />
again, he seems to run counter to the opinion of<br />
that eminent lawyer, Mr. Scrutton, and obscures<br />
the issue in a cloud of dust. The chapter dealing<br />
with these questions should have been more clearly<br />
expressed. In its present state it does not merely<br />
obscure the point of law, but it raises confusion as<br />
to whether any law exists at all. The unfortunate<br />
dramatic author is not really in such a bad position.<br />
<br />
One of the most interesting chapters in the book<br />
deals with “ What is a piratical copy?” Disputes<br />
often arise as to infringement of copyright, and can<br />
only be settled on general lines, and according to<br />
the facts of each case. It was therefore most<br />
important that these facts should be arrayed so<br />
as to form a basis of comparison for every fresh<br />
case. Mr. Macgillivray has marshalled his in-<br />
formation in a thoroughly reliable and exhaustive<br />
manner.<br />
<br />
The other chapters in the book, although inter-<br />
esting and useful to the lawyer and the student,<br />
are not nearly so full as those dealing with literary<br />
copyright. Copyright in drawings, paintings, and<br />
photographs is surely entitled to more space. It is<br />
most complicated and involved, and is far more<br />
difficult of comprehension than the law of literary<br />
copyright.<br />
<br />
There is a very interesting chapter on the case<br />
law of the United States. Amongst other things,<br />
the author points out that, contrary to the law as<br />
it exists in England, to obtain copyright in the<br />
States it is necessary that the work must have<br />
some literary value. The decisions, however, on<br />
the subject seem to have been carried rather far.<br />
It is worth while to impress this point on English<br />
authors, for although no question has been tried<br />
that bears strictly upon some of the modern<br />
methods of registration, it is doubtful whether<br />
these methods would always be deemed satisfactory<br />
under the United States Copyright Act.<br />
<br />
The criticisms dealing with publishers’ agree-<br />
ments might well have been omitted. If this<br />
subject had been handled by the author, it required<br />
a fuller treatment, and should have been touched<br />
upon from other points of view than those of the<br />
publisher.<br />
<br />
The book, the play, the painting, or other<br />
artistic work is the property of the man whose<br />
genius brings it forth. In agreements for the sale<br />
and assignment of that property, the primary<br />
holder ought to meet with the greatest considera-<br />
tion, the originator of the work ought to receive<br />
the fullest protection.<br />
<br />
It is to be hoped that when finally the new<br />
copyright law is passed, such a book will be written<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 27<br />
<br />
on the subject as will meet all the requirements<br />
of the general reader, the student of law, and the<br />
lawyer himself.<br />
<br />
Until that time comes the author of the present<br />
work must be thanked for his careful and in-<br />
dustrious labours, and for the information he<br />
has collected on the many difficult questions<br />
involved.<br />
<br />
—_—_—_———_\_e— > o—____—_<br />
<br />
CIVIL LIST PENSIONS.<br />
<br />
—_+~<>+ —<br />
<br />
IST of those pensions in connection with<br />
literature granted during the year ending<br />
the 31st March, 1902.<br />
<br />
<br />
<br />
<br />
<br />
Date of | - Amount of<br />
Grant. | Name. Pension.<br />
1901. | 8s. a.<br />
<br />
17 July | Mr. Henry Austin Dobson . che 250.0) 0)<br />
<br />
In recognition of his distin-<br />
guished literary attainments,<br />
and of his eminence as a poet.<br />
a The Rev. Dr. John Hunt, D.D. .| 100 0 0<br />
| In consideration of his theo-<br />
logical writings and of his<br />
straitened circumstances.<br />
s | Mrs. Emma Rose Mackenzie. 50 0 0<br />
In consequence of the writings<br />
of her late husband, Mr. |<br />
Alexander Mackenzie, the |<br />
historian of the Highland<br />
Clans, and of her inadequate |<br />
| means of support.<br />
. | Mrs. Elizabeth Reid . : : 50. 0 0<br />
In consideration of the literary<br />
merits of her late husband,<br />
| Captain Mayne Reid, the<br />
| Novelist,and of her straitened<br />
| circumstances.<br />
9 Aug. | Mrs. Mary Crawford Fraser oi 100 02.0<br />
In consideration of her literary<br />
merits and of the public ser-<br />
vices of her late husband,<br />
Mr. Hugh Fraser, as her late<br />
Britannic Majesty's Minister |<br />
| in Japan. |<br />
» . | Mr. William Henry Hudson et i500 0,0<br />
| Inrecognition of the originality |<br />
of his writings on Natural |<br />
<br />
History. |<br />
1902. | The Rev. Dr. Augustus Jessopp, |<br />
CNet OD SC 100 «0-20<br />
In recognition of his services to |<br />
\ Archeology and Literature. |<br />
3 | Mrs. Sarab Catherine Jones (i 0 0<br />
<br />
|<br />
<br />
In recognition of the services |<br />
rendered by her late hus- |<br />
band,Principal John Viriamu<br />
Jones, to the cause of Higher<br />
Education in Wales.<br />
<br />
<br />
<br />
pe,<br />
TOTAL .| £875 0 0<br />
|<br />
<br />
<br />
<br />
CORRESPONDENCE.<br />
<br />
ee pg os,<br />
“FOLLOW COPY.”<br />
<br />
Sir,—Permit a fellow sufferer to heartily condole<br />
with your correspondent “8.” Over and over again<br />
have I had to submit to similar vexatious treat-<br />
ment at the hands of some sapient (7) corrector<br />
bold enough to pit his own views of. spelling<br />
against the universe.<br />
<br />
Who shall indicate the loophole of escape from<br />
such galling experiences ’ Must the hapless<br />
author in future add a printing-press to his stock-<br />
in-trade, or shall he not rather find deliverance in<br />
the realization of that oft suggested proposal that<br />
the Society should add the business of publishers<br />
to its manifold duties for the exceeding comfort of<br />
writers ?<br />
<br />
Yours faithfully,<br />
Op Brrp.<br />
<br />
Authors’ Club, 8.W.,<br />
<br />
19th July, 1902.<br />
<br />
STANDARD RULES FOR PRINTING.<br />
<br />
Srr,—In a note on this subject by “ F. P.” in<br />
The Author (July, 1902, p. 245), there are some<br />
statements that seem to me to be misleading.<br />
<br />
Thus: “ Words of Latin origin, which take ¢ble<br />
instead of able; why allow accept, etc., to be an<br />
exception ?”<br />
<br />
But surely words of Latin origin take -ab/e and<br />
-uble just as well as -ble. Example: habitable,<br />
from Lat. habitabilis, because the infinitive is<br />
habitare. The derivatives in Lat. -abilis are<br />
extremely numerous. So numerous, indeed, that<br />
-able may be added even to an English root, as<br />
answer-able, know-able, etc. The reason why. we<br />
write acceptable is because such is the French form,<br />
from Late Lat. acceplabilis. The words in -ib/e are<br />
from the third conjugation in Latin, not from the<br />
first, and they are fewer in number. Voluble is<br />
from Lat. volubilis; and soluble from solubilis ;<br />
not volible or solible. I do not agree with the<br />
remarks on words in -ise. The suffix -7ze is both<br />
Greek and phonetic, and much to be preferred if<br />
we are to have uniformity. ‘The suffix -tse is<br />
French. (See the article on -iZe in the “ New<br />
English Dictionary.”’)<br />
<br />
The remarks upon full are also quite contrary to<br />
known etymological facts. So far from Jill being<br />
“ of greater importance,” it is a mere derivative of<br />
the older and more important full. We ought to<br />
go by the stress, not the part of speech. ‘Thus in<br />
ful-fill, fill (with two els) receives the stress, whilst<br />
ful does not. In skilful, the -ful is likewise<br />
unstressed. The spelling skilful shows the stress<br />
<br />
<br />
28<br />
<br />
sufficiently ; there is no absolute need to write<br />
skillful, though some do so.<br />
<br />
‘As to connexion, inflexion, we adhere to these<br />
spellings because they are etymological and phonetic<br />
at the same time; the forms connection, inflection,<br />
arose from popular (ignorant) association with<br />
affection, direction, and the like, in which the spelling<br />
with cf is correct. That is why the “ New English<br />
Dictionary ” advocates the spellings connexion,<br />
inflexion, which appear both in Latin and French ;<br />
as will be seen if such dictionaries be ‘consulted.<br />
<br />
The rule for the division of the words is not<br />
«the rule of the root ” by any means, but the rule<br />
of the sound or pronunciation. It is much best to<br />
ignore the root and to go by the sound. Thus it<br />
is usual to make such divisions as are seen in<br />
impu-dence, solilo-quize, peru-sal, counte-nance,<br />
plea-sure, princi-pal; in perfect contempt of the<br />
root-forms, which are, respectively, pud-, loqu-, Us-,<br />
ten-, pluc-, cap-. We simply regard the utterance,<br />
writing pe-ruse at one moment, and pe-ru-sal at<br />
ancther. Nothing is gained by pretending to<br />
keep the root intact, when the spoken utterance<br />
does nothing of the kind.<br />
<br />
I ugree that it is best to consult the “ New<br />
English Dictionary” ; but this seems to be the<br />
very thing which our critic has neglected to do.<br />
<br />
W. W.S.<br />
<br />
—— 1<br />
<br />
THE PLAYGOERS’ CLUB COMPETITION.<br />
<br />
Srr,—As it has been publicly stated that Mrs.<br />
Ashton-Jonson’s play, “The Hedonists,” was<br />
proxime accessit in the recent Playgoers’ Club Com-<br />
petition, will you allow me to say (as the paper in<br />
which the statement appeared refuses to do so<br />
in its columns) that I hold a letter from Mr.<br />
Hannaford Bennett (the club’s secretary) inform-<br />
ing’me that my play, “The Woman Pays,’ was<br />
one of the last three “in the running”; and that<br />
I also have “private information,” from a member<br />
of the Reading Committee, that the final choice<br />
lay between Miss Syrett’s play and mine ?<br />
<br />
Yours, etc.,<br />
<br />
Harry A. SPURR.<br />
<br />
Sees<br />
AUTHOR AND EDITOR.<br />
<br />
Sm,—Can you or any of your readers kindly<br />
explain this to me? The editor in question, who<br />
has, up to this, been most courteous to me, declines<br />
to answer my query.<br />
<br />
I wrote to the editor of the Westminster Gazette<br />
to ask why he had not noticed my last volume of<br />
verse, “ Mirth and Music.”<br />
<br />
He replied that he had given the book due<br />
consideration, and that was all I could expect. Now,<br />
what does this mean—a future review or none?<br />
<br />
THE AUTHOR.<br />
<br />
He will not enlighten me. As this is by far my<br />
best volume of verse (out of thirty-five reviews,<br />
many in London papers, only three or four have<br />
been adverse ones), he could hardly mean that the<br />
volume was nol worth reviewing, especially as a<br />
dozen poems in it were reproduced from his own<br />
columns, and besides, he has noticed all my inferior<br />
books. But if not, what did he mean? I am<br />
puzzled.<br />
Very truly yours,<br />
Kirsfield, Torquay. F. B. Doveton.<br />
<br />
MUSICAL COMPOSERS AND MUSICAL PUBLISHERS.<br />
<br />
Srr,—As a virtually unknown story-writer I<br />
have had many shocking experiences of the per-<br />
fidy of editors and publishers, but they pale into<br />
insignificance beside the injuries suffered by the<br />
song-writer. A friend of mine who writes charm-<br />
ing songs tells a harrowing tale. She has had<br />
<br />
song after song accepted by certain publishers -<br />
<br />
(some of whose names are not without honour),<br />
and then returned on her hands after a year or 60,<br />
with some flabby excuse. When I urge that she<br />
has the letters of acceptance, offering terms in<br />
black and white, and can therefore make them<br />
good in the court of law, she replies: ‘To what<br />
purpose? If I forced Mr. So-and-so to publish<br />
my song, he would simply print it, lay the copies<br />
on a shelf and do nothing further. - I should thus<br />
lose my property and get no royalties. I have<br />
been served so before now.”<br />
<br />
And this is not her only grievance. Every year<br />
she sends out a number of songs to publishers and<br />
public singers, enclosing stamped envelopes and<br />
polite letters requesting that her MSS. may be<br />
returned. A very large proportion of these never<br />
come back, and no amount of imploring letters<br />
will recover them. As she cannot, like the story-<br />
teller, have copies typed, but has to re-write every<br />
one that goes out, and as her songs are musicianly,<br />
with good accompaniments, one can imagine what<br />
labour this entails. The song-writer who has not<br />
yet “caught on ” seems, indeed, in a parlous way,<br />
and the fact of having had several songs already<br />
taken by well-known publishers and sung by<br />
famous vocalists is, apparently, of no avail.<br />
Stamps are confiscated, MSS. lost or thrown<br />
aside, letters unheeded ; and even when a song<br />
is accepted, it may come back after a year or two,<br />
“returned with thanks.”<br />
<br />
Is there no redress? Are not songs in MS.<br />
property, and can they not be recovered by law ?<br />
Moreover, cannot a publisher be made to publish<br />
a song he has accepted—not merely print, but<br />
circulate it ?<br />
<br />
Yours, etc.,<br />
M.P. | https://historysoa.com/files/original/5/476/1902-10-01-The-Author-13-1.pdf | publications, The Author |
477 | https://historysoa.com/items/show/477 | The Author, Vol. 13 Issue 02 (November 1902) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+02+%28November+1902%29"><em>The Author</em>, Vol. 13 Issue 02 (November 1902)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1902-11-01-The-Author-13-2 | | | | | 29–56 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1902-11-01">1902-11-01</a> | | | | | | | 2 | | | 19021101 | Che Huthor.<br />
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(The Organ of the Incorporated Society of Authors. Monthly.)<br />
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FOUNDED BY SIR WALTER BESANT.<br />
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<br />
Vou. XIII.—No. 2.<br />
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CHANGE OF ADDRESS.<br />
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Salwey, Reginald E.<br />
<br />
Gidley, Miss E. C.<br />
<br />
Nixon, Prof. J. E.<br />
<br />
CHOHRHH<br />
pal<br />
<br />
—<br />
SCOCHRHHEH<br />
cococeo<br />
<br />
HOOCNOHRROFS<br />
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<br />
BAOMNonnNore<br />
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NOOR NWO ON<br />
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<br />
COCHNWOCOCOHOHOROCOOCOHOFRF<br />
<br />
—_——_—_——_+——_+___——_<br />
<br />
FROM THE COMMITTEE.<br />
<br />
<br />
<br />
T consequence of the fact that members are<br />
returning to work after the holidays, the<br />
business at the office of the Society shows a<br />
<br />
natural tendency to increase.<br />
<br />
At the October. meeting of the Committee forty-<br />
<br />
THE AUTHOR.<br />
<br />
eight new members and associates were elected,<br />
making the total for the year 161. A strong argu-<br />
ment in support of the sound work of the Society.<br />
A list of the elections is published below.<br />
<br />
It is intended, if it is found possible, to publish<br />
the list of members annually or bi-annually, and to<br />
incorporate these monthly returns when the next<br />
revised edition is issued.<br />
<br />
The compilation of the list has been carried out<br />
in accordance with the statement contained in the<br />
article in the July number of the Author. The<br />
Committee have decided to print 1,000 copies.<br />
<br />
Over six hundred answers were received to the<br />
circular. Of these between thirty and forty desired<br />
that neither their names nor their addresses should<br />
be published. The reasons put forward for this<br />
course differed, but one reason, constantly recurring,<br />
was the fact that the publication of the name and<br />
address might subject the member to a flood of<br />
circulars from advertisers and others.<br />
<br />
In the case of those members of the Society<br />
whose addresses can be easily obtained from books<br />
like “Who’s Who,” “The Red Book,” “The<br />
Literary Year Book,” and other Directories, this<br />
objection naturally would not stand.<br />
<br />
The price of the list will be 6d., nett, post<br />
free. Only members will be able to purchase<br />
copies. An order form is inserted in this month’s<br />
issue. Members desiring to obtain a copy of the<br />
list are asked to return it (duly signed) with the<br />
6d. to the office.<br />
<br />
Members will be pleased to hear that Mr. Austin<br />
Dobson has been unanimously elected a member of<br />
the Committee of Management of the Society, and<br />
Sir Henry Bergne, K.C.M.G., C.B., a member of<br />
the Copyright Sub-Committee.<br />
<br />
The Addenda to “ The Methods of Publishing,”<br />
since its original issue, has been selling gradually,<br />
and is now nearly out of print. Two hundred and<br />
fifty more copies have been printed by the desire of<br />
the Committee.<br />
<br />
At this, the first meeting of the Committee since<br />
the lamented death of Monsieur Zola, it was decided<br />
to send a letter from the Society of Authors to the<br />
Sovicté des Gens de Lettres, of which Monsieur<br />
Zola was President. The French Society has, on<br />
all occasions, extended a helping hand to its sister<br />
society, and has given to the Secretary valuable<br />
information from time to time on such questions<br />
as publishing in France, and legal matters con-<br />
nected with French copyright.<br />
<br />
Other questions discussed, referred to disputes<br />
and actions, which it would be indiscreet to make<br />
public for the present. i<br />
<br />
Eleven cases between publishers and authors,<br />
arising from the usual divergencies of opinion and<br />
method, have been in the hands of the Secretary<br />
during the past month. Of these, four deal with<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
matters of account, three with disputed agreement,<br />
two with money due, and the remaining two with<br />
general matters, which do not come under the usual<br />
headings.<br />
<br />
Three of the eleven have been finally settled, two<br />
have been placed in the hands of the solicitors to<br />
carry through by action if necessary, and the<br />
balance are still in the course of negotiation. They<br />
need no special comment.<br />
<br />
Of those cases quoted in last month’s Author<br />
there are still four unsettled, but negotiations are<br />
being carried on between the publisher and the<br />
Secretary. One case, however, is hanging fire,<br />
owing to the fact that in spite of repeated letter-<br />
writing the Secretary can obtain no answer from<br />
the member whose work is involved. This position<br />
is a very serious one for the Society, and the<br />
Committee at all times have impressed upon the<br />
members how important it is that those who place<br />
their matters in the Secretary’s hands should carry<br />
<br />
them through with vigour.<br />
<br />
It has been mentioned that two cases have been<br />
placed in the hands of the solicitors of the Society.<br />
<br />
One other matter has been dealt with by them.<br />
A firm of publishers, whose name we do not at<br />
present mention, has called a meeting of its<br />
creditors. Our solicitors represent those of our<br />
members who have claims against the firm. At<br />
present it is impossible to state anything definite<br />
with regard to the issue of the meeting, but it is<br />
hoped that with careful diplomacy the authors’<br />
claims will be paid in full, as a provision has been<br />
proposed under the deed of assignment that the<br />
trustee shall have power, if he thinks fit, to pay all<br />
authors in full.<br />
<br />
oe as<br />
<br />
Elections, October, 1902.<br />
<br />
Elections to the Society, July 14th to October<br />
18th :—<br />
<br />
Abrahamson, Rev.-A. E. The Rectory, Skilgate,<br />
Wiveliscombe R.8.0O.,<br />
Somerset.<br />
<br />
85, Fitzjohns Avenue,<br />
<br />
Besant, Geoff<br />
ao Hampstead, N.W.<br />
<br />
<br />
<br />
Bisiken, Wm. : ;<br />
<br />
Bissett-Smith, George<br />
Tullock (George Bizet)<br />
<br />
Brunskill, The Rev.<br />
Francis R.<br />
<br />
Cayzer, C. W.<br />
<br />
Clark, Alfred<br />
Clive, Alfred<br />
<br />
12-14, Long Acre, W.C.<br />
<br />
55, Carlton Place, Aber-<br />
deen.<br />
19, Raymont . Street,<br />
Thetford, Norfolk.<br />
Dunsdale, Frodsham,<br />
Cheshire.<br />
<br />
Forest Department, Cey-<br />
lon.<br />
<br />
Heydon Vale, Great<br />
Chishall, Near Roy-<br />
ston, Cambs.<br />
<br />
Cockran, Miss Henrietta<br />
Cotton, Capt. Frederick<br />
Crottie, Miss Julia M.<br />
Dallas, Miss H. A.<br />
Dollar, John A. W.<br />
Errington Cyril<br />
Evans, Miss May (A<br />
Welsh Spinster).<br />
Farmer, R. Geoffrey<br />
<br />
Fellows, Charles (Cas-<br />
<br />
situs).<br />
Gaskell, Lady<br />
Gouldsworthy, Henry C.<br />
Harrison, Miss Rose<br />
<br />
Hollander, Bernard,<br />
<br />
M.D.<br />
Hunt, Miss Violet<br />
Hurlock, Sydney .<br />
lliffe, Mrs. J. K. M.<br />
Ivrea, The Marquis<br />
Keyworth, Charles W.<br />
<br />
(Charles Aver)<br />
Lovell, Arthur (D.C. W.)<br />
MacDonagh, Michael<br />
Mackenzie, W.C. .<br />
Masson, Miss Flora<br />
Masson, Miss Rosaline .<br />
Medley, Miss H. P.<br />
Merritt, Mrs. Lea<br />
Molyneux, The Honble.<br />
<br />
Mrs.<br />
Oelsner, Herman .<br />
<br />
Petano, D. K.<br />
<br />
31<br />
<br />
45, Mecklenburg Square,<br />
W.C.<br />
<br />
Horsham Court, Mort-<br />
ley, Worcestershire.<br />
Glenbaba House, Near<br />
Peel, Isle of Man.<br />
116, King Henry’s Road,<br />
<br />
N.W.<br />
a Bond Street,<br />
<br />
91, Lavender Sweep,<br />
Clapham Junction,<br />
S.W.<br />
<br />
10, Lansdowne Crescent,<br />
W.<br />
Barriew Street, Welsh-<br />
<br />
pool.<br />
Old Bank Chambers,<br />
Wolverhampton.<br />
<br />
The Abbey, Much Wen-<br />
lock, Salop.<br />
<br />
2, Brompton Square,<br />
S.W.<br />
<br />
101, Oakley<br />
Chelsea, 8. W.<br />
<br />
62, Queen Anne Street,<br />
Cavendish Square, W.<br />
<br />
South Lodge, Campden<br />
Hill, S.W.<br />
<br />
College Grove<br />
Wakefield.<br />
<br />
13, Warnborough Road,<br />
Oxford.<br />
<br />
c/o E. F. Turner & Son,<br />
Leadenhall House,<br />
E.C.<br />
<br />
Wesley House, Bisley,<br />
Stroud, Glos.<br />
<br />
5, Portman Street, Port-<br />
man Square, W.<br />
<br />
149, Abbeville Road,<br />
Clapham Park, 8.W.<br />
<br />
‘“* Sutha,” Selborne<br />
Road, Sidcup, Kent.<br />
<br />
2, Lockharton Gardens,<br />
Edinburgh.<br />
<br />
2, Lockharton Gardens,<br />
Edinburgh.<br />
<br />
Marlborough Mansions,<br />
S.W.<br />
<br />
Hurstbourne ‘Tarrant,<br />
Near Andover.<br />
<br />
Willoughby, Saxe Wei-<br />
mer Road, Southsea.<br />
<br />
Savage Club, Adelphi<br />
Terrace, W.C.<br />
<br />
23, Walton Well Road,<br />
Oxford.<br />
<br />
Street,<br />
<br />
Road,<br />
<br />
<br />
<br />
<br />
32<br />
<br />
96, Warwick Gardens,<br />
Kensington, W.<br />
<br />
33, St. Luke’s Road,<br />
Notting Hill, W.<br />
<br />
c/o To-Day, 8 & 9, Essex<br />
Street, Strand<br />
<br />
Seagate House, Little-<br />
<br />
Pickthall, Rudolf .<br />
Reich, Emil .<br />
Rutter, Frank<br />
<br />
Smith, William Herbert<br />
<br />
hampton.<br />
Smith, Mrs. Michael 35, Ailsbury Road,<br />
Dublin.<br />
Thomson, Miss Clara 11, Talgarth Road, West<br />
Linklater. Kensington; or Tem-<br />
<br />
ple House, Temple<br />
Avenue.<br />
<br />
Lotus, Dorking.<br />
<br />
Spade House, Sandgate,<br />
Kent.<br />
<br />
3, Park Terrace, Cross-<br />
hill, Glasgow.<br />
<br />
54, Bloomsbury Street,<br />
W.C.<br />
<br />
1, Rue Dain, Faubourg<br />
St. Honoré, Paris.<br />
<br />
Ward, Wilfrid<br />
Wells, H. G.<br />
<br />
Williams, Wynn Llewel-<br />
lyn.<br />
Yorke, Philip C. .<br />
<br />
Young, Miss Catherine<br />
M.<br />
Only one member of those elected does not<br />
desire publication.<br />
<br />
eS<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—->+—<br />
ISS R. N. Carey’s new 6s. novel, “The<br />
Highway of Fate” (Macmillan), has made<br />
<br />
an excellent start, and has at once taken<br />
its place as one of the twelve best selling books of<br />
the month. It was issued early in September,<br />
simultaneously in England and America; and<br />
arrangements have also been made with Baron<br />
Tauchnitz, who will shortly issue the work in his<br />
Continental series.<br />
<br />
Mrs. Alec Tweedie’s memoir of her father,<br />
“George Harley, F.R.S., or the Life of a London<br />
Physician,” can now he had in a cheaper edition<br />
(The Scientific Press). It gives many interesting<br />
stories of the Crimea, Napoleon III., and the coup<br />
Wétat. There are also stories of student life in<br />
Paris and Germany, and of the delightful people<br />
he met in London, where he practised as a physician<br />
for forty years.<br />
<br />
Mr. A. Ollivant’s new book “ Danny,” which<br />
has been running for some time in the Monthly<br />
Magazine here, and in Everybody's Magazine<br />
in America, will shortly be complete. It will<br />
then be published by Mr. John Murray on this<br />
side, and by Messrs. Doubleday, Page & Co. in<br />
America.<br />
<br />
Mr. Ollivant’s previous book, called here “ Owd<br />
Bob of Kenmure,” and in America “ Bob, Son of<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Battle,” met with marked success, the sales in the<br />
United States even exceeding those in England.<br />
“here is every probability of “ Danny” being<br />
equally successful. The author’s power and origin-<br />
ality are both quite as strongly exhibited in<br />
“Danny” as in his earlier work; and Mr.<br />
Ollivant exhibits an advance in the dexterity with<br />
which he treats the technique and subsidiary<br />
elements of romantic fiction.<br />
<br />
Miss Rosaline Masson has a new novel in the<br />
press. It is called “ Leslie Farquhar,” and Mr.<br />
John Murray will publish it. Miss Masson. is<br />
favourably known as_ the authoress of “The<br />
<br />
Pransgressors”” and “ In Our Town,” both novels<br />
descriptive of the Edinburgh of to-day (Hodder &<br />
Stoughton).<br />
<br />
Miss Masson, besides publishing a couple of ‘Ag<br />
volumes of short stories, wrote the “Lives of<br />
Pollock and Aytoun” inthe Famous Scots’ Series.<br />
Aytoun, author of the popular “Lays of the<br />
Cavaliers,” was the predecessor of Miss Masson’s<br />
father in the chair of English Literature in .<br />
Edinburgh University.<br />
<br />
Mr. Herbert Compton has been very busy.<br />
Messrs. A. Treherne & Co. are bringing out for him<br />
a series of sketches strung together under the title<br />
of “ Facts and Phantasies of a Folio Grub,” while<br />
Messrs. Everett & Co. will issue his “‘ A Scourge<br />
of the Sea,” a story of South Sea adventure.<br />
<br />
Mr. J. Bloundelle-Burton’s new story, « The<br />
Intriguers,” commences in this month’s Leisure<br />
Hour. It deals with a Jacobite plot to assassinate<br />
George I. before he could reach England from<br />
Germany, at the time of his accession in the year<br />
<br />
1714. “The Intriguers” will be a stirring story.<br />
<br />
Allen Raine is engaged upon a new novel which<br />
will be entitled “On the Wings of the Wind.” It<br />
will be ready for publication in the spring.<br />
<br />
Mrs. B. M. Croker is busy on a long novel<br />
dealing with life in India. She is going out to<br />
India to finish it, and will spend the winter there.<br />
This popular authoress means to see the Durbar<br />
at Delhi.<br />
<br />
« Johanna,” Mrs. Croker’s story of Trish peasant<br />
life now running in Crampton’s Magazine, is to<br />
be published in the spring by Messrs. Methuen<br />
& Co.<br />
<br />
Mr. Reginald E. Salwey’s new novel, “A Son of —<br />
Mischief,” is a strong sensational story. ‘There is<br />
firm character drawing in it, dramatic situations,<br />
and a capital plot. The Rossiter family is one<br />
worth knowing.<br />
<br />
Mr. G. 8. Streets’ recently published “ Book of<br />
Essays ” (Constable & Co.), demonstrates that the<br />
true art of essay-writing is not dead. His style is<br />
bright and pleasant. He gives food for thought<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 33<br />
<br />
without overtaxing the labour-weary brain; and<br />
he takes you into his confidence in a way that<br />
makes the reader feel at home at once. He writes<br />
as to an old friend and rouses a reciprocity of<br />
friendship.<br />
<br />
A most interesting book entitled “Greek Votive<br />
Offerings” is just out. (University Press, Cam-<br />
bridge; E. J. Clay & Sons, London, 15s. net.)<br />
It is an essay on the history of Greek religion, by<br />
W. H. Denham Rouse, F.R.G.S., Sc., Headmaster of<br />
the Perse School. There are two plates and many<br />
illustrations in the text.<br />
<br />
The main purpose of this scholarly book is to<br />
coilect and classify those offerings which are not<br />
immediately perishable; and by examining the<br />
oceasion of their dedication and the statements<br />
made about it, to trace, if possible, the motives of<br />
the dedicator and the meaning which the act had<br />
for him.<br />
<br />
“The Problem of Fiorenzo of Perugia,” a work<br />
on Fiorenzo di Lorenzo, the reputed master of<br />
Perngino, is at present in the press, and will<br />
shortly be published. The authoress is Mrs. Jean<br />
Carlyle Graham, a Scottish lady, whose previous<br />
literary essays have been chiefly in verse. She has<br />
been resident in Perugia for some time, and com-<br />
pleted the letterpress of this critical study of an<br />
old master in 1901. It is the first serious publica-<br />
tion on the subject, in any language.<br />
<br />
: Under Mr. M.H.Spielmann’s able and complete<br />
control The Magazine of Art has started into new<br />
and vigorous life. Its price is reduced to 1s. net,<br />
while the number of its pages is increased ; a new<br />
cover will be used ; new paper is specially manu-<br />
factured for its pages, and a new fount of type has<br />
been obtained. A most important point is that<br />
many artists of eminence have undertaken, by<br />
means of articles, to address themselves to the<br />
public direct in the magazine.<br />
<br />
But the most novel feature will be the experi-<br />
ment of presenting, at least twice a year, a fine<br />
picture by a leading artist. The picture can be<br />
won by a subscriber to the magazine by means of<br />
a simple competition within the capacity of every-<br />
one. We heartily wish Mr. Spielmann, who is a<br />
prominent and active member of our Society, all<br />
the success he desires for his new series of 7he<br />
Magazine of Art.<br />
<br />
Miss Clementina Black’s “Frederick Walker”<br />
(Duckworth’s Popular Library of Art), is a well-<br />
written, sympathetic, and discriminating lifelet of<br />
this artist, who died all too young. We must make<br />
room for a quotation or two :—<br />
<br />
“To see in Walker nothing but the domestic idealist, is<br />
as if one should see in Tennyson only the author of the<br />
‘May Queen’ ...I£ a mushroom could have a soul,<br />
Walker might be said to have painted its soul... The<br />
<br />
background of care, sedulously concealed behind an appear-<br />
ance of ease, seems to have been typical of Walker’s work<br />
on even the slightest of productions, and was, perhaps, a<br />
a matter not so much of deliberate intention, as of inborn<br />
character.”<br />
<br />
“He had in a marked degree that clear perception of the<br />
actual world around him without which the creative artist,<br />
either in words or in pictures, seldom succeeds in striking<br />
any widely and deeply human note ... To have lived<br />
intimately with Walker’s work is to dwell thenceforward<br />
in a universe, whose common sights of daily life are touched<br />
with a new light, and informed with a new beauty—a<br />
universe in which humanity seems to call for a deeper<br />
tenderness, a more tolerant smile, a gentler recognition.”<br />
<br />
A yaluable and interesting volume is Mr.<br />
Lawrence Binyon’s ‘“ Catalogue of Drawings by<br />
British artists, and artists of foreign origin work-<br />
ing in Great Britain, preserved in the British<br />
Museum.” (Henry Frowde, Amen Corner, E.C.,<br />
10s. net.)<br />
<br />
Here is a specimen of one of Mr. Binyon’s<br />
miniature biographies :—<br />
<br />
KEENE, CHARLES SAMUEL (b. 1823, d. 1871).<br />
<br />
Draughtsman, etcher and caricaturist ; born in London ;<br />
apprenticed as a wood engraver; worked in London for<br />
periodicals, and about 1851 began to be employed on<br />
Punch, for which the chief part of his life work was done,<br />
illustrating the daily life of the people for the latter half<br />
of the century with a long series of drawings, unsurpassed<br />
for character and humour; illustrated books by Charles<br />
Reade and others ; one of the greatest of English draughts-<br />
men, and a consummate master of black-and-white.<br />
<br />
Mr. Owen Seaman’s “ Borrowed Plumes” (Con-<br />
stable & Co.) is just out. It is dedicated “To the<br />
Authors, many of them my friends, whose methods<br />
I have here attempted to imitate ; and in particular<br />
to Pearl Mary Teresa Cragie.”<br />
<br />
Among the authors imitated are, Mrs. Humphry<br />
Ward, Mr. Henry James, Mr. Maurice Hewlett,<br />
Miss E. F. Fowler, Mr. Hall Caine and Mr. G.<br />
Bernard Shaw. ‘These imitations are more than<br />
amusing: they convey acute but kindly criticism<br />
in every page. We master the temptation to<br />
quote, and advise our readers to buy and taste for<br />
themselves.<br />
<br />
“Rabbi Shalem on the Shores of the Black<br />
Sea,” by Jaakoff Prelooker, just published by<br />
Simpkin Marshall (4s. net), is a romantic narrative<br />
dealing with the life of Russian Jews and Christian<br />
Dissenters, amongst whom the author laboured for<br />
a number of years with the object of bringing<br />
about their reconciliation, and possible union.<br />
<br />
Miss Olive Katharine Parr has written a Dart-<br />
moor story book for children. It is illustrated<br />
by Mr. E. Wheeler, and is to be published by<br />
Messrs. Routledge. .<br />
<br />
The title of this children’s story is “The Voice<br />
of the River.” The river is the beautiful Dart,<br />
and the scene is laid at Bray farm. The story 1s<br />
quite finished and is in the publisher's hands, but<br />
it will not be published for some time.<br />
<br />
<br />
<br />
34 THE AUTHOR.<br />
<br />
“Pilgrims of Love” by Miss Bessie Hatton, isa over and over again in his book ; to will and to act<br />
book of original fairy tales following up her “The are what young men must be taught.<br />
Village of Youth,” a new and cheap edition of which M. Hanotaux thinks that at the age of fifteen,<br />
is promised by Messrs. Treherne. ‘Pilgrims of boys who are to take up commercial or agricultural<br />
Love” has a unique cover in Japanese vellum, careers, should put aside their books and commence<br />
daintily decorated by the authoress’ brother-in- work in earnest.<br />
law, Mr. W. H. Margeston. The seventh volume of “ Empire libéral,” by M.<br />
<br />
Miss Hatton is the younger of Mr. Joseph Emile Ollivier, is just published. The chief sub-<br />
<br />
seett ” ‘Mr. Hatton’s first number jects contained in this volume are the Dismember-<br />
Huatton’s two daughters. Mr. Hatton s nis’ T ‘nent of Denmark, the Syllabus, Mexico, Bismark’s<br />
<br />
of his projected reprints of s ecial pages from his . : : ie meena<br />
as Caweie Papers” is pabiehed thismonth abed, “Ue with Napoleon Hit. at Biarritz." One of<br />
«Cigarette Paper the Boyioad of Sie Henry SPAN are OF rey A livre aooant<br />
. 7 or 9 . .<br />
devimg ; ith some notes fo) 3 Pipers of Napoleon III. throws much light on European<br />
Tn “Songs of Peace and War” by A. H. Rowland affairs during the years 1864 and 1865.<br />
there is a sonnet to Mr. Joseph Chamberlain ; one “ Aux pays d’Homére » ig the title of a new<br />
to Cecil John Rhodes (In Memoriam) and one to book by Baron de Mandat-Grancey, who has<br />
the Colonial Premiers. There are verses headed written some interesting works on “the United<br />
respectively, “ Magersfontein,” “ Bobs,” “Paar- States, England, and Africa.<br />
deberg,” ‘“Eland’s River,” etc. etc., as well as “Une Demi-Carriére ” by the Comte de Com-<br />
verses “To the Cuckoo,” “Lucerne,” “The minges, is a military novel which is particularly<br />
Rural Exodus ” and others. interesting at the present moment. The plot<br />
reminds us of the case of the Lieutenant who has<br />
recently been tried by court-martial for refusing<br />
to eject the nuns from their convent.<br />
“Treg veridique histoire d’une petite fille” by<br />
Hannah Lynch, is another translation from English.<br />
This story appeared as a serial in the Revue de<br />
Paris, and is now published in volume form.<br />
“Un séjour i ’ambassade de Constantinople,” by<br />
boats and gear destroyed. The loss among coasting Mme. la baronne Durand de Fontmagne, Is a most<br />
vessels was terrible. interesting account of life in Turkey, when there<br />
Mr. Hall Caine’s stage version of his novel “ The Wet? still some Turks, as the authoress says. She<br />
ternal City,” which ss roduced at His Majesty’s went outto Constantinople with Madame Thouvenel,<br />
TI a ; : eee: Lace wife of the French Ambassador, and the descriptions<br />
jeatre on the evening of October 3rd, is attracting . : ee<br />
large audiences. It is splendidly staged. Miss and episedes given are mos) Wea) eS<br />
Constance Collier lays Roma item tional “La Demoiselle de Puygarrou,” is the pis =<br />
piey 2 otional the novel Madame Henry Gréville had just finished<br />
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<br />
“Buchan’s Birs” is an interesting narrative<br />
poem of forgotten heroism by Donal O’Ioci.<br />
The tale as it stands was written in Australia over<br />
ten years ago. It is a true story of an event<br />
which occurred towards the end of the devastating<br />
storm of November, 1857, which caused ‘such<br />
terrible destruction on the North-east Coast of<br />
Scotland. Forty-two fishermen perished, and their<br />
<br />
force, spontaneity and charm. haters her death<br />
In Baron Bonelli Mr. Tree has an effective part, M. André Theuriet’s new novel, “ Sceur de lait,”<br />
<br />
and he makes the most of it. Mr. Robert Taber is also on the theme 80 much in vogue just now.<br />
takes the part of Rossi, and Mr. Lionel Brough ‘The story turns on the conflict between the past,<br />
plays Bruno Rocco. Mr. Telbin and Mr. Harker with its traditions, and the present, with its modern<br />
the artists have never done -better work; the ideas.<br />
mounting is quite remarkable. M. Arthur Bucheron, better known by his<br />
Mr. RB. C. Carton will not produce any play pseudonym of Saint-Genest, has just died at the<br />
until next year. age of sixty-seven. Of late years very little has<br />
been heard of him, but formerly his articles in the<br />
<br />
ee Figaro were most popular, particularly the one<br />
<br />
addressed to the Marshal Mac-Mahon, which caused<br />
<br />
PARIS NOTES. the Government to suspend the Figaro for a<br />
fortnight.<br />
<br />
M. Edmond Haraucourt has just published a<br />
<br />
HE new book by M. Gabriel Hanotaux, ‘‘ Le volume of stories entitled ‘ Les Nanfragés.”<br />
Qhoix d’une Carriere,” comes ata very oppor- M. Haraucourt is better known as a poet and<br />
<br />
tune moment. The question of education dramatic author than asanovelist. His best known —<br />
<br />
is being discussed both in France and England. plays are “ Don Juan de Manara,” “Jean Bart,” —<br />
To know is not everything, the author: repeats and ‘La Passion.” The stories published in this —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 35<br />
<br />
new volume are all dramatic and powerful, but the<br />
subjects are, on the whole, gruesome. :<br />
<br />
“Amériques et Américains,” by M. Victor-<br />
Thomas, is interesting, and all the more so as it<br />
is not a lengthy volume. The author gives us<br />
his notes and impressions as briefly as possible.<br />
<br />
“La Comédie Francaise et la Revolution,” by<br />
A. Pougin, gives an interesting account of the<br />
history of the theatre during the Revolution. The<br />
author tells the whole story of the arrest of the<br />
actors, the tragic death of Mlle. Desgarcins and<br />
of Grammont, who died on the scaffold in<br />
1794. ;<br />
<br />
“La Cité Future—Essai d’une Utopie Scien-<br />
tifique,” by Ernest Tarbouriech, is an attempt to<br />
trace the programme of the constitution of<br />
Collectivism.<br />
<br />
In a volume by Henri Brémond, “Ames<br />
Religieuses,’” we have, among other subjects, a<br />
sketch of John Keble, and another of Edouard<br />
Thring.<br />
<br />
An English book, entitled ‘Luke Delmege,” by<br />
P. A. Sheehan, has probably had a longer review<br />
in France than in England. Ten or eleven pages<br />
of the “ Revue des Deux Mondes”’ were taken up<br />
with the résumé of this Irish story.<br />
<br />
The play by M. Henry Bauer, ‘‘ Sa Maitresse,”’ at<br />
the Vaudeville, was awaited with great curiosity<br />
from the fact that the author has hitherto been a<br />
rather severe dramatic critic.<br />
<br />
In the first scenes there were such lengthy<br />
harangues, and so little action, that there seemed<br />
very little chance of success for the piece, but<br />
fortunately all this was redeemed before the end,<br />
and the play is certainly a very strong one.<br />
<br />
M. Deval has opened his season at the Athénée<br />
with “ Madame Flirt” by MM. Gavault and Berr.<br />
This play was the great success of last season, and<br />
had a run of about 260 performances. It was<br />
bought for America a few months ago.<br />
<br />
The chief réles in “ Paillasses,” by Léoncavallo,<br />
have been entrusted to MM. Jean de Reszké<br />
and Delmas, and Madame Aino Ackté.<br />
<br />
M. Bernstein has arranged with Mr. Frohman<br />
for the English rights of his play “ Détour.”<br />
<br />
Madame de Nuovina has had great success at<br />
Berlin with Massenet’s “Navarraise.” She was<br />
recalled time after time, and she appears to have<br />
had as great a triumph as Calvé, in the same role<br />
in Paris.<br />
<br />
Madame Réjane has returned from her long<br />
tour, and is now preparing her ré/e in the new<br />
play to be given at the Vaudeville.<br />
<br />
M. Bour, whose creations at the Theatre Antoine<br />
were so remarkable, has just scored a great success<br />
in the réle of Safi in “Triomphe,” M. Robert<br />
Bracco’s play.<br />
<br />
Auys HAuarp.<br />
<br />
EMILE ZOLA.<br />
poe<br />
HE tragic death of Zola has cast a gloom over<br />
the commencement of the winter season in<br />
Paris.<br />
<br />
Ever since the famous letter “J’ accuse,” many<br />
of Zola’s literary friends had held aloof from him,<br />
but at present political quarrels and differences of<br />
opinion are buried, and his literary work is being<br />
discussed and criticized from every point of view.<br />
<br />
Emile Zola was born in Paris in 1840. His<br />
father, who had been an officer in the army, was,<br />
at the time of his son’s birth, a civil engineer, and<br />
was engaged in making the canal at Aix.<br />
<br />
Emile finished his education at the Saint Louis<br />
College, and on leaving took a situation at the<br />
docks at asalary of about ten shillings a week.<br />
He soon left this, and his life for many years was<br />
a very hard one. He had an attic in the Latin<br />
Quarter, and was often without fire in the winter<br />
and almost without bread.<br />
<br />
He consoled himself by writing poetry and many<br />
of his “ Contes 4 Ninon.”<br />
<br />
In 1861, thanks to Dr. Boudet, he obtained a<br />
situation at Hachette’s publishing house, at a salary<br />
of about a pound a week, where at first he had the<br />
parcels to make, but as time went on he was sent<br />
into the office, and after writing his first comedy,<br />
“’Amoureuse,” M. Hachette engaged him as his<br />
secretary. In 1864 his “Contes a Ninon” were<br />
published, and in 1865 his ‘Confession de Claude.”<br />
<br />
He wrote at this time for several newspapers,<br />
and gave up his situation at M. Hachette’s for the<br />
post: offered him by M. Villemessant on the Avene-<br />
ment. His first article, which was a criticism of<br />
the Salon, made a great sensation. He had taken<br />
up the cudgels for the painter Manet, and he did<br />
not spare the jury.<br />
<br />
After his famous “ Thérése Raquin” in 1867,<br />
and “‘ Madeleine Férat ” in 1868, Zola’s work was<br />
seriously discussed. His theory was naturalism,<br />
and his views on literary matters were considered<br />
“revolutionary.” His most important work is the<br />
“ Rougon-Macquart ” series of nineteen volumes,<br />
containing the “histoire naturelle et sociale d’une<br />
famille sous le second Empire.” The author<br />
endeavours to show how a family would act in<br />
the midst of a given society. Individuals ap-<br />
pear at first absolutely dissimilar, but after<br />
analysis it is seen how closely they are in reality<br />
connected with each other, and by reading the<br />
stories of these different lives we have an idea of<br />
the atmosphere of the second Empire.<br />
<br />
This famous series was finished in 1893, and<br />
since then Zola has given us a study of other<br />
families in the volumes “ Lourdes,” “ Rome,” and<br />
“Paris,” and in the series, ‘‘ Quatre Evangiles :<br />
Fécondité, Travail,” and “ Vérité.” The last volume<br />
<br />
<br />
36<br />
<br />
which he had planned for this work, “ Justice,”<br />
was not even commenced at the time of his death.<br />
<br />
M. Huysmans tells us the origin of the volume,<br />
“ Soirées de Medan.”<br />
<br />
Before Zola wrote “ VAssommoir” he lived in a<br />
small house in the Rue Saint George. He had<br />
just published “ La Curée,” and M. Céard, who<br />
admired this work immensely, went to call on the<br />
author. Zola received him very cordially, and M.<br />
Huysmans accompanied M. Céard on his next<br />
visit. M. Hennique also went—and Zola already<br />
knew Guy de Maupassant and M. Alexis.<br />
<br />
This little group of literary men agreed to meet<br />
and to spend the evening, once a week, at Zola’s<br />
house. ‘They decided to publish a volume of<br />
stories together, and as by that time Zola had<br />
bought his country house at Médan, and the six<br />
friends used to go there on Sundays, the volume<br />
was entitled “Soirées de Médan,” and was pub-<br />
lished in 1880. Only three of the authors survive,<br />
Huysmans, Hennique, and Céard.<br />
<br />
Zola gave “lAttaque du Moulin,” a story he<br />
had written in three days for the Revue de<br />
Petersbourg ; Maupassant’s story was “‘ Boule-de-<br />
Suif” ; Huysmans gave “Sac au dos” ; Hennique,<br />
“PAssaut du Grand Six” ; Céard, “ La Saignée”’ ;<br />
and Paul Alexis, “ Aprés la Bataille.” They were<br />
all episodes of the war of ’70, and 10,000 copies<br />
of the volume were published.<br />
<br />
They were all men of such totally different<br />
temperaments that Zola often used to say “ It will be<br />
curious to see later on the way we each take in life.”<br />
<br />
In the Journal des Débats, M. Henry Bidou<br />
sums up in a few words the chief characteristics of<br />
Zola’s work. “Zola had that first, great quality—<br />
strength. He organized an immense work, and<br />
there is scarcely anything finer than the end of<br />
‘Germinal.’ There is, however, @ misunderstand-<br />
ing in his genius. He was the chief of realists,<br />
and the poorest of romantiques. He wished to be<br />
a savant, and was an imaginatif, and not a thorough<br />
critic by any means. His terrible mistake was<br />
that, trusting to a science which he had acquired<br />
too hastily, he misunderstood humanity, and we<br />
are unfortunately compelled to believe that his<br />
convictions were the outcome of his disposition of<br />
mind. He sees nothing which is higher than a<br />
certain level, and would thus give the lie to Ovid’s<br />
lines on man.”<br />
<br />
M. Anatole France, who spoke at Zola’s grave<br />
in the name of his friends, had a difficult task to<br />
perform. Since the Dreyfus affair M. Anatole<br />
France has been a great admirer of Zola’s courage<br />
at that time, and his speech was most eulogistic.<br />
<br />
Years ago when criticising Zola’s works, M<br />
Anatole France said: “ His work is bad, and he<br />
<br />
is one of those unhappy beings about whom we<br />
can only say it would have been better if he had<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
never been born. Certainly I do not deny his<br />
detestable fame. . . . Never has any man so com-<br />
pletely failed to comprehend the ideal of mankind,<br />
‘La Terre,’ for instance, is nob so much the work<br />
of an exact realist as of a perverted idealist. To<br />
see in peasants nothing but sensual beasts, is<br />
childish, false, and sickly. Peasants are not like this,<br />
in the first place, because they have not the time.<br />
Zola gives us peasants who get up at dawn, work<br />
like horses, and in spite of this, are given up to<br />
perpetual fornication. 'This is not so, and if the<br />
author invents he should invent something better.”<br />
<br />
The opinion of M. Barré is that Zola’s work is<br />
“a powerful monument which will remain,” but at<br />
_ same time he confesses that it does not interest<br />
<br />
im.<br />
<br />
M. Rosny considers that Zola’s role in the school<br />
of naturalism was only of the second order. He<br />
was not a creator, but just the man who made use<br />
of the elements of art with which Balzac, Flaubert,<br />
and Goncourt had furnished him.<br />
<br />
Léon Daudet, who from his earliest childhood<br />
had been accustomed to seeing Zola, and hearing<br />
him discuss literary questions with Edmond de<br />
Goncourt and Alphonse Daudet, tells us that the<br />
Zola of that time had scarcely changed at all. He<br />
had the same nervous, affable voice, the same<br />
peculiar intonation, and the same wide forehead<br />
wrinkled with thought and anxiety.<br />
<br />
“ He was in those days,” says Léon Daudet, **a<br />
pessimist as regards the present, all his optimism<br />
was in a vague future, in a social Utopia, and this<br />
stood to him in the place of all dreams, and of the<br />
hope in a life beyond. He often declared that work<br />
was a sacred thing in itself, and that it was the only<br />
means of forgetting life. He was a slave to each<br />
one of his books, setting himself each day his task<br />
of pages to write, and refusing to be influenced by<br />
fatigue, monotony, or disinclination. ‘This terrible<br />
persistency permitted. him to fill the number of<br />
pages he had determined to write, but effectually<br />
banished from his work all joy and serenity.<br />
Even when he speaks of the near dawn, and of<br />
to-morrow’s sunshine, he is painting black hori<br />
zons, and depicting such utter anguish of soul as<br />
admits of no hope whatever. The great faults of<br />
Zola are his want of selection, and his exaggeration<br />
and abuse of the grosser things he describes.”<br />
<br />
* Anys HALLARD.<br />
<br />
ee<br />
<br />
A CAPE LETTER.<br />
eee<br />
OREMOST among recent local publications<br />
K stand two historical works, both from the<br />
ens of well-known authorities—“ The<br />
Beginning of South African History,” by Dr. Geo.<br />
M‘Call Theal, Colonial Historiographer (simul-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 37<br />
<br />
s<br />
<br />
taneously published by Mr. Unwin in ‘London, and<br />
by Mr. T. M. Miller in Cape Town), and a new<br />
volume of “ Précis of the Archives of the Cape of<br />
Good Hope,” translated by the Rev. H. C. V.<br />
Leibbrandt, Keeper of the Archives. The preface<br />
to the first-named work describes its somewhat<br />
complicated evolution from an earlier but much<br />
smaller book, entitled “The Portuguese in South<br />
Africa,” which was designed to fill the deficiency in<br />
the author’s original “ History of South Africa”<br />
with regard to the “ beginning” of South African<br />
history, South Africa having since the issue of<br />
that work expanded so as to take in (Northern)<br />
territory whose history began at an earlier date.<br />
Dr. Theal states that, following on the publication<br />
of “ The Portuguese in South Africa,” he was com-<br />
missioned by the Cape Government to make deeper<br />
research on the subject, with the result that he has<br />
spent the greater part of the last five years in<br />
Europe, translating Portuguese MSS., etc. Most of<br />
these translations have already been published under<br />
the title of “ Recordsof South-east Africa,” the ninth<br />
volume being in preparation ; and the present book<br />
is an epitome of their contents. It forms a new<br />
Vol. I. to Dr. Theal’s great serial History, whose<br />
other volumes are gradually being issued in second<br />
editions. There is an introductory chapter on the<br />
earliest inhabitants of the country, and the book<br />
closes with a couple of added chapters relating to<br />
events in Portuguese South-east Africa in the<br />
nineteenth century. It contains several interesting<br />
old maps and drawings.<br />
<br />
Mr. Leibbrandt’s new volume of ‘Précis,” a<br />
smaller book, covers the years 1671—4 and 1676,<br />
and consists of a free translation of the official<br />
journals kept under the early Dutch governors of<br />
the Cape, with the omission of certain uninterest-<br />
ing details. There is no preface, nor are there<br />
any other addenda. The simple line “1675<br />
missing” tells the story of the neglect which has<br />
allowed several of these valuable old documents to<br />
get lost. Like the rest of the series, the volume<br />
just issued is of great historical interest, being full<br />
of information as to the customs and daily happen-<br />
ings of the period. It is often amusing,<br />
consciously or unconsciously ; as when one of a<br />
marauding party of lions is said to have come “ too<br />
near the gun, and was so hit in the brain-pan that<br />
he died immediately on the spot,” or in the naive<br />
entry, ‘Nothing particular happened!” The<br />
matter of a Sunday sermon, the horrible details of<br />
a brutal punishment, or a description in unre-<br />
strained language of some delinquent’s character,<br />
all come within the scope of the record.<br />
<br />
Under instructions from the Government, Mr.<br />
Leibbrandt has edited all the papers connected<br />
with “The Rebellion of 1815, generally known<br />
as Slachters Nek.” These form a considerable<br />
<br />
volume, which is in course of publication (Cape<br />
Town, J. C. Juta & Co.; London, P. S. King<br />
& Co.), a Dutch edition of which will follow<br />
immediately. Mr. Leibbrandt has been fortunate<br />
in discovering a most complete record of the historic<br />
trial. To this he has added many other important<br />
documents bearing on the subject. The book (of<br />
which the present writer has been privileged to see<br />
an advance copy) is provided with a large map of<br />
the eastern portion of Cape Colony, showing all<br />
places mentioned.<br />
<br />
In addition to the work already described, Dr.<br />
Theal has contributed to the “ Nineteenth Century<br />
Series,” published in Toronto, a volume on “ The<br />
Progress of South Africa in the Century.”<br />
<br />
Messrs. J. C. Juta & Co. have republished a<br />
number of educational works, the stocks of<br />
which were destroyed by fire last year. Among<br />
minor publications of the last few months are<br />
a large quarter-volume of “Transactions of the<br />
South African Philosophical Society” (completing<br />
Vol. XI.) ; a Pocket Gazetteer of Cape Colony, and<br />
a large number of sectional maps of the Cape and<br />
other South African Colonies, issued for the Field<br />
Intelligence Department ; “ The City of Grahams-<br />
town” (illustrated), by A. Macmillan (J. Slater,<br />
Grahamstown) ; a second edition of an elementary<br />
phrase-book, etc., of the Secwana language, by A.J.<br />
Wookey (Townshend & Son, Vryburg) ; three or<br />
four volumes of Law Reports ; numerous leaflets<br />
on farming subjects, reprinted from the Agricul-<br />
tural Journal; and several Coronation poems in<br />
pamphlet form.<br />
<br />
Mr. T. M. Miller has taken over from Messts.<br />
Juta the publication of the Rev. A. Vine Hall’s<br />
charming illustrated poem on “Table Mountain,”<br />
of which he is shortly bringing out a new and<br />
improved edition. The whole stock of this booklet<br />
was also destroyed in the fire mentioned above.<br />
Two literary items are contained in the Estimates<br />
laid before Parliament this Session—viz., payments<br />
of £250 to Mr. T. R. Sim for a work on “ Forest<br />
Flora,” and of £200 to Mr. A. R. EH. Burton,<br />
F.R.G.8., for a handbook of the Colony. The<br />
latter volume, which replaces the late Mr. John<br />
Noble’s Handbook of 1898, will be published in<br />
the near future, but the date of appearance of<br />
Mr. Sim’s book is at present indefinite. Mr.<br />
Burton, who has for some time past been editor of<br />
the Cape of Good Hope Agricultural Journal, has<br />
accepted a similar appointment under the Transvaal<br />
Government. His place on the local journal is<br />
taken by Mr. F. D. McDermott.<br />
<br />
The “ History of the War ” threatened by General<br />
Botha and his two comrades-in-arms should prove<br />
interesting if it contains many statements as start-<br />
ling as that of the Commander-in-Chief of the<br />
late Transvaal forces, to the effect that the British<br />
<br />
<br />
36<br />
<br />
for this work, “ Justice,”<br />
d at the time of his death.<br />
igin of the volume,<br />
<br />
which he had planned<br />
was not even commence<br />
M. Huysmans tells us the or<br />
« Soirées de Médan.”<br />
Before Zola wrote “ Y’Assommoir” he lived in a<br />
small house in the Rue Saint George. He had<br />
just published “ La Curée,” and M. Céard, who<br />
admired this work immensely, went to call on the<br />
Zola received him very cordially, and M.<br />
<br />
author. :<br />
Huysmans accompanied M. Céard on his next<br />
visit. M. Hennique also went—and Zola already<br />
<br />
knew Guy de Maupassant and M. Alexis.<br />
<br />
This little group of literary men agreed to meet<br />
and to spend the evening, once a week, at Zola’s<br />
house. ‘They decided to publish a volume of<br />
stories together, and as by that time Zola had<br />
bought his country house at Médan, and the six<br />
friends used to go there on Sundays, the volume<br />
was entitled “Soirées de Médan,” and was pub-<br />
lished in 1880. Only three of the authors survive,<br />
Huysmans, Hennique, and Céard.<br />
<br />
Zola gave “‘l Attaque du Moulin,” a story he<br />
had written in three days for the Revue de<br />
Potersbourg ; Maupassant’s story was ‘“ Boule-de-<br />
Suif” ; Huysmans gave “ Sac au dos” ; Hennique,<br />
“PAssaut du Grand Six” ; Céard, “ La Saignée” ;<br />
and Paul Alexis, “ Aprés la Bataille.” They were<br />
all episodes of the war of 70, and 10,000 copies<br />
of the volume were published.<br />
<br />
They were all men of such totally different<br />
temperaments that Zola often used to say “ It will be<br />
curious to see later on the way we each take in life.”<br />
<br />
In the Journal des Debats, M. Henry Bidou<br />
sums up in a few words the chief characteristics of<br />
Zola’s work. “Zola had that first, great quality—<br />
strength. He organized an immense work, and<br />
there is scarcely anything finer than the end of<br />
‘Germinal.’ There is, however, @ misunderstand-<br />
ing in his genius. He was the chief of realists,<br />
and the poorest of romantiques. He wished to be<br />
a savant, and was an imaginatif, and. not a thorough<br />
critic by any means. His terrible mistake was<br />
that, trusting to a science which he had acquired<br />
too hastily, he misunderstood humanity, and we<br />
<br />
are unfortunately compelled to believe that his<br />
<br />
convictions were the outcome of his disposition of<br />
<br />
mind. He sees nothing which is higher than a<br />
<br />
certain level, and would thus give the lie to Ovid’s<br />
<br />
lines on man.”<br />
<br />
M. Anatole France, who spoke at Zola’s grave<br />
in the name of his friends, had a difficult task to<br />
perform. Since the Dreyfus affair M. Anatole<br />
<br />
France has been a great admirer of Zola’s courage<br />
<br />
at that time, and his speech was most eulogistic.<br />
<br />
Years ago when criticising Zola’s works, M<br />
<br />
Anatole France said: “ His work is bad, and he<br />
<br />
is one of those unhappy beings about whom we<br />
<br />
can only say it would have been better if he had<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
never been born. Certainly I do not deny his<br />
detestable fame. . . . Never has any man so com-<br />
pletely failed to comprehend the ideal of mankind.<br />
‘La Terre,’ for instance, is nob so much the work<br />
of an exact realist as of a perverted idealist. To<br />
see in peasants nothing but sensual beasts, is<br />
childish, false, and sickly. Peasants are not like this,<br />
in the first place, because they have not the time.<br />
Zola gives us peasants who get up at dawn, work<br />
like horses, and in spite of this, are given up to<br />
perpetual fornication. 'This is not so, and if the<br />
author invents he should invent something better.”<br />
<br />
The opinion of M. Barré is that Zola’s work is<br />
“a powerful monument which will remain,” but at<br />
Le same time he confesses that it does not interest<br />
<br />
im.<br />
<br />
M. Rosny considers that Zola’s role in the school<br />
of naturalism was only of the second order. He<br />
was not a creator, but just the man who made use<br />
of the elements of art with which Balzac, Flaubert,<br />
and Goncourt had furnished him.<br />
<br />
Léon Daudet, who from his earliest childhood<br />
had been accustomed to seeing Zola, and hearing<br />
him discuss literary questions with Edmond de<br />
Goncourt and Alphonse Daudet, tells us that the<br />
Zola of that time had scarcely changed at all. He<br />
had the same nervous, affable voice, the same<br />
peculiar intonation, and the same wide forehead<br />
wrinkled with thought and anxiety.<br />
<br />
« He was in those days,” says Léon Daudet, “a<br />
pessimist as regards the present, all his optimism<br />
was in a vague future, in a social Utopia, and this<br />
stood to him in the place of all dreams, and of the<br />
hope in a life beyond. He often declared that work<br />
was a sacred thing in itself, and that it was the only<br />
means of forgetting life. He was a slave to each<br />
<br />
one of his books, setting himself each day his task<br />
of pages to write, and. refusing to be influenced by<br />
fatigue, monotony, or disinclination. This terrible<br />
persistency permitted him to fill the number of<br />
pages he had determined to write, but effectually<br />
banished from his work all joy and serenity.<br />
Even when he speaks of the near dawn, and of<br />
to-morrow’s sunshine, he is painting black hori<br />
zons, and depicting such utter anguish of soul as<br />
admits of no hope whatever. The great faults of<br />
Zola ave his want of selection, and his exaggeration<br />
and abuse of the grosser things he describes.”<br />
<br />
* ~~ Atys HALLARD.<br />
<br />
a<br />
A CAPE LETTER.<br />
a<br />
OREMOST among recent local publications<br />
<br />
| { stand two historical works, both from the<br />
ens of well-known authorities—“ The<br />
<br />
Beginning of South African History,” by Dr. Geo.<br />
M‘Call Theal, Colonial Historiographer (simul-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ao<br />
<br />
THE AUTHOR. 37<br />
<br />
taneously published by Mr. Unwin in ‘London, and<br />
by Mr. T. M. Miller in Cape Town), and a new<br />
volume of “ Précis of the Archives of the Cape of<br />
Good Hope,” translated by the Rev. H. C. V.<br />
Leibbrandt, Keeper of the Archives. The preface<br />
to the first-named work describes its somewhat<br />
complicated evolution from an earlier but much<br />
smaller book, entitled ‘The Portuguese in South<br />
Africa,” which was designed to fill the deficiency in<br />
the author’s original ‘ History of South Africa ”<br />
with regard to the “ beginning” of South African<br />
history, South Africa having since the issue of<br />
that work expanded so as to take in (Northern)<br />
territory whose history began at an earlier date.<br />
Dr. Theal states that, following on the publication<br />
of “ The Portuguese in South Africa,” he was com-<br />
missioned by the Cape Government to make deeper<br />
research on the subject, with the result that he has<br />
spent the greater part of the last five years in<br />
Europe, translating Portuguese MSS., etc. Most of<br />
these translations have already been published under<br />
the title of “ Recordsof South-east Africa,” the ninth<br />
volume being in preparation ; and the present book<br />
is an epitome of their contents. It forms a new<br />
Vol. I. to Dr. Theal’s great serial History, whose<br />
other volumes are gradually being issued in second<br />
editions. There is an introductory chapter on the<br />
earliest inhabitants of the country, and the book<br />
closes with a couple of added chapters relating to<br />
events in Portuguese South-east Africa in the<br />
nineteenth century. It contains several interesting<br />
old maps and drawings.<br />
<br />
Mr. Leibbrandt’s new volume of “ Précis,” a<br />
smaller book, covers the years 1671—4 and 1676,<br />
and consists of a free translation of the official<br />
journals kept under the early Dutch governors of<br />
the Cape, with the omission of certain uninterest-<br />
ing details. There is no preface, nor are there<br />
any other addenda. The simple line “1675<br />
missing” tells the story of the neglect which has<br />
allowed several of these valuable old documents to<br />
get lost. Like the rest of the series, the volume<br />
just issued is of great historical interest, being full<br />
of information as to the customs and daily happen-<br />
ings of the period. It is often amusing,<br />
consciously or unconsciously ; as when one of a<br />
marauding party of lions is said to have come “ too<br />
near the gun, and was so hit in the brain-pan that<br />
he died immediately on the spot,” or in the naive<br />
entry, “Nothing particular happened!” The<br />
matter of a Sunday sermon, the horrible details of<br />
a brutal punishment, or a description in unre-<br />
strained language of some delinquent’s character,<br />
all come within the scope of the record.<br />
<br />
Under instructions from the Government, Mr.<br />
Leibbrandt has edited all the papers connected<br />
with “The Rebellion of 1815, generally known<br />
as Slachters Nek.” These form a considerable<br />
<br />
volume, which is in course of publication (Cape<br />
Town, J. C. Juta & Co.; London, P. 8. King<br />
& Co.), a Dutch edition of which will follow<br />
immediately. Mr. Leibbrandt has been fortunate<br />
in discovering a most complete record of the historic<br />
trial. To this he has added many other important<br />
documents bearing on the subject. The book (of<br />
which the present writer has been privileged to see<br />
an advance copy) is provided with a large map of<br />
the eastern portion of Cape Colony, showing all<br />
places mentioned.<br />
<br />
In addition to the work already described, Dr.<br />
Theal has contributed to the “ Nineteenth Century<br />
Series,” published in Toronto, a volume on “The<br />
Progress of South Africa in the Century.”<br />
<br />
Messrs. J. ©. Juta & Co. have republished a<br />
number of educational works, the stocks of<br />
which were destroyed by fire last year. Among<br />
minor publications of the last few months are<br />
a large quarter-volume of “Transactions of the<br />
South African Philosophical Society” (completing<br />
Vol. XI.) ; a Pocket Gazetteer of Cape Colony, and<br />
a large number of sectional maps of the Cape and<br />
other South African Colonies, issued for the Field<br />
Intelligence Department ; “ The City of Grahams-<br />
town” (illustrated), by A. Macmillan (J. Slater,<br />
Grahamstown) ; a second edition of an elementary<br />
phrase-book, etc., of the Secwana language, by A. J.<br />
Wookey (Townshend & Son, Vryburg) ; three or<br />
four volumes of Law Reports ; numerous leaflets<br />
on farming subjects, reprinted from the Agrwui-<br />
tural Journal; and several Coronation poems in<br />
pamphlet form.<br />
<br />
Mr. T. M. Miller has taken over from Messrs.<br />
Juta the publication of the Rev. A. Vine Hall’s<br />
charming illustrated poem on “ Table Mountain,”<br />
of which he is shortly bringing out a new and<br />
improved edition. ‘The whole stock of this booklet<br />
was also destroyed in the fire mentioned above.<br />
Two literary items are contained in the Estimates<br />
laid before Parliament this Session—viz., payments<br />
of £250 to Mr. T. R. Sim for a work on “ Forest<br />
Flora,’ and of £200 to Mr. A. R. E. Burton,<br />
F.R.G.S., for a handbook of the Colony. The<br />
latter volume, which replaces the late Mr. John<br />
Noble’s Handbook of 18938, will be published in<br />
the near future, but the date of appearance of<br />
Mr. Sim’s book is at present indefinite. Mr.<br />
Burton, who has for some time past been editor of<br />
the Cape of Good Hope Agricultural Journal, has<br />
accepted a similar appointment under the Transvaal<br />
Government. His place on the local journal is<br />
taken by Mr. F. D. McDermott.<br />
<br />
The “ History of the War ” threatened by General<br />
Botha and his two comrades-in-arms should prove<br />
interesting if it contains many statements as start-<br />
ling as that of the Commander-in-Chief of the<br />
late Transvaal forces, to the effect that the British<br />
<br />
<br />
<br />
<br />
38<br />
<br />
blockhouses never gave him any trouble to pass !<br />
Ex-President Kruger’s promised “ defence-work ”<br />
is also looked forward to.<br />
<br />
Among other effects of the war, is the death of<br />
the “South African Illustrated Magazine,” a bright<br />
and old-established little monthly which we can<br />
ill afford to lose. On the other hand, “The<br />
Veld,” a high-class monthly illustrated paper,<br />
whose special object is the reproduction of Cape<br />
scenery, has resumed publication. Two other<br />
new magazines are ‘“ The Examiner,” fortnightly<br />
(Beaufort West Printing and Publishing Co.) ;<br />
and “ Mademoiselle,” a monthly journal for ladies ;<br />
whilst ‘The Boys of Africa,” weekly, is due to<br />
make its first appearance this month. All the<br />
newspapers which thought it prudent to suspend<br />
<br />
ublication during the more rigorous application<br />
of martial law are again being issued.<br />
<br />
Very long extracts from Mr. William Morris’s<br />
Coronation Ode appeared in the Cape Times, with<br />
the usual note to the effect that copyright restrained<br />
the paper from printing the whole. This style of<br />
cheap morality is over-common in the quarter<br />
named.<br />
<br />
Mr. Wilson Barrett’s visit has marked an epoch<br />
in our theatrical world. The Cape Town season<br />
—which was postponed for a week on account of<br />
Mr. Barrett’s very serious illness—included the<br />
author-actor’s own “Sign of the Cross ” and<br />
“Manxman” (after Hall Caine), the other plays<br />
rendered being “The Silver King,” “ Virginius,”<br />
“ Othello,” and “ Hamlet.” The last-named pro-<br />
duction occupied the boards on the last night of<br />
the season only, when each member of the audience<br />
was presented with a copy of Mr. Barrett’s essay<br />
on “Hamlet” (reprinted from “ Lippincott’s<br />
Magazine” of April, 1890). After the perform-<br />
ance the distinguished actor and author delivered<br />
a personalspeech. Owing to the bad blood existing<br />
between rival theatrical managers here, the Cape<br />
Town performances had to be given in a very<br />
inferior building ; a circumstance which is much<br />
deplored. Mr. Barrett's cable to the Zimes sug-<br />
gesting the renaming of South Africa raised a<br />
regrettable controversy in the local Press, the<br />
originator taking a vigorous part, but apparently<br />
failing to convert many South Africans to his way<br />
of thinking.<br />
<br />
A private letter from Rolf Boldrewood, the<br />
Australian author, dated Raby, Toorak, April 23rd,<br />
1902, and containing the political creed of a<br />
“representative Australian,” appeared in the Cape<br />
Times a short while ago.<br />
<br />
Sypngy YorK Forp.<br />
<br />
Cape Town,<br />
<br />
September 10th, 1902.<br />
<br />
ee<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
1<br />
<br />
HE celebrated Festus of the late Mr. P. J.<br />
Bailey was published in 1839, just three years<br />
<br />
before the passing of the Copyright Act, 1842.<br />
<br />
Had it been published after the passing of that Act<br />
the copyright would automatically have lasted for<br />
seven years after the death of the author—that is,<br />
until 1909. That Act, however, made a special<br />
provision in favour of the owners of copyright<br />
acquired before its passing, and still subsisting ab<br />
the time of its passing. The 4th section enacted<br />
that in such cases the copyright should be extended<br />
and endure for the full term provided by the then<br />
new Act (ie. for seven years after the author’s<br />
death or forty-two years, whichever should be the<br />
longer period), “provided that in all cases in<br />
which such copyright shall belong to a publisher<br />
or other person who shall have acquired it for<br />
other consideration than that of love and affection,<br />
such copyright shall not be extended by this Act,<br />
but shall endure for the term which shall subsist<br />
therein at the time of the passing of this Act, and<br />
no longer, unless the author of such book if he<br />
shall be living, or the personal representatives if he<br />
be dead, and the proprietor of such copyright shall,<br />
before the expiration of such term, consent and<br />
agree to accept the benefits of this Act in respect<br />
of such book.” The further provision was added<br />
that a minute of such consent, in a form scheduled<br />
to the Act, had to be registered at Stationers’ Hall.<br />
In cases where an author had sold his copyright<br />
and not entered into this agreement with the<br />
purchaser, the copyright endured only for the term<br />
fixed in 1814 by 54 Geo. 3. c. 56—i.e., for twenty-<br />
eight years certain after the date of publication and<br />
the residue of the life of the author ; so that all<br />
copyrights acquired before 1842 have probably<br />
expired, unless such agreement was made and<br />
registered.—Law Times.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
—— +<br />
<br />
Old Books for New.<br />
<br />
Durina the summer holidays several letters<br />
have appeared in the papers giving details<br />
respecting the republication by Mr. John Long<br />
of a book of Mr. Bernard Capes. ‘The cause<br />
of complaint from the author and sundry editors<br />
is the fact that although the story had appeared.<br />
several years ago in book form, no notification was<br />
given to the public. The papers have dealt with<br />
the matter from the point of view of the public,<br />
and have demonstrated with considerable vigour<br />
that such publication is likely to cause serious<br />
annoyance to the general reader.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
; .<br />
<br />
From time to time cases of a similar character<br />
have been brought to the offices of the Society.<br />
Mr. Capes himself consulted the Society with a<br />
yiew to taking action if possible. The opinion<br />
of the legal advisers of the Society on this and<br />
former occasions has unfortunately been against<br />
the authors. Otherwise the committee would<br />
gladly no doubt have taken a case in hand, and<br />
supported the author in an action in the High<br />
Court. Sach a method of publication is not only<br />
unfair to the author, but it is also unfair to the<br />
public. The publisher is the only person who can<br />
hope in these circumstances to reap any benefit<br />
from placing the book on the market. It is possible,<br />
however, that he may lose in prestige what he gains<br />
in hard cash.<br />
<br />
The facts of the cases that have been investi-<br />
gated are generally as follows :—<br />
<br />
The author in the early days of his career<br />
produces a book, and—as a young writer—sells<br />
the copyright for a sum down, without knowing<br />
exactly the danger of the transaction, or the<br />
meaning of the contract that he signs. The book<br />
not infrequently has no extended sale, and after a<br />
short time ceases to interest the author, the pub-<br />
lisher, or the public. A subsequent production<br />
brings fame. Then the publisher suddenly re-<br />
members that he owns the copyright of an early<br />
work. He proceeds to market it again, and<br />
generally does so at a time most inconvenient to<br />
the author—when, for example, he is producing<br />
his latest work with one of the larger publishing<br />
houses. On one or two occasions the publisher<br />
has run very close to the wind, but has never<br />
actually rendered himself legally liable.<br />
<br />
The only method of dealing with these cases is<br />
the method employed by Mr. Bernard Capes—a<br />
method the Society has always advocated where<br />
the publisher persists in producing the work in<br />
spite of the author’s remonstrances. A plain<br />
statement of fact published in the newspapers<br />
will clear himself and help to protect the<br />
public.<br />
<br />
The nearest approach to committal was a case in<br />
which the publisher headed his advertisement<br />
“Mr. ’s new novels,” the blank containing<br />
the publisher’s name. The work in question cer-<br />
tainly was a new novel as far as the publishing<br />
house was concerned, but not a fresh novel from<br />
the author’s pen. Even in this case the legal<br />
advisers of the Society came to the conclusion that<br />
it would be impossible to obtain a judgment in the<br />
author’s fayour.<br />
<br />
The real moral of the case is that the author<br />
should know what he is selling when he makes his<br />
original contract, or should ask advice of some<br />
person who is well aware of the intricacies and<br />
technicalities involved in a literary agreement.<br />
<br />
<br />
<br />
Methods of Distribution.<br />
I.<br />
<br />
THE most important point to an author after<br />
the creation of his work is surely how to get his<br />
book into the hands of the public. In last<br />
month’s Author an article appeared on ‘‘ Methods<br />
of Distribution,” with some suggestions.<br />
<br />
A publisher writing on the subject puts forward<br />
some of the reasons why he thinks people do not<br />
buy books. He says that the two commonest<br />
excuses are that books take up too much room,<br />
and are so expensive. People prefer to. borrow<br />
from the library, and the libraries in their turn<br />
take care to manage with as few books as possible.<br />
Instead of trying to push their wares like the<br />
bookseller they make no effort to oblige, but<br />
merely state that the book is out. and suggest<br />
another as an alternative.<br />
<br />
The publisher also thinks that nett books are<br />
regarded by many folk as another put-up dodge<br />
on the part of the trade, but as a matter of fact it<br />
would be impossible for any man to make a living<br />
out of books sold subject to the usual 25 per cent.<br />
He ends up by stating that the death of the three-<br />
volume novel was the worst day’s work ever done<br />
from the point of view of the young and good<br />
novelist.<br />
<br />
These opinions, coming from the source they do,<br />
are of importance, and carry a great deal of weight.<br />
They should be carefully considered. It is to be<br />
hoped that the bookselling trade is not really at<br />
such a low ebb. At any rate, it is stated in a daily<br />
paper that the American Booklover’s Library<br />
has taken London premises. The American<br />
Booklover’s Library is run somewhat on the same<br />
lines as Messrs. Mudies’. For a fixed subscription<br />
it delivers parcels of books at the subscriber's<br />
house, and collects them when done with.<br />
<br />
This American business may perhaps stir up the<br />
sleepy traders in books and at the same time do<br />
something to break down the enormous critical<br />
powers of Messrs. Mudie and Messrs. Smith, which<br />
enable them to determine the literary pabulum to<br />
be presented to their readers. Although these two<br />
houses, by giving books an enormous distribution<br />
which could not be achieved by a series of small<br />
booksellers scattered all over the kingdom, are no<br />
doubt from some points of view highly beneficial to<br />
authors and publishers, yet competition is good in<br />
all business, but competition must not be allowed to<br />
become so acute as to necessitate the creation of a<br />
trust. It is to be hoped, however, that the advent<br />
of the American Booklover’s Library will not cause<br />
the trade to gravitate in this direction. A trust of<br />
the distributing agencies of Great Britain might be<br />
a worse evil than the present stagnation.<br />
<br />
a<br />
<br />
<br />
<br />
><br />
<br />
<br />
<br />
<br />
40<br />
<br />
Il.<br />
<br />
Srr,—In the October number of The Author,<br />
the writer of the above-named article has hit the<br />
mark. We are not all geniuses—‘ talent does<br />
what it can”—and gets little help. The ordinary<br />
author of to-day, if I may so name the greater<br />
proportion of writers who write for profit and the<br />
benefit of the community, meets with a brick wall<br />
“between publication and purchase. Say his book<br />
is published on the royalty system, and well re-<br />
viewed. So far good; the publisher is hopeful,<br />
the author expectant. In many cases the hopes<br />
of both are speedily dashed. There is a limited<br />
demand, met by the big libraries, a spasmodic<br />
sale, and then—the brick wall. Every year a<br />
hundred books are in the same plight. Where<br />
reststhe blame ? Not with the publishers, not with<br />
the librarians, who cannot be expected to speculate,<br />
and in nine cases out of ten not with the book.<br />
The method of distribution is at fault. The book<br />
is blocked from the general public. There is no<br />
buyer because there is no seller. Now, the usual<br />
bookseller (?) cum-stationer, cum-newsagent, cum-<br />
printer, cum-purveyor of fancy goods, must not be<br />
asked to know something personally of the con-<br />
tents of the season’s hundred books written by the<br />
ordinary author. It is asking too much of a<br />
man whose interests are split up, who only rubs<br />
shoulders with literature en passant. In every<br />
town we want, what the writer of the article justly<br />
underlines—the book-seller ; a man who has time<br />
to think, who can distinguish, who will take works<br />
on commission from the publisher—fiction, bio-<br />
graphy, travel, religious, scholastic—classify his<br />
own printed list, and distribute such, monthly<br />
or quarterly, in his own vicinity, and to likely<br />
customers. Then the ordinary author will get his<br />
chance. The man who wants a book to read will<br />
not have to frequent the railway station. He has<br />
it, so to speak, under his nose ; and, under shelter<br />
and out of draughts, can turn over the pages of<br />
clean copies, digest unmutilated reviews, and<br />
make up his mind.<br />
<br />
I refer to the book of ordinary merit—a whole-<br />
some attempt to satisfy the cravings of the<br />
ordinary reader. The book of genius makes its<br />
way over every obstacle; this is ri ght, and inevit-<br />
able; but we cannot all eat peaches—we are<br />
content to munch many a pear, provided it is<br />
not woolly. So with readers and books.<br />
<br />
No, sir, the author is not content to see the<br />
children of his brain die premature deaths for<br />
want of a system; but he is deeply indebted to<br />
the writer of “The Methods of Distribution” for<br />
bringing this vexed question to the front. Let<br />
others speak.<br />
<br />
Your obedient servant,<br />
‘Tus Orpinary AUTHOR.<br />
<br />
THE AUTHOR.<br />
<br />
Nett Books.<br />
<br />
Srvce the nett book system has been intro-<br />
duced, the attention of Authors has been drawn<br />
to some of the dangers which may possibly arise.<br />
Tt is as well to repeat these warnings, as the evils<br />
are constantly recurring, and the possible sufferers<br />
do not as yet appear to realise the changes taking<br />
place in the book trade.<br />
<br />
When Authors sign agreements they should be<br />
very careful to see that it is clearly stated whether<br />
their books are to be published subject to the usual<br />
discounts or at a nett price.<br />
<br />
If the published price is merely a nominal price,<br />
the Royalty as set out in the tables put forward im<br />
The Author, and in Sir Walter Besant’s work, “The<br />
Pen and the Book,” will as a rule hold good, but<br />
even then the “thirteen as twelve” must be taken<br />
into consideration. The reader is referred to the<br />
last number of The Author.<br />
<br />
But if the book is published as a nett book, them<br />
the Author must reconsider his position and must<br />
revise his royalty. It should be pointed out in<br />
addition, that the Royalty paid on nett books is<br />
usually paid on every copy sold, and not on “thirteen<br />
as twelve.”<br />
<br />
The price of a book published at 6s., subject to<br />
the usual discounts, is equivalent to 4s. 6d. nett.<br />
<br />
Ts it fair that the Author should sign an agree-<br />
ment on the tacit understanding that the book<br />
<br />
should be published under the ordinary methods |<br />
with the usual deductions, and then suddenly find |<br />
<br />
when the book is placed on the market that it is<br />
marked as a nett book? He receives thereby a<br />
smaller share of the profits, and the publisher<br />
receives a larger share.<br />
<br />
The case, however, is still worse when a publisher<br />
suddenly produces an edition of a book at a nett<br />
price which has already been selling for some years<br />
in accordance with the older system, #.¢., subject to<br />
the 25 per cent. discount to retail buyers. For<br />
example, he sells at 6s. nett instead of 6s, with:<br />
discount. The Author gets, say, 6d. a copy, and<br />
has been receiving that amount since the first<br />
publication of the book. But the publisher, who<br />
got, say, 10d. a copy on the discount book, will<br />
receive at least 1s. 10d. on the nett book.<br />
Secure in the terms of his agreement, he boldly<br />
repudiates any liability to the Author. The sales.<br />
of the book will no doubt be reduced by the rise<br />
in price, but they would have to be reduced more:<br />
than 50 per cent. to affect the publisher. The<br />
Author is the only one who suffers.<br />
<br />
Put aside the legal aspect. Is this fair trading?<br />
<br />
What would the Publishers’ Association think<br />
of this transaction ?<br />
<br />
The older and more responsible firms would<br />
surely indignantly repudiate these methods. Have<br />
they any power to make their opinions felt? It<br />
<br />
|<br />
}<br />
}<br />
<br />
<br />
<br />
<br />
Baa i ae<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
would be interesting to state a formal case for<br />
their consideration. It is faults like these that the<br />
Association would do well to correct.<br />
<br />
—_—_—_———_—_+—>—_+__—_—<br />
<br />
PHOTOGRAPHIC COPYRIGHT.<br />
<br />
+<br />
<br />
OW that the editors of illustrated papers<br />
and magazines raise so great a demand<br />
for the photographic reproduction of men<br />
<br />
and women, famous and infamous, illustrious and<br />
notorious, it may be useful to say a few words on<br />
the question of copyright in photographs, and the<br />
law bearing on the subject.<br />
<br />
Statutory copyright was given to paintings,<br />
drawings, and photographs by 25 & 26 Vict. c. 68,<br />
the first section of which, the most important, runs<br />
as follows :—<br />
<br />
« The author, being a British subject or resident within<br />
the dominions of the Crown, of every original painting,<br />
‘drawing, and photograph which shall be or shall have been<br />
made either in the British Dominions, or elsewhere, and<br />
which shall not have been sold or disposed of before the<br />
commencement of this Act, and his assigns, shall have the<br />
sole and exclusive right of copying, engraving, reproducing,<br />
and multiplying such painting or drawing, and the design<br />
thereof, or such photograph and the negative thereof, by<br />
any means and of any size, for the term of the natural life of<br />
such author, and seven years after his death ; provided that<br />
when any painting or drawing, or the negative of any<br />
photograph, shall for the first time after the passing of this<br />
‘Act be sold or disposed of, or shall be made or executed for<br />
‘or on behalf of any other person for a good ora valuable<br />
‘consideration, the person so selling or disposing of or<br />
making or executing the same shall not retain the copyright<br />
thereof, unless it be expressly reserved to him by agreement<br />
in writing, signed at or before the time of such sale or<br />
disposition, by the vendee or assignee of such painting or<br />
-drawing, or of such negative of a photograph, or by the<br />
person for or on whose behalf the same shall be so made or<br />
executed, but the copyright shall belong to the vendee or<br />
assignee of such painting or drawing, or of such negative<br />
-of a photograph, or to the person for or on whose behalf<br />
the same shall have been made or executed ; nor shall the<br />
vendee or assignee thereof be entitled to any such copy-<br />
tight, unless, at or before the time of such sale or disposition,<br />
an agreement in writing, signed by the person so selling or<br />
-disposing of the same, or by his agent duly authorised,<br />
shall have been made to that effect.”<br />
<br />
The Act, unlike the Literary Copyright Act,<br />
does not indulge in definitions.<br />
<br />
From some points of view this is an advantage ;<br />
from others, a disadvantage.<br />
<br />
A book is carefully defined in the Literary Copy-<br />
right Act. The lack of definition in the Artistic<br />
Copyright Act leaves the difficult proposition to be<br />
solved by the intelligence of the judge, with not<br />
infrequently a more satisfactory result than if it<br />
was left to the intelligence of the draughtsman.<br />
<br />
Copyright in paintings, drawings, and photo-<br />
graphs, it will be seen from the section, starts from<br />
the making of the work, and lasts for the life of the<br />
<br />
41<br />
<br />
author and seven years after his death. In the<br />
case of paintings and drawings the determination<br />
of the date gives rise to many difficulties, but<br />
with regard to photographs need not be further<br />
discussed.<br />
<br />
It is certainly a pity that the alternative of a<br />
fixed number of years has not been given, as is<br />
the case with books under the Literary Copyright<br />
Act, and that the term should run from the making<br />
instead of from the publication. The treatment<br />
of the subject, however, is in accordance with the<br />
treatment of all questions of copyright. Wherever<br />
it has been possible for the Legislature to confuse<br />
the copyright-holders it has succeeded in doing so,<br />
and diverse methods have been employed where<br />
the nature of the property demanded the closest<br />
analogy.<br />
<br />
The duration of copyright having been deter-<br />
mined, it will be evident that the two most<br />
important points are: (1) Who is the author of<br />
the work ? (2) Who is the employer? Upon the<br />
first depends the commencement of the copyright<br />
term, and upon the second in many cases depends<br />
the solution of who is the rightful owner of the<br />
property.<br />
<br />
With regard to No. 1— Who is the author ?”—<br />
one or two actions have been brought and the<br />
point has been raised ; but the judges, dealing in<br />
each special case with “ who was not the author,”<br />
by a negative process have shirked giving a positive<br />
definition. It may be as well, however, to quote<br />
the words of the Master of the Rolls in the case of<br />
Nottage v. Jackson, as it is the best dictum so far<br />
on the point :—<br />
<br />
“ The author of a painting is the man who paints it, the<br />
author of a drawing is the man who draws it, of a photo-<br />
graph the author is the person who effectively is as near as<br />
he can be the cause of the picture which is produced, that<br />
is, the person who has superintended the arrangement, who<br />
has actually formed the picture by putting the people into<br />
position, and arranging the place in which the people are<br />
to be—the man who is the effective cause of that. Although<br />
he may only have done it by standing in the room and<br />
giving orders about it, still it is his mind and act, as far as<br />
anybody’s mind and act are concerned, which is the effective<br />
cause of the picture such as it is when it is produced.”<br />
<br />
If this is correct the person who actually snaps<br />
the photograph or uncovers the camera need not in<br />
any sense be the author of the photograph. A<br />
point of this kind, however, does not interest: the<br />
subject so much as it would interest the photo-<br />
grapher. The latter, no doubt, takes good care to<br />
protect himself by agreement with his assistant or<br />
by some other method.<br />
<br />
Next comes the question, “ Who is the em-<br />
ployer ?”<br />
<br />
When a person goes to have his photograph taken<br />
and pays the ordinary fee asked by the photographer,<br />
the position is clear and indisputable. He is the<br />
<br />
<br />
<br />
<br />
40<br />
<br />
I.<br />
<br />
Smr,—In the October number of 7’he Author,<br />
the writer of the above-named article has hit the<br />
mark. We are not all geniuses—“ talent does<br />
what it can”—and gets little help. The ordinary<br />
author of to-day, if I may so name the greater<br />
proportion of writers who write for profit and the<br />
benefit of the community, meets with a brick wall<br />
“between publication and purchase. Say his book<br />
is published on the royalty system, and well re-<br />
viewed. So far good; the publisher is hopeful,<br />
the author expectant. In many cases the hopes<br />
of both are speedily dashed. There is a limited<br />
demand, met by the big libraries, a spasmodic<br />
sale, and then—the brick wall. Every year a<br />
hundred books are in the same plight. Where<br />
rests the blame ? Not with the publishers, not with<br />
the librarians, who cannot be expected to speculate,<br />
and in nine cases out of ten not with the book.<br />
The method of distribution is at fault. The book<br />
is blocked from the general public. There is no<br />
buyer because there is no seller. Now, the usual<br />
bookseller (?) cum-stationer, cum-newsagent, cum-<br />
printer, cum-purveyor of fancy goods, must not be<br />
asked to know something personally of the con-<br />
tents of the season’s hundred hooks written by the<br />
ordinary author. It is asking too much of a<br />
man whose interests are split up, who only rubs<br />
shoulders with literature en passant. In every<br />
town we want, what the writer of the article justly<br />
underlines—the book-seller ; a man who has time<br />
to think, who can distinguish, who will take works<br />
on commission from the publisher—fiction, bio-<br />
graphy, travel, religious, scholastic—classify his<br />
own printed list, and distribute such, monthly<br />
or quarterly, in his own vicinity, and to likely<br />
customers. Then the ordinary author will get his<br />
chance. The man who wants a book to read will<br />
not have to frequent the railway station. He has<br />
it, so to speak, under his nose ; and, under shelter<br />
and out of draughts, can turn over the pages of<br />
clean copies, digest unmutilated reviews, and<br />
make up his mind.<br />
<br />
I refer to the book of ordinary merit—a whole-<br />
some attempt to satisfy the cravings of the<br />
ordinary reader. The book of genius makes its<br />
way over every obstacle; this is right, and inevit-<br />
able; but we cannot all eat peaches—we are<br />
content to munch many a pear, provided it is<br />
not woolly. So with readers and books.<br />
<br />
No, sir, the author is not content to see the<br />
children of his brain die premature deaths for<br />
want of a system; but he is deeply indebted to<br />
the writer of ‘“‘ The Methods of Distribution” for<br />
bringing this vexed question to the front. Let<br />
others speak.<br />
<br />
Your obedient servant,<br />
THE ORDINARY AUTHOR.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
Nett Books.<br />
<br />
Since the nett book system has been intro-<br />
duced, the attention of Authors has been drawn<br />
to some of the dangers which may possibly arise.<br />
It is as well to repeat these warnings, as the evils<br />
are constantly recurring, and the possible sufferers<br />
do not as yet appear to realise the changes taking<br />
place in the book trade.<br />
<br />
When Authors sign agreements they should be<br />
very careful to see that it is clearly stated whether<br />
their books are to be published subject to the usual<br />
discounts or at a nett price.<br />
<br />
If the published price is merely a nominal price,<br />
the Royalty as set out in the tables put forward in<br />
The Author, and in Sir Walter Besant’s work, “The<br />
Pen and the Book,” will as a rule hold good, but<br />
even then the “thirteen as twelve”? must be taken<br />
into consideration. The reader is referred to the<br />
last number of The Author.<br />
<br />
But if the book is published as a nett book, then<br />
the Author must reconsider his position and must<br />
revise his royalty. It should be pointed out in<br />
addition, that the Royalty paid on nett books is<br />
usually paid on every copy sold, and not on “thirteen<br />
as twelve.”<br />
<br />
The price of a book published at 6s., subject to<br />
the usual discounts, is equivalent to 4s. 6d. nett.<br />
<br />
Is it fair that the Author should sign an agree-<br />
ment on the tacit understanding that the book |<br />
should be published under the ordinary methods |<br />
with the usual deductions, and then suddenly find ;<br />
when the book is placed on the market that it is<br />
marked as a nett book? He receives thereby a<br />
smaller share of the profits, and the publisher<br />
receives a larger share.<br />
<br />
The case, however, is still worse when a publisher<br />
suddenly produces an edition of a book at a nett:<br />
price which has already been selling for some years.<br />
in accordance with the older system, ¢.e., subject to<br />
the 25 per cent. discount to retail buyers. For<br />
example, he sells at 6s. nett instead of 6s. with<br />
discount. The Author gets, say, 6d. a copy, and<br />
has been receiving that amount since the first<br />
publication of the book. But the publisher, who<br />
got, say, 10d. a copy on the discount book, will<br />
receive at least 1s. 10d. on the nett book.<br />
Secure in the terms of his agreement, he boldly:<br />
repudiates any liability to the Author. The sales<br />
of the book will no doubt be reduced by the rise<br />
in price, but they would have to be reduced more-<br />
than 50 per cent. to affect the publisher. The<br />
Author is the only one who suffers.<br />
<br />
Put aside the legal aspect. Is this fair trading ><br />
<br />
What would the Publishers’ Association think<br />
of this transaction ?<br />
<br />
The older and more responsible firms would<br />
surely indignantly repudiate these methods. Have<br />
they any power to make their opinions felt? It<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
would be interesting to state a formal case for<br />
their consideration. It is faults like these that the<br />
Association would do well to correct.<br />
<br />
Oe<br />
<br />
PHOTOGRAPHIC COPYRIGHT.<br />
<br />
——>+—<br />
<br />
OW that the editors of illustrated papers<br />
and magazines raise so great a demand<br />
for the photographic reproduction of men<br />
<br />
and women, famous and infamous, illustrious and<br />
notorious, it may be useful to say a few words on<br />
the question of copyright in photographs, and the<br />
law bearing on the subject.<br />
<br />
Statutory copyright was given to paintings,<br />
drawings, and photographs by 25 & 26 Vict. c. 68,<br />
the first section of which, the most important, runs<br />
as follows :—<br />
<br />
«“ The author, being a British subject or resident within<br />
<br />
the dominions of the Crown, of every original painting,<br />
drawing, and photograph which shall be or shall have been<br />
<br />
' - made either in the British Dominions, or elsewhere, and<br />
<br />
which shall not have been sold or disposed of before the<br />
commencement of this Act, and his assigns, shall have the<br />
sole and exclusive right of copying, engraving, reproducing,<br />
and multiplying such painting or drawing, and the design<br />
thereof, or such photograph and the negative thereof, by<br />
any means and of any size, for the term of the natural life of<br />
such author, and seven years after his death ; provided that<br />
when any painting or drawing, or the negative of any<br />
photograph, shall for the first time after the passing of this<br />
Act be sold or disposed of, or shall be made or executed for<br />
or on behalf of any other person for a good or a valuable<br />
‘consideration, the person so selling or disposing of or<br />
making or executing the same shall not retain the copyright<br />
thereof, unless it be expressly reserved to him by agreement<br />
in writing, signed at or before the time of such sale or<br />
‘disposition, by the vendee or assignee of such painting or<br />
-drawing, or of such negative of a photograph, or by the<br />
person for or on whose behalf the same shall be so made or<br />
executed, but the copyright shall belong to the vendee or<br />
assignee of such painting or drawing, or of such negative<br />
-of a photograph, or to the person for or on whose behalf<br />
the same shall have been made or executed ; nor shall the<br />
vendee or assignee thereof be entitled to any such copy-<br />
right, unless, at or before the time of such saleor disposition,<br />
an agreement in writing, signed by the person so selling or<br />
disposing of the same, or by his agent duly authorised,<br />
shall have been made to that effect.”<br />
<br />
The Act, unlike the Literary Copyright Act,<br />
does not indulge in definitions.<br />
<br />
From some points of view this is an advantage ;<br />
from others, a disadvantage.<br />
<br />
A book is carefully defined in the Literary Copy-<br />
right Act. The lack of definition in the Artistic<br />
Copyright Act leaves the difficult proposition to be<br />
solved by the intelligence of the judge, with not<br />
infrequently a more satisfactory result than if it<br />
was left to the intelligence of the draughtsman.<br />
<br />
Copyright in paintings, drawings, and photo-<br />
graphs, it will be seen from the section, starts from<br />
the making of the work, and lasts for the life of the<br />
<br />
41<br />
<br />
author and seven years after his death. In the<br />
case of paintings and drawings the determination<br />
of the date gives rise to many difficulties, but<br />
with regard to photographs need not be further<br />
discussed.<br />
<br />
It is certainly a pity that the alternative of a<br />
fixed number of years has not been given, as is<br />
the case with books under the Literary Copyright<br />
Act, and that the term should run from the making<br />
instead of from the publication. The treatment<br />
of the subject, however, is in accordance with the<br />
treatment of all questions of copyright. Wherever<br />
it has been possible for the Legislature to confuse<br />
the copyright-holders it has succeeded in doing so,<br />
and diverse methods have been employed where<br />
the nature of the property demanded the closest<br />
analogy.<br />
<br />
The duration of copyright having been deter-<br />
mined, it will be evident that the two most<br />
important points are: (1) Who is the author of<br />
the work ? (2) Who is the employer? Upon the<br />
first depends the commencement of the copyright<br />
term, and upon the second in many cases depends<br />
the solution of who is the rightful owner of the<br />
property.<br />
<br />
With regard to No. 1—‘ Who is the author ?”—<br />
one or two actions have been brought and the<br />
point has been raised ; but the judges, dealing in<br />
each special case with “who was not the author,”<br />
by a negative process have shirked giving a positive<br />
definition. It may be as well, however, to quote<br />
the words of the Master of the Rolls in the case of<br />
Nottage v. Jackson, as it is the best dictum so far<br />
on the point :—<br />
<br />
“The author of a painting is the man who paints it, the<br />
author of a drawing is the man who draws it, of a photo-<br />
graph the author is the person who effectively is as near as<br />
he can be the cause of the picture which is produced, that<br />
is, the person who has superintended the arrangement, who<br />
has actually formed the picture by putting the people into<br />
position, and arranging the place in which the people are<br />
to be—the man who is the effective cause of that. Although<br />
he may only have done it by standing in the room and<br />
giving orders about it, still it is his mind and act, as far as<br />
anybody’s mind and act are concerned, which is the effective<br />
cause of the picture such as it is when it is produced.”<br />
<br />
If this is correct the person who actually snaps<br />
the photograph or uncovers the camera need not in<br />
any sense be the author of the photograph. A<br />
point of this kind, however, does not interest the<br />
subject so much as it would interest the photo-<br />
grapher. The latter, no doubt, takes good care to<br />
protect himself by agreement with his assistant or<br />
by some other method.<br />
<br />
Next comes the question, “ Who is the em-<br />
ployer ?”<br />
<br />
When a person goes to have his photograph taken<br />
and pays the ordinary fee asked by the photographer,<br />
the position is clear and indisputable. He is the<br />
<br />
<br />
42<br />
<br />
employer, and obtains copyright for the life of the<br />
author and seven years afterwards. In most cases,<br />
however, unless there is some special contract, the<br />
actual negative is the property of the photographer.<br />
<br />
Nowadays, such is the craze for notoriety, that it<br />
has become the custom of the photographer to ask<br />
subjects to give him a sitting. (Ja Mr. Macgilli-<br />
vray’s book on “The Law of Copyright,” just<br />
published, by Mr. John Murray, he states, in an<br />
ingenuous way, that the sitter in these cases is<br />
probably an actress or an athlete, so little does he<br />
appear to have realised the vanity of human beings.)<br />
<br />
The point then arises, “ What valuable con-<br />
sideration, if any, has been given 2” As a general<br />
rule, none to the photographer, who, on the con-<br />
trary, as often as not presents a few copies of the<br />
photograph to the sitter. If the sitter pays for<br />
these photographs the matter is more difficult, and<br />
it must be considered whether the amount the<br />
sitter pays would be merely for the reproductions<br />
he has obtained, or would raise the presumption of<br />
employment within the meaning of the Act. This<br />
must depend in each case upon the special facts.<br />
The valuable consideration that the photographer<br />
receives need not necessarily be a money one. It<br />
may be a licence to publish and sell subject to<br />
terms. Here, again, the final decision must depend<br />
upon the special facts.<br />
<br />
There are two further points of importance<br />
dealing with the same subject. One is the ques-<br />
tion of transfer, and the other the question of<br />
registration.<br />
<br />
On reference to the section of the Act quoted<br />
above, it will be seen that, unless the copyright<br />
is either specially reserved by the author when<br />
making an assignment or specially transferred to<br />
the vendee in writing, neither party will obtain it,<br />
but it will become public property ; such is the<br />
absurd arrangement, statute made, for the transfer<br />
of artistic property.<br />
<br />
This difficulty does not of course arise if there is<br />
direct employment for valuable consideration,<br />
<br />
With regard to the second point, registration is<br />
an essential. Here, again, stands out another<br />
divergence between the Literary and Artistic Acts.<br />
In the Literary Copyright Act registration is only<br />
necessary before action is taken, and such registra-<br />
tion refers back to the date of publication. In<br />
artistic copyright, however, it is impossible to<br />
bring an action for infringement of rights before<br />
registration. In consequence registration is an<br />
essential, and an important essential. Registration<br />
takes place at Stationers’ Hall. t is not necessary<br />
<br />
to discuss in detail the particulars required when<br />
filling up the forms. Full explanation of these<br />
will be given at the office.<br />
<br />
It should be noted that a photographer who<br />
has taken a photograph on the ordinary terms of<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
employment, and publishes that photograph without<br />
leave, can be sued by the employer for infringement<br />
of contract, even though the photograph was not<br />
registered.<br />
<br />
International copyright of photographs under<br />
the Berne Convention must be left over for another<br />
time. Photographs are included in the list of<br />
things protected by the International Copyright<br />
Act. What photographs are copyright and what<br />
are not copyright, the duration of copyright, and<br />
other details in foreign countries is a very large<br />
and difficult subject.<br />
<br />
TONNAGE OF BRITISH BOOK EXPORTS<br />
AND IMPORTS.<br />
<br />
— ><br />
<br />
[From the Publishers’ Circular, and reprinted by the kind.<br />
permission of Scott, Greenwood & Co.] .<br />
<br />
FFICIAL statistics of exports and imports of<br />
books for last year compared with four pre-<br />
vious years,from which some extracts are<br />
<br />
given, compel serious consideration.<br />
<br />
The particulars of exports of British-made goods<br />
show that there has been a steady increase since<br />
1897 in the total value of books exported.<br />
<br />
Turning to the various markets, there has been<br />
a steady increase in the value of books exported<br />
to Japan, Atlantic ports of the United States, and<br />
to Denmark. .<br />
<br />
The imports show a slight increase in 1901 com-<br />
pared with 1900, but a decrease when comparing<br />
the former year with 1897 and 1898.<br />
<br />
The exports to America amount to more than<br />
half the total amount exported to foreign countries.<br />
Curiously enough, the imports of books from Hol-<br />
land almost equal in quantity and value those from<br />
the United States. his may be accounted for<br />
by the large numbers of English books printed in<br />
Holland, but it should not be forgotten that<br />
imports from that country often include goods<br />
from Germany, Austria, Switzerland, etc., shipped<br />
to Great Britain via the Hook of Holland or<br />
Flushing.<br />
<br />
In July, 1902 the value of exports from Great<br />
Britain shows an increase of £9,000 compared.<br />
with July, 1901, and £29,000 compared with 1900.<br />
The weight of these books was 22,806 cwts. in<br />
July, 1902, and 22,261 in July, 1901. This<br />
increase in the exports is an important sign. It<br />
would have been of further interest to know of<br />
what volumes these 505 cwts. were composed that.<br />
made an increase of £9,000 in value.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 43<br />
<br />
Exports to ForEIGN COUNTRIES.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Quantities. Value.<br />
Ee , | See ae oe<br />
1897 | 1898 1899 1900 1901 | 1897 1898 1899 1900 1901<br />
jt ae<br />
| Cwts. Cwts. Cwts. Cwts. | Cwts. a £ £ £ £<br />
| 67,655 | 66,864 | 70,665 | 81,258 | 75,107 499,723 506,262 | 537,486 578,779 587,219<br />
| |<br />
Exports to British POSSESSIONS.<br />
| | | |<br />
| 139,697 | 144,911 | 157,015 | 157,522 | 172,591 831,270 | 830,287 | 906,949 890,037 965,558<br />
Z oye el ee a<br />
|<br />
Total | 207,352 | 211,775 | 227,680 | 238,780 | 247,698 | 1,330,993 | 1,336,549 | 1,444,435 1,468,816 | 1,552,772<br />
. Iuvorts FRomM ForREIGN COUNTRIES.<br />
45,054 | 40,969 | 41,688 | 40,139 | 44,834 | 269,522 245,424 224,073 228,799 244,278<br />
Imports FROM BririsH POSSESSIONS.<br />
| | | ' | | 1 | |<br />
| 1,430 | 1,879 | 1,810 | 765 1,143 || 7,872 | 9,251} 10,097 | 4,930 | 6,889<br />
ee ee oes _| LE |<br />
Total | 46,484 | 45,977 | 277,394 254,675 045,170 | 233,709 | 251,167<br />
} | |<br />
<br />
ae 43,448 | 40,904 |<br />
<br />
<br />
<br />
THE COMPLETE AUTHOR.*<br />
<br />
—-——<br />
<br />
ay practical guide to authorship has yet to<br />
be written. Mr. Lacon Watson’s “ Hints<br />
<br />
to Young Authors ” is an attempt to remove<br />
this reproach, and, so far as it goes, it is a well<br />
carried out one. Unfortunately, it does not go<br />
far enough: nor is it remarkably practical. In-<br />
deed, the “ young author’”’—and the old one, too,<br />
for that matter—may rise from its perusal with his<br />
knowledge on the subject but very little increased<br />
thereby. The work of genius, however, is not to<br />
<br />
be made by instructional manuals, and great circu- :<br />
y : S * province of authorship proper. They deal instead<br />
<br />
lations will ever be achieved without resort to these<br />
adventitious aids. Mr. Lacon Watson’s name is<br />
familiar on the title-pages of several agreeable<br />
novels, while he has also been responsible for some<br />
excellent journalism in the better known among<br />
the evening papers. He is, accordingly, fully<br />
qualified to treat of the important subject of<br />
<br />
<br />
<br />
* “Vints to Young Authors,” by E. H. Lacon Watson.<br />
(London: Grant Richards.)<br />
<br />
authorship. The professional writer will probably<br />
be of opinion that he takes a rather more opti-<br />
mistic view of the craft than hard facts will<br />
warrant. He observes, for instance, that while a<br />
certain novelist of his acquaintance has no par-<br />
ticular difficulty in making from six to eight<br />
thousand pounds a year out of pen, paper, and<br />
brains, “the few at the apex of the pyramid do<br />
even better than this.” Such as these latter are<br />
remarkably few, and in all probability they are<br />
either dramatists, or, in addition to being novelists,<br />
they devote their superfluous energy to other forms<br />
of making money. A large proportion of the<br />
“hints” in this volume are rather outside the<br />
<br />
with such bye-ways of the calling as reviewing,<br />
cultivating editors, paragraph writing, and free-.<br />
lance journalism generally. A whole chapter, too,<br />
is devoted to describing a literary club, and the<br />
manner in which certain more or less distinguished<br />
members of the world of letters unbend when in<br />
its precincts. It is all entertainingly and interest-<br />
ingly done, however, even if it fails to show the<br />
seeker after big circulations how he may best attain<br />
his object.<br />
<br />
<br />
<br />
<br />
GENERAL MEMORANDA.<br />
<br />
1<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —:<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a pad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
_duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for ‘‘ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
-doctor !<br />
<br />
Ill. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
-connected with royalties are published in The Author.<br />
Readers can also work out the figures themselves from the<br />
-* Cost of Production.”<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
-above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
-the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
<br />
‘from the outset are :-—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
-withheld.<br />
<br />
——_—__—_- +<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
><br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2, {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
THE AUTHOR.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on. the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the: play should be<br />
performed.<br />
<br />
(c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (.2.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights ina<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘they should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he rums a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that fora novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
<_< ___—<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
————<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel's opinion is<br />
desirable, the Committee will obtain for him Counsel's<br />
opinion, All this without any cost to the member.<br />
<br />
<br />
<br />
<br />
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8<br />
a<br />
it<br />
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2<br />
4<br />
a<br />
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<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
2, Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinarysolicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3..Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination,<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
This<br />
<br />
8. Many agents neglect to stamp agreements.<br />
The<br />
<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members,<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
2 —_ ay ao<br />
<br />
THE READING BRANCH.<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
——-_+—~_ 6<br />
<br />
NOTICES.<br />
1<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
<br />
<br />
<br />
<br />
45<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
¢—<>— as<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EpITOoR on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
SREY aca eae<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—+<br />
<br />
HE Musical Summary Proceedings Copyright<br />
Act has now been running for a month,<br />
Three points appear to be noticeable. Firstly,<br />
<br />
the agents who have acted on behalf of the Musical<br />
Copyright Association have taken the vendor of<br />
pirated copies before the magistrate, and then failed<br />
to produce evidence of title. In these circumstances<br />
the question has had to beadjourned. The magis-<br />
trates in some instances have made remarks about<br />
the time of the Court being wasted by such<br />
adjournment. In future the agents will no doubt<br />
be fully prepared. The second point is one due to<br />
the faultiness of the Act, and attention was drawn<br />
to it in the last number of Zhe Author. It is<br />
impossible to ascertain who are the printers of<br />
these pirated copies, as the vendors in every case<br />
refuse to give up the names. They know well<br />
that if they stick by the printers they will be able<br />
to obtain another supply when necessary. The<br />
third case is that of a vendor who kept his stock<br />
in a sack, or at the nearest publichouse. He held<br />
a few copies in his hand ; these the agent secured<br />
as they were exposed for sale, the stock was beyond<br />
his reach. ‘This, to the lay mind, may seem a<br />
curious interpretation of the Act, and may lead<br />
to further difficulties and complications,<br />
<br />
The following interesting story in the history of<br />
authorship is taken from the American Author.<br />
Can anyone quote an analogous tale, in which an<br />
<br />
<br />
<br />
<br />
46<br />
<br />
author has had a difficulty in establishing his own<br />
identity ?<br />
<br />
“The autumn announcements of Messrs. Lee and<br />
Shepard begin with the autograph edition of Mrs. Elizabeth<br />
‘Akers’s “Sunset Song, and Other V erses,” a volume of<br />
poems hitherto unpublished, with a single exception, * Rock<br />
Me to Sleep, Mother,” which is printed at the end of the<br />
volume with a spirited note from the publisher, giving its<br />
history. The Saturday Evening Post originally printed<br />
the poem, paying the author five dollars. A firm of music<br />
publishers issued it with a setting by Ernest Leslie and<br />
paid nothing, but munificently offered the author five<br />
dollars apiece for any more songs as good as the first. As<br />
their profits during the first six months amounted to many<br />
thousands, they could then afford this extravagance, but<br />
when Mrs. Akers actually sent them a song they refused it,<br />
on the ground that they “could do nothing with it.” A<br />
few years after the first appearance of the song Mr.<br />
‘Alexander T. W. Ball, of New Jersey, declared that it was<br />
his. Certain newspapers espoused his cause, and had he<br />
not published_ what Mr. Rossiter Johnson calls the most<br />
absurd pamphlet ever written the real author might have<br />
been deprived even of the credit of originating her<br />
pseudonym of “Florence Percy.” The pamphlet aroused<br />
some able defenders for her, and at last the late William<br />
Douglas O’Connor, writing in the New York Times,<br />
utterly crushed Mr. Ball’s pretensions to be “ Florence<br />
Percy,” or anything but an imitator. In her new volume<br />
Mrs. Akers includes a grateful eulogy of her defender.”<br />
<br />
<br />
<br />
<br />
<br />
The editor of a certain literary paper in the<br />
United States is in the habit of endeavouring to<br />
answer some of the literary conundrums of his<br />
readers.<br />
<br />
‘A correspondent wrote to him on one occasion<br />
stating that after a lengthy debate about a well-<br />
known novel by a modern writer it was decided to<br />
take the editor’s opinion upon the moral tone of<br />
the book.<br />
<br />
The editor was fearful of a trap. His response<br />
was given with the wisdom of a Solomon: “ With<br />
regard to the book in question, if you will tell us<br />
the things you think about it, I will then tell you<br />
whether the things 1 think about it are the same<br />
as those things which you think about it.”<br />
<br />
We trust the contributor was satisfied.<br />
<br />
<br />
<br />
The Dumas Centenary has just gone by. To<br />
those who are interested in these anniversaries the<br />
following list may afford some useful information :—<br />
Bulwer Lytton (1903), Beaconsfield (1904), Haw-<br />
thorne (1904), Whittier (1907), Longfellow (1907),<br />
Tennyson (1909), Holmes (1909), Poe (J 909),<br />
Gautier (1911), Thackeray (1911), Dickens (1912),<br />
Harriet Beecher Stowe (1912), Henry Ward<br />
Beecher (1918).<br />
<br />
<br />
<br />
A correspondent sends us the enclosed :<br />
« Certain officials of the income tax department,<br />
the police court, not to mention census takers, and<br />
<br />
THE AUTHOR.<br />
<br />
the registrars of limited companies, demand a<br />
description of one’s trade or profession. For<br />
myself, I make a humble living from the making<br />
of novels, and have persistently written myself<br />
down ‘ novelist. This is almost invariably<br />
ignored, and for it is substituted ‘ gent.,’ which is<br />
vague, ‘ esq.," which is inaccurate, or ‘journalist,’<br />
which J am not.<br />
“Can anyone suggest a better term? ‘ Littérateur’<br />
I object to for patriotic reasons. “ Man of letters’<br />
is clumsy and misleading—indeed, it is more<br />
suggestive of a compositor or a window-ticket<br />
stenciller. ‘Writer’ might be all very well in<br />
England, but amongst Scots it would lead to<br />
misapprehension.<br />
« | should be very much obliged for a suggestion,<br />
as I have bought a motor car recently, and am just<br />
now being officially asked for a description of my-<br />
self with much frequency.”<br />
YACHTSMAN.<br />
<br />
——__—__——_+ <><br />
<br />
KN ACADEMY OF LETTERS.<br />
<br />
———-—+—<br />
<br />
1<br />
<br />
O judge by the autumn announcements of<br />
certain publishing houses, masterpieces—<br />
in one department of literature at least—<br />
<br />
are being just now showered upon us, thick as the<br />
falling leaves. This is inspiriting news ; or would<br />
be so, had one the happiness to belong to that con-<br />
siderable section of the British public which has<br />
kept its first innocence in regard to advertisement,<br />
still believing that things printed and things true<br />
are necessarily one and the same. Not belonging<br />
to that enviable section, one is constrained to<br />
admit a doubt of the entire reliability of these<br />
announcements, while the simile of the falling<br />
leaves takes on @ slightly sinister significance.<br />
For to one whose memory carries him back some<br />
twenty, thirty, or possibly more years, it too often<br />
appears that though the annual output of books<br />
has trebled, may be quadrupled, masterpieces have<br />
by no means multiplied in proportion during that<br />
period. And this is liable to make him reflective,<br />
since he is one of a generation which—without<br />
vanity—had, in its youth, more than a bowing<br />
acquaintance with masterpieces. He grows sad,<br />
for, as he reflects, it even occurs to him that<br />
English literature, in its higher and more dis-<br />
tinguished expression, is sick, almost sick unto<br />
death. Then he looks round anxiously, asking<br />
whether from any quarter may come some effective<br />
remedy, some wise physician capable of giving new<br />
life to this moribund creature. Hence it is that<br />
some of us hail the idea of an English Academy of<br />
Letters, regarding it as a possible remedial agency<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
SO ASD rregt RD Sees<br />
<br />
<br />
<br />
)<br />
<br />
SELF<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. AT<br />
<br />
which, allowed time and patience, may eventually<br />
restore to our over-prolific and under-vitalised<br />
literature a measure of its earlier dignity, beauty,<br />
and strength.<br />
<br />
After all an Academy of Letters, that is a central<br />
authority having practical jurisdiction in technical<br />
literary questions, is no such innovation in the<br />
history of our literature as its opponents would<br />
have us believe. Until recently it has always<br />
existed, if not explicitly, yet implicitly ; and its<br />
judgments have been obeyed or defied—in either<br />
case to the wholesome stimulation of literary<br />
effort. Ard that such central authority, whether<br />
vested in a single individual—as Dr. Johnson—or<br />
a group of persons—such as Pope, Lady Mary<br />
Wortley Montagu, and the wits surrounding them<br />
whose quarrels and reconciliations make such<br />
diverting reading—to mention but two examples<br />
among many—that this central authority did on<br />
the whole make for literary righteousness, main-<br />
tained a high standard of style and of taste,<br />
encouraged intelligence, damned not only dull-<br />
ness but vulgarity and folly, supported the dignity<br />
of letters, securing to them a solid standing<br />
and value in our national life, is, surely, incon-<br />
trovertible. That this central authority was<br />
in the past, and will most probably be in the<br />
future, subject to a few of the unamiable weak-<br />
nesses common to mankind, that it may have its<br />
moments of envy and jealousy, that it did not in the<br />
past, and may not in the future, always acclaim the<br />
advent of budding genius with unlimited enthu-<br />
siasm, is beside the mark. Genius, especially<br />
English genius, which is wont to be of a very<br />
sufficiently robust and self-confident sort, may<br />
safely be left to take care of itself. Should an<br />
Academy of Letters unwisely try to extinguish<br />
some twentieth-century Byron, it will fail just<br />
as absolutely as the “Scotch Reviewers” failed<br />
to extinguish those “English Bards” whom the<br />
nineteenth-century Byron so wittily defended.<br />
It may seriously be questioned whether genius,<br />
worth the name, has ever suffered permanent<br />
injury yet from the pressure of adverse criticism<br />
brought to bear upon it in its youth. Genius<br />
which has not the courage of its convictions, is not<br />
really genius at all.<br />
<br />
It is not, therefore, mainly in the interests of<br />
genius—which sooner or later is bound, by right<br />
divine, to conquer and control the intellectual<br />
and artistic life of its day—but in the interests<br />
of the rank and file of writers, who produce<br />
the great bulk of contemporary poetry, fiction,<br />
drama, criticism, elles lettres, that an English<br />
Academy is just now so urgently needed. For the<br />
majority of these, indeed, “wander ”—as_ the<br />
Psalmist has it—‘‘in the wilderness in a solitary<br />
way, and have no city to dwell in.” The right of<br />
<br />
private judgment has run mad, thanks to a graft-<br />
ing of so-called modern ideas upon the old<br />
Protestant stock. The result, as Mr. Herbert<br />
Trench has admirably pointed out, is anarchy ;<br />
and anarchy always has been, and always must be<br />
disastrous to art. One cannot but believe that a<br />
central authority, composed of the ripest and most<br />
gifted minds of our day, would in time evolve<br />
order out of thischaos; and, imposing its influence<br />
upon the conscience and imagination of the rank and<br />
file of writers, convince each literary aspirant that<br />
merely to do right in the sight of his own eyes,<br />
merely to follow his own immature and unstable<br />
opinions, is to court an oblivion even more speedy<br />
than is his natural inheritance.<br />
<br />
As Maxime du Camp has well said—* Les lettres<br />
consolent de tout, & la condition que lon y reste,<br />
que Von se donne « elles sans esprit de retour<br />
et que Von les respecte absolument.” And it is<br />
this, the dignity, the consoling efficacy, the high,<br />
national, as well as personal, worth of letters, that<br />
it is so eminently desirable a central authority<br />
should bring home to the writers of the younger<br />
generation. For unquestionably one of the main<br />
causes of the present poverty—in quality not<br />
alas! in quantity—of literary work in England,<br />
is the refusal of the younger writers to give them-<br />
selves loyally. Their tendency is to regard letters<br />
as a means, not as an end. They will have letters<br />
lead on, by way of notoriety or hard cash, to quite<br />
other forms of activity—to society, to politics, to<br />
philanthropy—of the more public sort. Letters<br />
have become a form of self-advertisement. Not<br />
the book, but he or she who writes it, is too often<br />
the main object to him or her self. It may be<br />
argued that thisis very human—pathetically, engag-<br />
ingly so. Granted. Only let it be remembered<br />
literature is a jealous mistress. No art—just as<br />
no god—endures a divided allegiance for long.<br />
These writers may leave letters for something they<br />
reckon more worthy of their attention; but not,<br />
in the majority of cases, before letters have rather<br />
conspicuously left them.<br />
<br />
It is easy for the poor to gird at riches. Yet<br />
one cannot but fancy that before the millionaire—<br />
Trans-Atlantic, Semitic, Colonial—invaded English<br />
society and materialised our ambitions and ideals,<br />
matters were different in this particular. We<br />
know, on the highest authority, it is not easy for<br />
a rich man to enter into the Kingdom of Heaven ;<br />
and one ventures to suspect it is equally difficult<br />
for him to enter into the Kingdom of Art—except<br />
as a purchaser. We can hardly blame him if,<br />
confused by the evident power of wealth, he fails<br />
to understand that to own a work of art is not<br />
necessarily to possess it, and that to pay for a<br />
work of art is by no means the same as to<br />
produce it. Under this head he suffers strong<br />
<br />
<br />
<br />
<br />
AG<br />
<br />
author has had a difficulty in establishing his own<br />
identity ?<br />
<br />
“The autumn announcements of Messrs. Lee and<br />
Shepard begin with the autograph edition of Mrs. Elizabeth<br />
Akers’s “Sunset Song, and Other Verses,’ @ volume of<br />
poems hitherto unpublished, with a single exception, “ Rock<br />
Me to Sleep, Mother,” which is printed at the end of the<br />
volume with a spirited note from the publisher, giving its<br />
history. The Saturday Evening Post originally printed<br />
the poem, paying the author five dollars. A firm of music<br />
publishers issued it with a setting by Ernest Leslie and<br />
paid nothing, but munificently offered the author five<br />
dollars apiece for any more songs as good as the first. AS<br />
their profits during the first six months amounted to many<br />
thousands, they could then afford this extravagance, but<br />
when Mrs. Akers actually sent them a song they refused it,<br />
on the ground that they “ could do nothing with it.” A<br />
few years after the first appearance of the song Mr.<br />
‘Alexander T. W. Ball, of New Jersey, declared that it was<br />
his. Certain newspapers espoused his cause, and had he<br />
not published what Mr. Rossiter Johnson calls the most<br />
absurd pamphlet ever written the real author might have<br />
been deprived even of the credit of originating her<br />
pseudonym of ‘“ Florence Percy.” The pamphlet aroused<br />
some able defenders for her, and at last the late William<br />
Douglas O’Connor, writing in the New York Times,<br />
utterly crushed Mr. Ball’s pretensions to be “ Florence<br />
Perey,” or anything but an imitator. In her new volume<br />
Mrs. Akers includes a grateful eulogy of her defender.”<br />
<br />
<br />
<br />
<br />
<br />
The editor of a certain literary paper in the<br />
United States is in the habit of endeavouring to<br />
answer some of the literary conundrums of his<br />
readers.<br />
<br />
‘A correspondent wrote to him on one occasion<br />
stating that after a lengthy debate about a well-<br />
known novel by a modern writer it was decided to<br />
take the editor’s opinion upon the moral tone of<br />
the book.<br />
<br />
The editor was fearful of a trap. His response<br />
was given with the wisdom of a Solomon: “ With<br />
regard to the book in question, if you will tell us<br />
the things you think about it, J will then tell you<br />
whether the things I think about it are the same<br />
as those things which you think about it.”<br />
<br />
We trust the contributor was satisfied.<br />
<br />
<br />
<br />
The Dumas Centenary has just gone by. To<br />
those who are interested in these anniversaries the<br />
following list may afford some useful information :—<br />
Bulwer Lytton (1903), Beaconsfield (1904), Haw-<br />
thorne (1904), Whittier (1907), Longfellow (1907),<br />
Tennyson (1909), Holmes (1909), Poe (1909),<br />
Gautier (1911), Thackeray (1911), Dickens (1912),<br />
Harriet Beecher Stowe (1912), Henry Ward<br />
<br />
Beecher (1918).<br />
<br />
<br />
<br />
A correspondent sends us the enclosed :<br />
“ Gertain officials of the income tax department,<br />
the police court, not to mention census takers, and<br />
<br />
THE AUTHOR.<br />
<br />
the registrars of limited companies, demand a<br />
description of one’s trade or profession. For<br />
myself, I make a humble living from the making<br />
of novels, and have persistently written myself<br />
down ‘ novelist. This is almost invariably<br />
ignored, and for it is substituted ‘ gent.,’ which is<br />
vague, ‘esq.,’ which is inaccurate, or ‘journalist,’<br />
which I am not.<br />
<br />
“(an anyone suggest a better term? ‘ Littérateur’<br />
I object to for patriotic reasons. ‘ Man of letters ’<br />
is clumsy and misleading—indeed, it is more<br />
suggestive of a compositor or a window-ticket<br />
stenciller. ‘Writer’ might be all very well in<br />
England, but amongst Scots it would lead to<br />
misapprehension.<br />
<br />
«J should be very much obliged for a suggestion,<br />
as I have bought a motor car recently, and am just<br />
now being officially asked for a description of my-<br />
self with much frequency.”<br />
<br />
YACHTSMAN.<br />
<br />
—_—_———__1+—>—_ ><br />
<br />
AN ACADEMY OF LETTERS.<br />
<br />
——-— +<br />
<br />
iT<br />
<br />
O judge by the autumn announcements of<br />
certain publishing houses, masterpleces—<br />
in one department of literature at least—<br />
<br />
are being just now showered upon us, thick as the<br />
falling leaves. This is inspiriting news ; or would<br />
be so, had one the happiness to belong to that con-<br />
siderable section of the British public which has<br />
kept its first innocence in regard to advertisement,<br />
still believing that things printed and things true<br />
are necessarily one and the same. Not belonging<br />
to that enviable section, one is constrained to<br />
admit a doubt of the entire reliability of these<br />
announcements, while the simile of the falling<br />
leaves takes on a slightly sinister significance.<br />
For to one whose memory carries him back some<br />
twenty, thirty, or possibly more years, it too often<br />
appears that though the annual output of books<br />
has trebled, may be quadrupled, masterpieces have<br />
by no means multiplied in proportion during that<br />
period. And this is liable to make him reflective,<br />
since he is one of a generation which —without<br />
vanity—had, in its youth, more than a bowing<br />
acquaintance with masterpieces. He grows sad,<br />
for, as he reflects, it even occurs to him that<br />
English literature, in its higher and more dis-<br />
tinguished expression, is sick, almost sick unto<br />
death. Then he looks round anxiously, asking<br />
whether from any quarter may come some effective<br />
remedy, some wise physician capable of giving new<br />
life to this moribund creature. Hence it is that<br />
some of us hail the idea of an English Academy of<br />
<br />
Letters, regarding it as a possible remedial agency<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. AT<br />
<br />
which, allowed time and patience, may eventually<br />
restore to our over-prolific and under-vitalised<br />
literature a measure of its earlier dignity, beauty,<br />
and strength.<br />
<br />
After all an Academy of Letters, that is a central<br />
authority having practical jurisdiction in technical<br />
literary questions, is no such innovation in the<br />
history of our literature as its opponents would<br />
have us believe. Until recently it has always<br />
existed, if not explicitly, yet implicitly ; and its<br />
judgments have been obeyed or defied—in either<br />
case to the wholesome stimulation of literary<br />
effort. And that such central authority, whether<br />
vested in a single individual—as ))r. Johnson—or<br />
a group of persons—such as Pope, Lady Mary<br />
Wortley Montagu, and the wits surrounding them<br />
whose quarrels and reconciliations make such<br />
diverting reading—to mention but two examples<br />
among many—that this central authority did on<br />
the whole make for literary righteousness, main-<br />
tained a high standard of style and of taste,<br />
encouraged intelligence, damned not only daull-<br />
ness but vulgarity and folly, supported the dignity<br />
of letters, securing to them a solid standing<br />
and value in our national life, is, surely, incon-<br />
trovertible. That this central authority was<br />
in the past, and will most probably be in the<br />
future, subject to a few of the unamiable weak-<br />
nesses common to mankind, that it may have its<br />
moments of envy and jealousy, that it did not in the<br />
past, and may not in the future, always acclaim the<br />
advent of budding genius with unlimited enthu-<br />
siasm, is beside the mark. Genius, especially<br />
English genius, which is wont to be of a very<br />
sufficiently robust and self-confident sort, may<br />
safely be left to take care of itself. Should an<br />
Academy of Letters unwisely try to extinguish<br />
some twentieth-century Byron, it will fail just<br />
as absolutely as the ‘Scotch Reviewers” failed<br />
to extinguish those “English Bards” whom the<br />
nineteenth-century Byron so wittily defended.<br />
It may seriously be questioned whether genius,<br />
worth the name, has ever suffered permanent<br />
injury yet from the pressure of adverse criticism<br />
brought to bear upon it in its youth. Genius<br />
which has not the courage of its convictions, is not<br />
really genius at all.<br />
<br />
It is not, therefore, mainly in the interests of<br />
genius—which sooner or later is bound, by right<br />
divine, to conquer and control the intellectual<br />
and artistic life of its day—but in the interests<br />
of the rank and file of writers, who produce<br />
the great bulk of contemporary poetry, fiction,<br />
drama, criticism, belles /ettres, that an English<br />
Academy is just now so urgently needed. For the<br />
majority of these, indeed, “ wander ”—as_ the<br />
Psalmist has it—‘in the wilderness in a solitary<br />
way, and have no city to dwell in.” The right of<br />
<br />
private judgment has run mad, thanks to a graft-<br />
ing of so-called modern ideas upon the old<br />
Protestant stock. The result, as Mr. Herbert<br />
Trench has admirably pointed out, is anarchy ;<br />
and anarchy always has been, and always must be<br />
disastrous to art. One cannot but believe that a<br />
central authority, composed of the ripest and most<br />
gifted minds of our day, would in time evolve<br />
order out of this chaos ; and, imposing its influence<br />
upon the conscience and imagination of the rank and<br />
file of writers, convince each literary aspirant that<br />
merely to do right in the sight of his own eyes,<br />
merely to follow his own immature and unstable<br />
opinions, is to court an oblivion even more speedy<br />
than is his natural inheritance.<br />
<br />
As Maxime du Camp has well said—* Les lettres<br />
consolent de tout, & la condition que Pon y reste,<br />
que Von se donne a elles sans esprit de retour<br />
et que Von les respecte absolument.” And it is<br />
this, the dignity, the consoling efficacy, the high,<br />
national, as well as personal, worth of letters, that<br />
it is so eminently desirable a central authority<br />
should bring home to the writers of the younger<br />
generation. For unquestionably one of the main<br />
causes of the present poverty—in quality not<br />
alas! in quantity—of literary work in England,<br />
is the refusal of the younger writers to give them-<br />
selves loyally. Their tendency is to regard letters<br />
as a means, not as an end. They will have letters<br />
lead on, by way of notoriety or hard cash, to quite<br />
other forms of activity—to society, to politics, to<br />
philanthropy—of the more public sort. Letters<br />
have become a form of self-advertisement. Not<br />
the book, but he or she who writes it, is too often<br />
the main object to him or her self. It may be<br />
argued that thisis very haman—pathetically, engag-<br />
ingly so. Granted. Only let it be remembered<br />
literature is a jealous mistress. No art—just as<br />
no god—endures a divided allegiance for long.<br />
These writers may leave letters for something they<br />
reckon more worthy of their attention; but not,<br />
in the majority of cases, before letters have rather<br />
conspicuously left them.<br />
<br />
It is easy for the poor to gird at riches. Yet<br />
one cannot but fancy that before the millionaire—<br />
Trans-Atlantic, Semitic, Colonial—invaded English<br />
society and materialised our ambitions and ideals,<br />
matters were different in this particular. We<br />
know, on the highest authority, it is not easy for<br />
a rich man to enter into the Kingdom of Heaven ;<br />
and one ventures to suspect it is equally difficult<br />
for him to enter into the Kingdom of Art—except<br />
as a purchaser. We can hardly blame him if,<br />
confused by the evident power of wealth, he fails<br />
to understand that to own a work of art is not<br />
necessarily to possess it, and that to pay for a<br />
work of art is by no means the same as to<br />
produce it. Under this head he suffers strong<br />
<br />
<br />
<br />
<br />
48<br />
<br />
delusion, and, the worst of it is, a rich man’s<br />
delusions are rather violently infectious. Thanks<br />
mainly to him, money has become the measure of<br />
suecess in literature—the having made money<br />
enough to be practically free of literature, able to<br />
go away and play at something else—almost any-<br />
thing will serve—is the most triumphant success<br />
of all. And to make money in any consider-<br />
able quantity the modern author must conciliate<br />
the “popular shilling.” He must write down. to<br />
the understanding of the vast semi-educated<br />
public, English and American, which has next to<br />
no power of discrimination or sense of values—<br />
how should it have them ?—which demands that<br />
which is at once superficial and extravagant, that<br />
which at once flatters and emboldens its own<br />
cheap opinions and tastes. Thus, from above and<br />
from below alike, the best literature, in every<br />
department, is in risk of being strangled.<br />
Individually the inordinately rich—from the social<br />
atmosphere they create—collectively the compara-<br />
tively poor—from the necessity the writer is under<br />
to secure their suffrages—are alike its enemies.<br />
<br />
Time was when one feared to meet a renowned<br />
author lest his personality should prove less<br />
interesting than his books. Now it is all the other<br />
way. One fears to read the books lest they should<br />
fall short of the charm and ability of their author.<br />
To invert a famous saying, these gentlemen talk<br />
like angels while, too often, they write like poor<br />
Poll. For it seems incredible that such very well-<br />
equipped persons could not give us worthier books<br />
if they really tried. Then one begins to entertain<br />
an unpleasant suspicion that they are a little<br />
ungenerous, that they are saving themselves, only<br />
putting so much strength into their work as will<br />
just make it pay, while carefully husbanding the<br />
rest for something quite other than letters.<br />
<br />
Ts it too much to hope that a recognised central<br />
authority—to which the elect among themselves<br />
may presently belong—an association of the most<br />
distinguished and enlightened minds of our day,<br />
might provoke in the rank and file a finer ambition<br />
and higher conception of the dignity of their calling,<br />
a sounder scholarship, a greater humanity and love<br />
of beauty, a greater self-forgetfulness in work ?<br />
<br />
Only to do this, our Academy must itself be<br />
broadly based, be fearless and impartial, liberal in<br />
sympathy and in thought. It must have—if one<br />
dare say so—no conscience save the literary one.<br />
For the last thing we want just now is a multi-<br />
plied censorship, a Vigilance Committee, or Church<br />
Congress, or Conference of Head-Masters, or Prim-<br />
rose League, least of all a Social Bureau under<br />
another name. In England pedants too often<br />
render learning odious, and purists render art<br />
ridiculous, and little schools with their little<br />
shibboleths are a weariness to humour and to<br />
<br />
‘speak—of all this.<br />
<br />
THE AUTHOR.<br />
<br />
common sense. We want no legalising—so to<br />
Our Academy is designed to<br />
combat prejudice, not to stereotype it. If it is<br />
to be truly efficacious it must not narrow, but<br />
widen the literary outlook. It must exist not for<br />
itself, but for others; not for the glorification of<br />
the past even, but for the redemption of the<br />
present and inspiration of the future. Its func-<br />
tion, to put it briefly, is not the laudation either of<br />
itself or of dead lions; but—far humbler one—<br />
the salvation of live dogs.<br />
<br />
Upon the practical organisation of an English<br />
Academy of Letters, the present writer is not<br />
qualified to speak. Still he would venture to add<br />
two names to those already suggested by Mr.<br />
Herbert Trench as members of a possible -central.<br />
committee— namely, that of Algernon Charles<br />
Swinburne, our greatest living poet, and that of<br />
Thomas Hardy, one of our two greatest living<br />
novelists.<br />
<br />
Lucas Maer.<br />
<br />
———<br />
<br />
II.<br />
<br />
I have no sympathy whatever for the proposal<br />
to form any such body as a British Academy<br />
of Letters, although I have every sympathy for<br />
the spirit in which Mr. Herbert Trench pro-<br />
poses it. And, as Mr. Trench argues in general<br />
principles, it may be permitted to condemn his<br />
scheme upon them. Viewed through the colour<br />
of his bright spirit no doubt the Academy<br />
shines like a temple on Olympus: without<br />
his glasses it would show in a generation as a<br />
clique in St. James’s. An academy is nothing if<br />
<br />
not academic : its republicanism degenerates into<br />
<br />
oligarchy : its principles become rigid: it ends in<br />
unimposing senility. However its members are<br />
chosen there must inevitably be a tail of medio-<br />
crities, and this tail by the mere efflux of time<br />
will wag the dog. The newer members will be<br />
choked by the fetid atmosphere which their elders<br />
breathe with placid enjoyment ; the whole body<br />
will be a corporation without a soul and nothing to<br />
kick. _No academy or academic body has ever<br />
encouraged originality ; and by the very nature of<br />
academies none ever will. But they have often<br />
crushed it, often swallowed it. Mr. Trench’s<br />
notions of criticism are in themselves conserva-<br />
tive: indeed, the very notion of a formal judg-<br />
ment is conservative, and the spirit of conservatism<br />
is the one thing which it is desirable to avoid in<br />
literature. For conservatism can always take<br />
<br />
care of itself: the traditions in a.writer’s mind,<br />
without any external reinforcement, are, as most<br />
men can recognise on analysis of their moods, the<br />
great enemy of their progress and originality.<br />
What makes Mr. Trench imagine that the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 49<br />
<br />
endorsement of Matthew Arnold by Messrs.<br />
Lecky and Bryce would help other spirits than<br />
those now in touch with that poet? At the best<br />
they might make him fashionable; at the worst<br />
they would make themselves ridiculous. It is<br />
<br />
‘sufficient that Arnold and Tourgueniev should be<br />
<br />
on the way to immortality by the slow decay of<br />
their more futile rivals. An academy, inevitably<br />
destined by its nature to worship form, is more<br />
likely to renew Tennyson’s hold upon the bourgeois<br />
than to attach him to any greater poet.<br />
Mr. Trench is a poet : his notion of an academy is<br />
poetical: it is a dream. To translate such a<br />
vision into a body of men is as futile a task as to<br />
stage the Keltic imagination. The appeal of pure<br />
literature is by its very nature personal, and an<br />
academy is a crowd, a lower organism, a thing of<br />
averages, make-shifts, mutual concessions, mass<br />
prejudices. We are better without it.<br />
a Morey ROBERTS.<br />
<br />
—_+—+—<br />
<br />
III.<br />
<br />
I don’t think an Academy of Letters can possibly<br />
‘be invented to do what those who advocate the estab-<br />
lishment of one desire. It would be admirable<br />
if we could have a body to “hall-mark,” as Mr.<br />
Trench puts it, what is really of fine quality so soon<br />
as it appears, but the nearest approach we can ever<br />
get to such a body is a large well-educated reading<br />
public, keenly interested in criticism; and even<br />
then there will be winds and currents of favour.<br />
<br />
The chief objection to Mr. Trench that occurs<br />
to me is the fact that a man may bea quite splendid<br />
figure in contemporary literature, and yet spend<br />
remarkably little time in the research after con-<br />
temporary merit, much less contemporary promise.<br />
Consider three names Mr. Trench has given.<br />
What good would Mr. George Meredith be in the<br />
capacity of a hall-marker if—as I have heard<br />
asserted—he confines his reading to the literature<br />
<br />
of France, or Mr. John Morley (who is engrossed —<br />
<br />
in politics), or Mr. Frazer, whose rich work in<br />
anthropology is no guarantee that he has the<br />
slightest qualification for what would be one of<br />
the most difficult and unavoidable tasks of this<br />
hall-marking Academy, the sifting of contemporary<br />
fiction? There are men to whom no one would<br />
deny the crowns and glories of literature, but it is<br />
another matter to ask them to control its des-<br />
tinies. Mr. Trench, like most Academy projectors,<br />
overlooks the fact that a new addition to literature<br />
is almost invariably a breach of the established<br />
boundaries, a variation of style, matter, treatment,<br />
a revelation of new aspects and new thoughts. I<br />
do not see that it is reasonable to expect the Old<br />
Men, resting gloriously amidst their accomplished<br />
<br />
work, to bother about the New Men, or to assimi-<br />
late the new views. They are far more likely to<br />
fill their gaps with the Scholarly Gentleman, the<br />
Able Imitator—quite apart from wire-pulling and<br />
intrigue and the natural desire of those who have<br />
arrived and are accepted to lead a pleasant life. Far<br />
more efficient to the end Mr. Trench desires would<br />
be an Academy of lively and contemporary critics<br />
—Messrs. Gosse, Edward Garnett, Waugh, Bennett,<br />
William Archer, Street, Chesterton, for example—<br />
but even then. . . . Probably they would never be<br />
sufficiently agreed to elect anybody. And before ever<br />
you come to the question of replacement you have<br />
to consider that you will never get a really literary<br />
Academy as things are at present. You will get a<br />
few indisputable literary figures, the conscience<br />
members one might call them, and the rest will be<br />
men who are really only well-bred, influential<br />
amateurs, men no one would dream of putting into<br />
an Academy if they had done just exactly what<br />
they have done now from the starting point of a<br />
lower class home. There are Mr. Balfour, for<br />
example, and Lord Rosebery. You will never be<br />
able to float an Academy without this element<br />
unless you have that educated public we need—<br />
and then your Academy, I submit, will be totally<br />
unnecessary. The Good Outsider, that Intrusive<br />
Bounder, who is the living soul of literature, will<br />
be left outside anything Mr. Trench and his fellow<br />
workers can possibly invent, and the Uninspired<br />
Respectability will be in—from the very beginning.<br />
It is inherent in the nature of Academies and<br />
unavoidable. You don’t get “hall-marked”’ till<br />
you are dead and a little obsolete. This is sad for<br />
the innumerable authors now palpitatingly con-<br />
scious of superlative merit, but it is one of the<br />
things you have to make your peace with in the<br />
literary life.<br />
H. G. WELLs.<br />
<br />
See gs<br />
<br />
IV.<br />
<br />
In The Author of October, p. 23, I read that<br />
a recent writer thinks “that an incorporated<br />
society might snuff out Wordsworths, Coleridges,<br />
Blakes, and Shelleys.”<br />
<br />
It seems worth while to note that Coleridge<br />
was not “snuffed out,” though he was one of the<br />
earliest members of the Royal Society of Litera-<br />
ture, to which a charter was granted by King<br />
George the Fourth, seventy-six years ago, accord-<br />
ing to Haydn’s Book of Dates.<br />
<br />
Lirr. 1.<br />
<br />
ee<br />
Vv.<br />
<br />
The Editor has received a letter from Mr.<br />
<br />
William Romaine Patterson (“Benjamin Swift”),<br />
<br />
in which he regrets that he is unable, through<br />
<br />
<br />
50<br />
<br />
pressure of business, to write an article for the<br />
columns of the Author, but states that he is in<br />
sympathy with Mr. Herbert Trench’s views. ' “ It<br />
seems to me,” so runs the letter, ‘high time that<br />
those for whom English literature is a great<br />
inheritance should unite against the vulgar mob<br />
of writers and readers who are at the present<br />
moment degrading its traditions.<br />
<br />
———— —<br />
<br />
VI.<br />
<br />
Dear Srr,—The evils which Mr. Trench justly<br />
deplores are due, not to the absence of an Academy<br />
of Letters, but to the absence of men, and to the<br />
vulgarity of the epoch.<br />
<br />
It is a pity that this question was not agitated<br />
in the mid-Victorian era, when a galaxy of genius<br />
almost as bright as the Elizabethan would have<br />
given dignity to the first Academy. Now we are<br />
in the trough of reaction, and must wait till there<br />
exists a body of men sufficiently weighty to overbear<br />
all cavil.<br />
<br />
Yours faithfully,<br />
<br />
J. ZANGWILL.<br />
<br />
—_—_——_1—>—_+—___—_—__<br />
<br />
THE DICKENS FELLOWSHIP.<br />
<br />
Sdn ane<br />
<br />
HE Dickens Fellowship had a splendid send-<br />
off at its first meeting at Anderton’s Hotel<br />
last Monday evening. The hall was crowded,<br />
<br />
and the meeting of the most enthusiastic kind.<br />
<br />
Mr. Percy Fitzgerald, an old friend of Charles<br />
Dickens, was in the chair, and among those present<br />
were Mr. and Mrs. Hall Caine, Mr. F. G. Kitton,<br />
Mr. Francesco Berger, Mr. Arthur Waugh, and<br />
Mr. Harry Furniss. Sympathetic messages were<br />
read from the veteran actor, Mr. J. L. Toole, Mr.<br />
M. H. Spielmann, and others. A very charming<br />
telegram was received from Sir Henry Irving just<br />
as the meeting commenced. It was as follows :—<br />
“Love and greetings to all. I wish I could be<br />
with you to-night. Hope I may at some future<br />
time.”<br />
<br />
Mr. Fitzgerald, in opening the proceedings,<br />
thanked the meeting for having invited him to<br />
occupy the chair, as it was always a delight to him<br />
to take a part in anything that was done to honour<br />
the memory of Charles Dickens. He was one of<br />
<br />
the few left who had known Dickens personally.<br />
He had walked with him, talked with him, and<br />
had travelled with him. He thought that outside<br />
Dickens’s own family there were only two men left<br />
who had been in close intimacy with him, and<br />
those were Mr. Marcus Stone and himself.<br />
<br />
They might congratulate themselves sincerely<br />
<br />
THE AUTHOR.<br />
<br />
upon the numerous attendance at the meeting, and!<br />
also upon the way in which the idea of the Fellow-<br />
ship had been taken up. Already there had been<br />
no less than 600 applications for membership, and<br />
there were proposals for the affiliation of the clubs<br />
in different parts of the country with the society.<br />
Then, again, only the other day two American<br />
ladies called upon the Secretary and said that it<br />
would give them great pleasure to act as mission-<br />
aries on behalf of the society in their own country.<br />
Then there was the telegram from Sir Henry Irving.<br />
Having spoken of the gentlemen whom it was pro-<br />
posed to elect as vice-presidents, a list of whom is<br />
given later on, Mr. Fitzgerald proceeded to say<br />
that it was proposed to have monthly meetings in<br />
connection with the society, on which occasions<br />
there would be papers read on some subjects<br />
connected with Dickens. .<br />
<br />
In this connection he would deprecate panegyric,<br />
and hoped that they would devote themselves more<br />
to a critical study of Dickens and what scholars<br />
called the exegesis of his works. A great deal of<br />
amusement was to be derived from the study of any<br />
author’s writings, because most authors were very<br />
fond of putting their own experiences into their<br />
books. It was well known that a great deal of<br />
Dickens’s biography was to be found in his writings,<br />
which were so sympathetic and so emotional. Mr.<br />
Fitzgerald proceeded, by reference to the “ Pickwick<br />
Papers” and to other writings of Dickens, to give<br />
instances of the author’s incorporation of his own<br />
experiences in his books. Speaking of “Pickwick,”<br />
he said it was a most marvellous book. It was<br />
written by a young man of twenty-three or twenty-<br />
four, and yet it contained the observations and<br />
experience which would guide a man through life.<br />
It was usually supposed that ‘‘ David Copperfield ”<br />
contained the real autobiography of Dickens, but<br />
he was almost inclined to think that “ Pickwick,”<br />
especially the earlier portion, contained a great<br />
deal more of his early history, and he would go<br />
so far as to say that it was entirely made up<br />
of reminiscences and recollections of what had<br />
occurred to himself. Mr. Fitzgerald proceeded to<br />
speak of the association of Dickens with Rochester,<br />
and how this locality figured in his books. His<br />
first book was about Rochester, and his last, when<br />
the pen fell from his hand, was about the same<br />
<br />
lace.<br />
<br />
: It was very commonly thought that Dickens<br />
was a town man, but the fact was that his writings<br />
showed an extraordinary knowledge of country life,<br />
and nothing was better than his descriptions of<br />
that life. Dickens enjoyed country walks, and<br />
from personal experience he (Mr. Fitzgerald) could<br />
say that he was a splendid walker. He thought<br />
nothing of a twenty miles’ daily walk. Mr. Fitz-<br />
gerald proceeded to explain how a number of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
localities which had been sketched in Dickens’s<br />
different works had been identified, and spoke in<br />
particular of how he had secured the material for<br />
the Eatanswill election from an electoral contest at<br />
Ipswich which he had reported for the Morning<br />
Chronicle.<br />
<br />
Mr. Hall Caine, who next addressed the meeting,<br />
said he was delighted to take his part in the<br />
establishment of the Fellowship. He had con-<br />
tributed in some degree to history, dictionaries,<br />
and biographies, and he had even written reviews<br />
of novels. None of these had exhausted all his<br />
faculties, but he could. honestly say that in the<br />
creation of the novel the author had to exert all<br />
his strength. He rejoiced in assisting in the<br />
establishment of a Dickens Fellowship, because he<br />
realised that Dickens was a leader of his craft. In<br />
his opinion Dickens was the greatest novelist of<br />
the Victorian or of any era, and he might ven-<br />
ture the further opinion that he was the greatest<br />
novelist of England or any other country. His<br />
<br />
influence was even now wider than that of any<br />
other. He rejoiced, too, because Dickens was in<br />
everything a man of principles. He loved truth,<br />
and he loved justice, and he was the exponent of<br />
the whole science of humanity. In an eminent<br />
‘degree he was a friend of the poor, and he was<br />
ever ready to say the strong word on behalf of the<br />
down-trodden.<br />
<br />
Then Dickens stood for the love of morality.<br />
He never hesitated to present things in their<br />
nakedness, but the virtue in him was that vice<br />
was always given its true picture. Dickens loved<br />
humanity, and that was the reason that humanity<br />
loved Dickens. Then Dickens stood for the love<br />
of God. Therefore, by establishing a Dickens<br />
Fellowship, they were encouraging truth, justice,<br />
morality, and the love of humanity, and thus they<br />
would be breaking down the barriers between man<br />
and man, and between nation and nation. For<br />
these reasons he wished the Dickens Fellowship<br />
every possible success.<br />
<br />
Mr. Arthur Waugh said that it had been<br />
suggested to him by a very able critic and editor<br />
that there was no particular “use” for such a<br />
Fellowship as this. Well, if it came to that, in<br />
the words of that stern moralist, Mr. Albert<br />
‘Chevalier, ‘‘ What’s the use of anythink? Why,<br />
nothink !” But if anything that appealed to the<br />
cause of intellectual progress was of “use” in the<br />
world, then there would be abundant use and<br />
value in this commemoration of the greatest<br />
novelist of his time, who taught men so much<br />
sympathy and humanity, and who was.as much<br />
alive now as ever when he was writing, and would<br />
continne to live long after his critics and detractors<br />
were forgotten.<br />
<br />
Mr. Harry Furniss, in a very humorous speech,<br />
<br />
51<br />
<br />
which provoked much laughter, spoke particularly<br />
of the illustrators of Dickens, and expressed the<br />
opinion that he had never yet been properly<br />
illustrated. His fat women were made thin, and<br />
some like fault could be found in many of the<br />
illustrations of his characters. The difficulty was<br />
that Dickens was so great an artist himself, that<br />
one could see the characters standing out in his<br />
pages better than any artist could drawthem. He<br />
was so fond of Dickens that he employed his spare<br />
time in illustrating him, but whether his work<br />
would ever see the light he did not know. He<br />
added that he had been brought up on Dickens<br />
since he was a small boy, and he was bringing up<br />
his children on Dickens too.<br />
<br />
Mr. Kitton and Mr. Francesco Berger briefly<br />
addressed the meeting.<br />
<br />
The election of officers then took place, Mr.<br />
Percy Fitzgerald being unanimously elected as<br />
President for the year, then Mr. Hall Caine, Mr.<br />
F. G. Kitton, Mr. Harry Furniss, Mr. Francesco<br />
Berger, Mr. W. Moy Thomas, Mr. M. H. Spiel-<br />
mann, Mr. Arthur Waugh, Mr. J. L. Toole, Mr.<br />
Hammond Hall, and Sir Henry Irving were<br />
elected as Vice-Presidents, and Mr. B. W. Matz as<br />
Hon. Secretary and Treasurer.<br />
<br />
“Household Words,” founded by Charles Dickens<br />
over 50 years ago, was declared the official organ<br />
of the Dickens Fellowship.<br />
<br />
At the conclusion of the meeting a very hearty<br />
vote of thanks to Mr. Percy Fitzgerald was moved<br />
by Mr. Harry Furniss, seconded by Mr. Hall<br />
Caine, and carried unanimously.<br />
<br />
—_—_——_1—<>—__+___—_—_-<br />
<br />
“THE EDINBURGH REVIEW.”<br />
October, 1802—October, 1902.<br />
<br />
<br />
<br />
HE centenary of The Edinburgh Review is an<br />
co historical event which cannot be passed<br />
over by any literary paper, and it is fitting<br />
that we should offer a special word of congratula-<br />
tion upon it to Messrs. Longmans, Green & Co.,<br />
who are in 1902, as they were in 1802, the<br />
publishers of what is still a leading enterprise in<br />
periodical literature.<br />
<br />
It is a very easy matter to criticise adversely<br />
the early numbers of the Review, and to express<br />
some tolerant surprise at the amazing popular<br />
success it immediately achieved ; but to do this is<br />
to miss part, if not indeed the major part, of its<br />
original purpose. That it was not primarily in-<br />
tended to deal with literary matters is evident<br />
from the fact that the words “and Critical<br />
Journal” form only its sub-title. Jeffrey himself<br />
wrote as follows to a friend who raised the point :—<br />
52<br />
<br />
“The Review has but two legs to stand on—<br />
Literature is one of them, but the right leg is<br />
Politics.” It would be more fair, therefore, for<br />
those who would seek to deprecate the worth of<br />
the Review, as originally issued, to devote their<br />
energies to riddling its political front instead of<br />
focussing their attention upon its critical articles.<br />
Yet, so far as we are aware, this has not been<br />
seriously attempted.<br />
<br />
Omitting, as outside our province, any discussion<br />
of the many political questions dealt with as they<br />
arose by the Edinburgh Reviewers, and of the<br />
treatment they received at their hands, it is yet<br />
proper to observe that the function of a great<br />
review is to anticipate the trend of thought upon<br />
subjects of the most diverse interest, to concen-<br />
trate the general attention within practicable<br />
Vimits, and to divert public opinion into that<br />
channel which it believes will lead to the happy<br />
issue. This 7he Edinburgh Review most certainly<br />
did. It stood for Whiggery first of all, and how-<br />
ever it may have blundered in its critical articles,<br />
it became a political force. Its politics may have<br />
been damnable, but its policy was soundly laid<br />
and has endured for a century. :<br />
<br />
It is possible that the explanation of its resisting<br />
power may be found in its consistency. Jeffrey’s<br />
instructions to Macvey Napier as to the responsi-<br />
bilities incidental to the editorial management of<br />
anonymous journalism have been preserved, and<br />
they have always ruled the conduct of the<br />
Review :—<br />
<br />
“There are three legitimate considerations,” he<br />
says, “by which you should be guided in your<br />
conduct as Editor generally ; and particularly as<br />
to the admission or rejection of articles of a political<br />
sort :—1. The effect of your decision on the other<br />
contributors upon whom you mainly rely ; 2. Its<br />
effect on the sale and circulation, and on the just<br />
authority of the work with the great body of its<br />
readers ; and 3. Your own deliberate opinion as to<br />
the safety or danger of the doctrines maintained<br />
in the article under consideration, and its tendency<br />
either to promote or retard the practical adoption<br />
of those liberal principles to which, and ¢heir prac-<br />
tical advancement, you must always consider the<br />
journal as devoted.” .. .<br />
<br />
The Edinburgh Review has at any rate been con-<br />
scientious and consistent, and it preserves vitality<br />
at the expiration of a hundred years. People who<br />
are interested in tracing the practical operation of<br />
principles in the trivial affairs of life may find<br />
some food for reflection in the fact.<br />
<br />
Sydney Smith and his friends not only correctly<br />
estimated the proper functions of their Review,<br />
but they seized the proper moment for its estab-<br />
lishment. By the mere fact of doing the right<br />
thing at the right time they justified their pre-<br />
<br />
THE AUTHOR.<br />
<br />
tensions to occupy the pulpit, and on the whole<br />
acquitted themselves remarkably well. Journalistic<br />
conditions are so different now from what they were<br />
then that it is impossible to realise the effect the<br />
Review had upon the intelligent community. The<br />
French Revolution had lately upset the mental<br />
equilibrium of the world, and thinking men were<br />
eager to keep abreast of the wave of intellectual<br />
activity that was sweeping over Europe. The<br />
founders of The Edinburgh Review perceived this.<br />
and leaped forward. They had enthusiasm. They<br />
were on the side of the angels, and were at pains<br />
to let everybody know it. If they sometimes used<br />
exaggerated language, they did so with the utmost<br />
purity of motive. They thought it better to cry<br />
“Havoc” when they scented battle, than to cry<br />
“Peace”? when there was no peace. And,<br />
humanly speaking, they were right. That the<br />
Review should be shorn of much of its political<br />
power in these later days is no reproach to it.<br />
History is made so rapidly that men cannot wait<br />
for quarterlies to shape their opinions on affairs.<br />
But The Edinburgh Review stands for Whiggery<br />
to-day as it stood a hundred years ago, and still<br />
enjoys the closest personal relations with the<br />
leaders of that great historical party.<br />
<br />
To make any adequate comment on its services.<br />
as a critica] journal in the space at our disposal is<br />
manifestly impossible. It established a precedent<br />
for criticism in the grand manner in periodical<br />
literature, and if it sometimes blundered, this was.<br />
the exception, not the rule. To look over the<br />
volumes of the Review is to peep into a vast mine<br />
of erudition, and its articles summarising the<br />
known facts of any given subject dealt with in<br />
books, or groups of books, remain models of what<br />
such literary essays should be. The art brought<br />
to such polished perfection by Macaulay, and first<br />
displayed to a delighted world through the medium<br />
of The Edinburgh Review, still has many able<br />
exponents. That the daily, or even the weekly,<br />
newspapers can cope with a tithe of the books<br />
poured upon the market is out of the question ;<br />
they must either ignore them or spare them space<br />
for a wholly inadequate “notice.” As the writer<br />
of the historical survey in the centenary number<br />
of The Edinburgh Review remarks: ‘ Books that.<br />
have taken able and learned men years to write<br />
deserve to be pondered, not merely to be read,<br />
by those who would give a really adequate account<br />
of them, and would criticise them in the old and<br />
true sense of the word. It is one advantage of the<br />
quarterlies that even in these days of electricity<br />
they have time to think.”<br />
<br />
It is probable, therefore, that it is as a critical<br />
journal rather than as a political review that The<br />
Edinburgh will continue its long and honourable<br />
career, and, as such, the twentieth century will<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 53<br />
<br />
have use for it. That it will maintain its old<br />
tradition of anonymity is devoutly to be wished,<br />
for so long as it preserves its characteristics, only<br />
advantage can be derived from its articles carrying<br />
the full weight of the journal’s prestige, instead of<br />
the mere weight given them by the qualifications<br />
of the individual writers. These characteristics are<br />
erudition without dulness, scholarship without<br />
pedantry, and dignity with restraint. We need<br />
them sorely in this age of flamboyant politics,<br />
hysterical journalism, and superficial cleverness,<br />
and we are confident that we shall continue to<br />
find them in The Edinburgh Review. So shall the<br />
judge not be condemned, even though the guilty<br />
sometimes go scot free.<br />
<br />
—____—___e——__.<br />
<br />
AN AUTUMN SALE.<br />
<br />
+<br />
<br />
soap first crisp breath of autumn in the air<br />
<br />
felt pleasant after the heat and closeness of<br />
<br />
an unusually dry summer. I paused for a<br />
moment outside an A.B.C. shop, undecided<br />
whether to have a cup of tea there, or wait till I<br />
got home ; as I did so a bill fastened to the swing<br />
doors of the adjacent building attracted my<br />
attention. It was worded as follows :—<br />
<br />
Sate. THs Day.<br />
<br />
END OF SEASON.<br />
<br />
In order to make room for an entirely<br />
new stock of Sea-side novel plots, and<br />
Summer Number novelties, the following<br />
Lots of valuable material for the manu-<br />
facture of Christmas Stories will be sold<br />
by auction.<br />
<br />
Sale at 2.45 for 3 to the minute.<br />
<br />
Then followed a lengthy catalogue, which at first<br />
T could not understand. It being then a quarter<br />
past three, and having rather a weakness for<br />
attending sales, I opened the swing doors, and<br />
walked inside.<br />
<br />
A crowd of persons of both sexes filled the<br />
reom, the faces of some seeming to bear striking<br />
resemblance to portraits [ had seen in the illus-<br />
trated magazines. The auctioneer was at his<br />
desk, hammer in hand ; but I saw no signs of the<br />
property which was to be sold. The assistant,<br />
who on these occasions exhibits the lots by<br />
holding them up, or handing them round, sat, in<br />
his shirt-sleeves, at a side table, having before him<br />
a list, and a pile of envelopes, each of which was<br />
numbered.<br />
<br />
“Two shillings I’m bid,” the auctioneer was<br />
chanting. ‘Two shillings, two and three, two<br />
and six. Two and six for the haunted room, with<br />
wood fire, and four-post bed; two and six ; why<br />
the room itself is worth the money, nothing ever<br />
seen, but people die of fright, and are found with<br />
petrified look of horror on their faces in the<br />
morning. No advance on two and six? Come,<br />
we must get on. Going at two and siz—at two<br />
and six!” Rap.<br />
<br />
I did not see who had secured the bargain, but<br />
the price seemed ridiculously small for a haunted<br />
room, four-post bed, and wood fire ; and I expressed<br />
this opinion to a seedy, elderly-looking man who<br />
stood by my side.<br />
<br />
“Small! Pooh—nonsense,” he replied. “ Quite<br />
out of date now. I know that bed; slept in it<br />
myself a dozen times—at least my characters have.<br />
You wouldn’t get ten shillings a thousand for it<br />
now.”<br />
<br />
“Not ten shillings for a thousand bedsteads ?”’<br />
I repeated, astonished.<br />
<br />
“No, words,’ he snapped. “ Don’t you under-<br />
stand this is an end-of-the-season clearance sale<br />
of material for Christmas stories.”<br />
<br />
“ But it still wants three months to Christmas.”<br />
<br />
‘© Of course, but the Christmas stories have all<br />
been written long ago; most of them finished<br />
before Midsummer Day. Buyers are acquiring<br />
stuff now with an eye to publication in fifteen<br />
months’ time.”<br />
<br />
“Less talking, please,” cried the auctioneer.<br />
“We've got to the end of the Haunted Houses,<br />
and now we come to Lot 15. A ship’s captain and<br />
a plum-pudding. By the way, Sam, isn’t there a<br />
storm at sea goes with this lot ?”<br />
<br />
“It’s put along of the other storms,” answered<br />
Sam, referring to his list. “There y’are : Lot 43,<br />
a storm at sea; two snowstorms; and some wind,<br />
rain, and hinky darkness.”<br />
<br />
“It ought by rights to have gone with this lot,”<br />
said the Knight of the Hammer. “Still, we'd<br />
better keep to the catalogue. What shall we say<br />
for the sea captain and his plum-pudding?”<br />
Will someone start the bidding ?”<br />
<br />
“Old as the hills,’ grumbled my companion.<br />
“Done to death, both in letterpress and<br />
illustration.”<br />
<br />
An elderly lady with spectacles eventually<br />
bought the captain and pudding, though at a price<br />
which the auctioneer declared was “ giving the<br />
things away.”<br />
<br />
«Tot 16” was the next announcement. “ 7'wo<br />
starving children; one drunken father ; and an<br />
angel, slightly damaged. What's the matter with<br />
the angel, Sam?”<br />
<br />
“ Hold age, I suppose,” mumbled Sam. “The<br />
feathers is a-coming out of its wings.”<br />
<br />
’<br />
<br />
%<br />
<br />
<br />
<br />
<br />
bd THE AUTHOR.<br />
<br />
“ Perhaps it’s moulting, sir,” suggested a wag<br />
in the crowd.<br />
<br />
“Jn that case we may hope the feathers will<br />
come again ; at all events there’s no doubt about<br />
the children and drunken father. Now, what shall<br />
we say for Lot 16?”<br />
<br />
The spectacled lady was again a bidder, but<br />
this time she was not going to have it all her own<br />
way, for the lot seemed to have taken the fancy of<br />
a rotund, benevolent-looking gentleman, dressed<br />
in clerical clothes. Neither, however, seemed.<br />
inclined to pay a long price, and the hammer fell<br />
on the lady’s bid. :<br />
<br />
«“ That’s Miss Selina Simmonds,” muttered my<br />
companion. “ She’s prepared to buy up any<br />
amount of cheap stuff. Writes Children’s Columns<br />
and that sort of thing.” °<br />
<br />
“4 mad engine-driver; an armed commercial<br />
traveller ; a night express ; and a@ broken viaduct,”<br />
read out the auctioneer.<br />
<br />
“ That lot’s withdrawn,” remarked Sam.<br />
<br />
“ How’s that ?”<br />
<br />
“J dunno; it ain’t here. Better take the<br />
next.”<br />
<br />
“ Lot 18,” went on the auctioneer, brightening<br />
up. ‘“ Here’s something quite novel and up to<br />
date. Society lady, with smirched reputation ; and<br />
a double suicide. Just the thing for a Christmas<br />
number. Wait a moment; we'll take Lot 19 with<br />
it, and try them together. Lof 19, @ phial con-<br />
taining a narcotic drug.”<br />
<br />
To my surprise the bidding for this property<br />
was quite brisk, the best-dressed portion of the<br />
audience seeming to vie with each other for its<br />
possession. At length a fashionably-attired lady<br />
secured it with evident satisfaction.<br />
<br />
“Next we come to Lot 20,” proceeded the<br />
auctioneer. “An Assortment of Suggestive Titles.<br />
Read ’em out, Sam.”<br />
<br />
“ The Crack of Doom; Christmas with a Corpse ;<br />
By Midnight Mail; The Grave-Digger’s Story ; A<br />
Ghastly Secret,’ intoned the assistant.<br />
<br />
Once more the flagging interest of the assembly<br />
seemed quickened, and there was no lack of<br />
offers.<br />
<br />
“ Now, we’ve got a number of miscellaneous lots<br />
to deal with. Lot 21, five nine-gallon casks of<br />
blood. What am I offered for Lot 21?”<br />
<br />
There was no response.<br />
<br />
“Tt’s all ’uman blood,” prompted Sam from<br />
his table.<br />
<br />
“Come,” cried the salesman, “won’t anyone<br />
make a start? Nothing like plenty of blood in a<br />
Christmas story.”<br />
<br />
“Five casks is rather a large quantity for a<br />
single buyer,” suggested a gentleman.<br />
<br />
“Well, let’s divide the lot,” replied the<br />
auctioneer, making a pencil memo, on his<br />
<br />
catalogue. ‘ Lot 21a, three casks of blood; and<br />
Lot 210, the remaining two casks.”<br />
<br />
Under the new conditions the lot was soon<br />
disposed of ; everyone present seemed to have a<br />
use for blood, and bids were fired at the auctioneer<br />
from all quarters.<br />
<br />
The man by my side made an impatient<br />
movement. “I thought I’d wait and see how that<br />
went,” he remarked, pointing to a cross against<br />
one of the numbers on his catalogue. “ It’s sure<br />
to come in useful; but no, I shan’t stop any<br />
longer.”<br />
<br />
Lot 42, four unspeakable horrors. This was<br />
the line he indicated. We left the room, and<br />
passed through the swing doors together.<br />
<br />
“Christmas story writing must be rather a<br />
morbid and depressing sort of business,” I ventured<br />
to suggest.<br />
<br />
“Well, yes,” he answered, “if you keep abreast.<br />
of the times, and go in for good prices. Tt used<br />
not to be so,” he added, a trifle sadly, speaking as<br />
one who realises that his own day is past. «y<br />
remember the time when we used to go in for holly<br />
and good-cheer, warm firesides, and happy endings ;<br />
but bless you, that’s all altered now.”<br />
<br />
With a parting wave of his hand he turned<br />
abruptly, and went his way. The autumn chill,<br />
had strengthened in the air; I almost wished I had<br />
worn an overcoat.<br />
<br />
ee<br />
<br />
THE “YOUNG IDEA’S” VIEWS ON<br />
POETRY.<br />
<br />
— ><br />
<br />
[Reprinted by kind permission of the Editor from:<br />
the American Critic. ]<br />
<br />
A TEACHER in a public school in one of our<br />
<br />
larger cities thought to teach the Young<br />
Idea something about the beauty and meaning of<br />
poetry. Her class consisted of boys and girls<br />
from fourteen to eighteen years of age and of fair<br />
average intelligence. She read them Browning’s<br />
“ Meeting at Night,” and asked them to write out<br />
their opinions of the subject and its treatment..<br />
This they did with the unhesitating confidence of<br />
youth. Here is the poem:<br />
<br />
1,<br />
<br />
The grey sea and the long plack land ;<br />
And the yellow half-moon large and low ;<br />
‘And the startled little waves that leap<br />
In fiery ringlets from their sleep,<br />
<br />
As I gain the cove with pushing prow,<br />
And quench its speed i the slushy sand.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
wes<br />
<br />
Ie<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 55.<br />
<br />
Il.<br />
<br />
Then a mile of sea-scented beach ;<br />
<br />
Three fields to cross till a farm appears ;<br />
<br />
A tap at the pane, the quick sharp scratch<br />
And blue spurt of a lighted match,<br />
<br />
And a voice less loud, through joys and fears,<br />
Then two hearts beating each to each !<br />
<br />
Some of the more candid criticisms are here<br />
ae 7 as they were wrote,” spelling, punctuation,<br />
and all :—<br />
<br />
“J think it presents a fine moonlight picture.<br />
it tell how far he has to travel and the greeting<br />
when he arrives, at the farm house, I think it is a<br />
sailor coming home from a voyage. ‘I'he peace is<br />
wrote in Irvings style being compact and expresses<br />
a clear idea in a very few lines.”<br />
<br />
“ T do not like it because it is not closely enough<br />
connected. The description of the sea or land is<br />
not very good. It isa very hurried description.”<br />
<br />
<br />
<br />
“J think it is too dark because It would take<br />
longer that the time it took in the poetry and it<br />
show how scared a woman gets because when she<br />
heard him she could hardly talk between fear.”<br />
<br />
«This short piece of poetry in my opinion is a<br />
nice opening for a story because Brown illustrates<br />
it so finely as the moonlight on the lake.”<br />
<br />
“J think this little poetry is nice because it<br />
tells the nice route of the lover and would be much<br />
more beautiful if it was longer and contained many<br />
more interesting facts.”<br />
<br />
“Poor. Because it starts to quickly and because<br />
it tells nothing of where he was or how he came to<br />
be in the book and he skipped from the ocean to<br />
the moon & then back to the water.”<br />
<br />
“1 think It is a nice poem it explains about a<br />
man walking up the sea shore in dark he is just<br />
going home from work and as he reaches the house<br />
he tapps at the window to let his wife or friend<br />
know that it is no stranger or no body that will<br />
hurt her.”<br />
<br />
“TI think it is pretty good because it is taken<br />
from life and that when a man goes home he always<br />
kisses his wife.”<br />
<br />
“T don’t like it because it is not natural and I<br />
don’t think it is a piece of poetry.”<br />
<br />
“It is very pretty for the reason that is shows<br />
affection and because of the beautiful description<br />
of the road which the gentleman takes at sunset.”<br />
<br />
“The man came down the lake in a boat and<br />
was much excited and hurried to the land. The<br />
tide was coming in and he was obliged to walk<br />
along the beach and long distance and hurried<br />
across the fields and came to the farm house and<br />
rapped on the window and his lover lit a match<br />
and appeared at the window.”<br />
<br />
“Tts good. Because he has a good choice of<br />
words and has a good ending and describes the<br />
anxiety of the husband.”<br />
<br />
“Tt is no good. Because I think it is foolish.”<br />
<br />
“JT think it is good because it tells the hard<br />
time a man has in coming home sometimes.”<br />
<br />
“Tt is fairly good but I can see but little sence.<br />
It is well worded and the words are well connected.”<br />
<br />
“Good, because as a short passage it gives a<br />
good description from being to end of a Lovers<br />
course to his most Beloved.”<br />
<br />
“T think it is the description of a lover going to<br />
sce his sweetheart. But I believe it would be better<br />
if the sweetheart had had the light burning pre-<br />
vious to his arrival. The description of the waves<br />
as they beat against the boat is very good.”<br />
<br />
“TJ think it has very good descriptions, but I<br />
don’t fancy sentimental things, and that closes in<br />
that way.”<br />
<br />
“T think it is no good for a description of a<br />
lonely walk for there is not enough description of<br />
the walk to give you an idea of the beauty of the<br />
scenery. It isnot as good as the description of<br />
the moonlight on the snow in Snow Bound. The<br />
poem does not give enough time to the subject.”<br />
<br />
<br />
56<br />
<br />
«J think this is a very beautiful piece of poetry.<br />
For one reason I think it must have tickled the<br />
young girl to see her lover coming to see her and<br />
how happy she must have felt to be in his com-<br />
pany for the remainder of the evening. As I am<br />
not interested in love and no but very little about<br />
it I can give no further explanation in regard<br />
to it.”<br />
<br />
<br />
<br />
“Pretty Bum because its to wishy-washy and<br />
because 1 don’t think it likely also because I dont<br />
like rhythm.”<br />
<br />
—<br />
<br />
CORRESPONDENCE.<br />
<br />
Se<br />
“AUTHOR AND EDITOR.”<br />
<br />
Srr,—I think your correspondent is rather hard<br />
on the editor of the Westminster Gazette. These<br />
are bookmaking days, and it is quite impossible<br />
for editors to find space to review anything like<br />
every book published. Hence there must always<br />
be a good many minor works which only have the<br />
good fortune to be reviewed in papers of secondary<br />
importance.<br />
<br />
New volumes of verse, even by the most cele-<br />
brated writers, are not much read by the British<br />
public nowadays, and the editor is bound to use his<br />
valuable space for popular novels and standard<br />
works. But even so, books of real merit often<br />
get passed over. It is the custom, I believe, for<br />
the editor to hand the books sent to him for<br />
criticism to his reviewer. The latter makes a<br />
selection of the books he intends to notice, and<br />
puts the remainder aside. Thus an excellent work<br />
by an unknown author might only be rewarded by<br />
having its title-page read! How much chance, for<br />
instance, would “Paradise Lost” have of being<br />
widely reviewed, were Mr. John Milton an obscure<br />
poet of to-day ?<br />
<br />
Yours faithfully,<br />
<br />
F. J. WINBOLT.<br />
October 6th, 1902.<br />
<br />
1 —<br />
<br />
STANDARD RULES FOR PRINTING.<br />
<br />
Srr,—If any improvement is to be effected in<br />
<br />
our spelling rules and customs, it must be by<br />
<br />
means of free discussion in the first place. So I<br />
<br />
gladly welcome the criticism of “W. W.S.” on my<br />
note, and equally gladly defer to him on any point<br />
which he can fairly establish against me.<br />
<br />
But let<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
me explain further about words in -able, full in<br />
composition, and the spelling of such words as<br />
connection and inflection.<br />
<br />
1. The object of my note was to gain a hearing<br />
for the simplification of our recognised spelling<br />
rules, and to make them less difficult by minimising<br />
the useless exceptions. My critic would apparently<br />
keep a number of these trying exceptions, because<br />
of the manner in which the words have come inte<br />
our language. For instance, he would keep -iae<br />
because it is Greek and phonetic. The obvious<br />
reply is that -ise is equally phonetic. Ours has two<br />
sounds, and it is no use pretending that we cannot<br />
make z sounds with it—try “nose,” ‘‘eyes,” “flies,”<br />
etc.; or again, he would keep the # in “ connection ”<br />
and “inflection,” because it is etymological and<br />
phonetic. But to spell these words with a c¢ equally<br />
preserves the etymology and the sound, and so<br />
there is no need for the .<br />
<br />
2. I considered myself under the necessity of<br />
brevity, as I do now; and it was under this dis-<br />
advantage that I only partially and awkwardly<br />
explained myself about Latin words in -<b/e. My<br />
idea was to make as many words as possible take<br />
the ending -able, and only to accept -2ble and -wble<br />
when absolutely necessary, on account of long use<br />
through direct derivation from Latin words in<br />
-ibilis. Possibly “W. W. 8.” and I together could<br />
draw up an acceptable list of such words.<br />
<br />
3. For the sake of making some definite rule<br />
which will hold in all cases, I still consider my<br />
suggestion regarding the spelling of fu/? in com-<br />
position worthy of consideration. It is impractic-<br />
able to spell by stress, for pronunciation throughout<br />
England is largely a matter of taste, locality, and<br />
education. For a fixed standard there must be a<br />
fixed rule.<br />
<br />
4. I shall be glad of criticisms on the other<br />
points, e.g., the adding of -ed, ~ing, -er, and other<br />
syllables; the spelling of “ attendance ” and<br />
“dependant,” etc. ; the use of a and an before the<br />
letter A.<br />
<br />
FUR:<br />
<br />
<br />
<br />
——<br />
<br />
TYPEWRITING.<br />
To the Editor of THR AUTHOR.<br />
<br />
Srr,—Should any of your readers know of an<br />
intelligent type-writing lady, will they be so kind<br />
as to communicate to me her name and address.<br />
<br />
-GHORGE CECIL.<br />
<br />
Pall Mall Club,<br />
<br />
12, St. James’s Square, 8.W.<br />
September 1st, 1902.<br />
<br />
Che Hutbhor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT. | https://historysoa.com/files/original/5/477/1902-11-01-The-Author-13-2.pdf | publications, The Author |
478 | https://historysoa.com/items/show/478 | The Author, Vol. 13 Issue 03 (December 1902) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+03+%28December+1902%29"><em>The Author</em>, Vol. 13 Issue 03 (December 1902)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1902-12-01-The-Author-13-3 | | | | | 57–80 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1902-12-01">1902-12-01</a> | | | | | | | 3 | | | 19021201 | VOL, SITT_ No. 3.<br />
<br />
DECEMBER Ist, 1902.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
CHANGE OF ADDRESS.<br />
<br />
a<br />
<br />
As mistakes still occur with regard to the<br />
Address of the Society, it has been thought<br />
expedient to continue this Notice, that the Office<br />
of the Society is situated at—<br />
<br />
39, OLD QUEEN STREET,<br />
STOREY’S GATE, S.W.<br />
<br />
The Telephone connection has now been estab-<br />
<br />
. lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
—_—_____ —~>—_<br />
<br />
NOTICES.<br />
<br />
+<br />
<br />
OR the opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tue Editor begs to inform Members of the<br />
Authors’ Society and other readers of The Author<br />
<br />
. that the cases which are from time to time quoted<br />
<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
+<br />
<br />
List of Members.<br />
<br />
TuE list of members of the Society of Authors<br />
can now be obtained at the offices of the Society,<br />
at the price of 6d. net.<br />
<br />
It will be sold to the members of the Society<br />
only.<br />
<br />
You, XIII.<br />
<br />
The Pension Fund of the Society.<br />
<br />
THe Investments of the Pension Fund at<br />
present standing in the names of the Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
ORCS Fo ie £816 5 6<br />
Wocal Woans 20.2.3... 404 10 0<br />
<br />
Victorian Government 3 % Con-<br />
solidated Inscribed Stock............ 291 19 11<br />
War dan 252 3 201 9 3<br />
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<br />
There is, in addition, a balance of about £20<br />
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<br />
The subscriptions and donations from June 24th<br />
are as follows.<br />
<br />
Further sums will be acknowledged from month<br />
to month as they come to hand.<br />
<br />
DONATIONS.<br />
July 17, Capes, Bernard E. ............ 50 bo: 9<br />
Oct. 28, Evans, Miss May ............ 0.5 0<br />
Noy. 11, Bisiker, Wo 0... 0 5 0<br />
ANNUAL SUBSCRIPTIONS.<br />
July 19, Warden, Miss Gertrude...... 20 8 8<br />
Oct. 21, Thomson, Miss ©. L.......... 0 5 0<br />
Oct. 23, Butter, . 1.7... QO 5. 0<br />
e<br />
<br />
SpeciAL APPEAL.<br />
<br />
Tue Appeal sent out by the Chairman of the<br />
Society at the request of the Pension Fund Com-<br />
mittee has been, so far, very successful.<br />
<br />
Up to and including the 22nd of November, the<br />
list of subscriptions and donations promised and<br />
<br />
<br />
<br />
58<br />
<br />
given is set forth below. Further subscriptions<br />
and donations will be acknowledged in the January<br />
<br />
number.<br />
Subscriptions.<br />
<br />
Nov. 14, Tuckett, F. i : : .£1 0 0<br />
» Cox, Miss Roalfe 0 5.0<br />
» Loynbee, William . 010 6<br />
, Anonymous . ’ : 1 0 0<br />
» odd, Miss Margaret, M.D. 1 1 oO<br />
», Pearson, Mrs. Conney 2 2 0<br />
» Seaman, Owen . ; i 0<br />
» Abbot, Rev. Edwin A. D.D.. 1 0 9<br />
» Witherby, Rev. C. . : 0 5 0<br />
» _ salwey, Reginald E. 010 0<br />
» Vacher, Francis 11.0<br />
<br />
Noy. 15, Parr, Mrs. - : Taleo<br />
» Davy, Mrs. E. M. . : 010 6<br />
» Allingham, William, F.R.C.S. 1 1 O<br />
» Armstrong, Miss Frances O b&b 0<br />
<br />
» Holmes, Arthur H. (condi-<br />
<br />
tional) 1 A 0<br />
<br />
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<br />
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<br />
Nov. 17, Nesbit, Hume ; 010 0<br />
<br />
» Keene, H.G.,C081. . 520 07-0<br />
<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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<br />
,, Clough, Miss B. A. 010 6<br />
<br />
5 Stanton, Miss H. M. 0 5 0<br />
<br />
» “Lucas Malet” 2.2 0<br />
<br />
Nov. 20, E.G. . : : 010 0<br />
<br />
» Jenkins, Miss Hadow O50<br />
<br />
» Morrah, H. A. ‘ 010 6<br />
<br />
» Hatton-Ellis, Mrs. . 11.0<br />
<br />
. Bertouch, The Baroness de 0 5 0<br />
<br />
Anonymous 0 2 6<br />
<br />
Nov. 21, Parr, Miss Olive 0. 5 0<br />
<br />
Nov. 22, Forbes, Lady Helen 1200<br />
<br />
», Twycross, Miss M. 0 5 0<br />
<br />
Donatwns.<br />
<br />
Noy. 13, Bullen, F. T.. : : so 0 0<br />
» Roberts, Morley (an annual<br />
<br />
subscriber) . ; 010 0<br />
<br />
Nov. 14, Rossetti, W.M. . -- 4 0 0<br />
<br />
Marshall, Capt. Robert . 5 5 0<br />
<br />
», Hoyer, Miss . ‘ 1.0 0<br />
<br />
oc of MS, D0 0<br />
<br />
» Lefroy, Mrs. . a)<br />
<br />
THE AUTHOR.<br />
<br />
Nov. 14, Sinclair, Miss May (an annual<br />
subscriber) . ; : £<br />
, McBride, Capt. E. E.<br />
5, Garnier, Russell .<br />
Noy. 15, Burchell, Sidney H.<br />
5 “Spero” : :<br />
» Cecil Medlicott” .<br />
ss Harker, Mrs. Allen<br />
a Banks, Mrs. M. M.<br />
a Spielmann, M.H. .<br />
» Garnier, Col. J. .<br />
5 Benecke, Miss Ida .<br />
, Atton, Henry :<br />
Nov. 17, Panter, Rev. C. B..<br />
» Keene, H. G., C.8.I.<br />
<br />
a<br />
wore<br />
<br />
ay<br />
<br />
Soo or eococeoNecr aS<br />
Hee =<br />
SB DOW MO OH AUMAAHOSWONS<br />
<br />
oooeo ee<br />
<br />
», Spielmann, Mrs. M. 4H. . 1<br />
» Begbie, Harold 73<br />
4, Stevenson, J.J. . : 10<br />
, Minniken, Miss Bertha M. 0<br />
Noy. 18, From sale of autograph . 1<br />
» Wintle, H. R. : : 0<br />
». Brickdale-Corbett, H.M. . 0<br />
». Defries, Miss Violet , 0<br />
Nov. 19, Stanton, Miss Hannah M. 1<br />
» Warren, Major-General Sir<br />
Charles, K.C.M.G. 1 0<br />
». “Lucas Malet”. : 5 5<br />
Nov. 20, Wynne, Charles Whitworth 5b<br />
Nov. 22, Skeat, The Rev. Prof. W. We. 5 8<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rev. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
There are in addition other subscribers who do<br />
<br />
not desire that either their names or the amount’<br />
<br />
they are subscribing should be printed.<br />
<br />
The total amount of cash actually received is.<br />
£147 18s.<br />
<br />
Mr. Hamilton Drummond, who is a member of<br />
our Society, has offered a subscription of £10 for<br />
<br />
five years, if nine other members of the Society<br />
<br />
will promise the same contribution before 31st<br />
March, 1903.<br />
<br />
We sincerely hope that sufficient members of<br />
the Society will be found to come forward and<br />
meet Mr. Drummond’s generous offer, and that<br />
before the time expires we may be able to print in<br />
the columns of Zhe Author the full list of ten<br />
subscribers of the required amount.<br />
<br />
Subscriptions.<br />
Hawkins, A. Hope . : : .£10 0 0<br />
Barrie, J. M. . . : : 10 0 8<br />
Drummond, Hamilton : . . 10 0 0<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Tue Pension Funpd COMMITTEE.<br />
<br />
In order to give members of the Society, should<br />
they desire to appoint a fresh member to the<br />
Pension Fund Committee, full time to act, it has<br />
been thought advisable to place in 7he Author a<br />
full statement of the method of election under the<br />
Scheme for administration of the Pension Fund.<br />
Under that Scheme the Committee is composed of<br />
three members elected by the Committee of the<br />
Society, three members elected by the Society at<br />
the General Meeting, and the Chairman of the<br />
Society for the time being, ex officio. The three<br />
members elected at the General Meeting when the<br />
Fund was started, were Mr. Morley Roberts, Mr.<br />
M. H. Spielmann, and Mrs. Alec Tweedie. Last<br />
year, Mrs. Alec Tweedie resigned in due course,<br />
and submitting her name for re-election was<br />
unanimously re-elected. This year, Mr. Morley<br />
Roberts in turn, under the Rules of the Scheme,<br />
tenders his resignation and submits his name for<br />
re-election. The members have power to put for-<br />
ward other names under Clause 9 which runs as<br />
follows :—<br />
<br />
“* Any candidate for election to the Pension Fund Com-<br />
mittee by the members of the Society (mot being a retiring<br />
member of such Committee) shall be nominated in writing<br />
<br />
to the Secretary, at least three weeks prior to the General<br />
Meeting at which such candidate is to be proposed, and the<br />
nomination of each such candidate shall be subscribed by,<br />
at least, three members of the Society. A list of the names<br />
of the candidates so nominated shall be sent to the members<br />
of the Society with the annual report of the Managing<br />
Committee, and those candidates obtaining the most votes<br />
at the General Meeting shall be elected to serve on the<br />
Pension Fund Committee.”<br />
<br />
Tn case any member should desire to refer to the<br />
List of Members, a copy complete, with the excep-<br />
tion of those members referred to in the note at<br />
the beginning, can be obtained at the Society’s<br />
-otfice.<br />
<br />
Tt would be as well, therefore, should any of the<br />
members desire to put forward candidates, to take<br />
the matter within their immediate consideration.<br />
‘The General Meeting of the Society has usually<br />
been held towards the end of February or the<br />
beginning of March. This notice will be repeated<br />
in the January number of Vhe Author. It is<br />
essential that all nominations should be in the<br />
hands of the Secretary before the 31st of January,<br />
1903.<br />
<br />
+<br />
<br />
Sir Walter Besant Memorial Fund.<br />
<br />
THE amount standing to the credit<br />
of this account in the Bank is.:....... £327 15 0<br />
<br />
There are a few promised subscriptions stil<br />
outstanding. The total of these is, roughly,<br />
<br />
59<br />
<br />
about £4. The subscriptions received from March<br />
to the date of issue are given below :—<br />
<br />
Anonymous. : : : - £17670<br />
Champneys, Basil . : I)<br />
“ Colonia,” Natal, 8. Africa 1. 0<br />
Fife Cookson, Lt.-Col. F. C. Tet 6<br />
Gunter, Lt.-Col. E. A. : 010 0<br />
Harding, Capt. Claud, R.N. I.0 0<br />
Hurry, A. ; : : : : 010 6<br />
Keary, C. F. (amount not to be men-<br />
tioned)<br />
<br />
Kinns, The Rev. Samuel, D.D. .<br />
Millais; J.G. : :<br />
Quiller Couch, Miss M.<br />
Sterry, J. Ashby 3 :<br />
Temple, Lieut.-Col. Sir R. C.<br />
Underdown, Miss E.<br />
Lockyer, Sir T. Norman<br />
Beale, Miss Mary<br />
<br />
Bolam, Rey. ©. E.<br />
<br />
Egbert, Henry :<br />
Eccles, Miss O’Connor<br />
Darwin, Francis ; :<br />
Montgomery-Campbell, Miss<br />
Medlicott, Cecil<br />
<br />
Saxby, Miss.<br />
<br />
Caine, T. H. Hall<br />
<br />
Marris, Miss Murrell<br />
<br />
S. B. : :<br />
Bloomfield, J. H. .<br />
<br />
F. O. B. (Coventry) .<br />
Seton-Karr, H. W.<br />
<br />
Heriot, Cheyne :<br />
Charley, Sir W. T., K.C.<br />
<br />
“« Hsme Stuart ” ;<br />
Charlton, Miss Emily<br />
Kroeker, Mrs.<br />
<br />
Aflalo, F. G.<br />
<br />
Patterson, A. . ;<br />
Salwey, Reginald EH.<br />
Gidley, Miss E. C.<br />
<br />
Nixon, Prof. J. E.<br />
<br />
a<br />
<br />
—_<br />
SCH OR COOH OHHH OO ONMWOHRFROHS<br />
<br />
—<br />
NOOR NW OOOH OO O19 OOS BS BY OF OTD OD OL HY OL OF<br />
<br />
—ROCCOePecocooeceacooqoorcoocoo Coco oCcoaoaocoooooo Oo<br />
<br />
SocrFNwocoH<br />
KH<br />
<br />
o><br />
So<br />
<br />
— + os<br />
<br />
FROM THE COMMITTEE.<br />
<br />
oe<br />
<br />
T the Committee Meeting held on Monday,<br />
<br />
November 10th, the Chairman reported<br />
<br />
he had heard from Mr. Frampton, R.A.,<br />
<br />
that the Sir Walter Besant Memorial Tablet was<br />
<br />
almost complete. Mr. A. Hope Hawkins and<br />
<br />
Mr. Austin Dobson were appointed as a Sub-<br />
committee to settle the inscription.<br />
<br />
There were one or two cases discussed; but it<br />
<br />
would be prejudicial to their settlement to report<br />
<br />
upon them.<br />
<br />
<br />
60<br />
<br />
The Secretary has dealt with seven cases only<br />
during the past month, two referring to accounts,<br />
two for the return of MSS., and three for payment<br />
of money. ‘They have all been satisfactorily<br />
settled with the exception of one claim for the<br />
payment of money, which is in the course of<br />
settlement.<br />
<br />
The matters that were open from the former<br />
month have all been settled with the exception of<br />
two small cases, in which the negotiations are<br />
rather complicated. They are, however, proceeding<br />
satisfactorily. It has not been necessary to place<br />
any further disputes in the hands of the Society’s<br />
solicitors for settlement in the courts. Neither<br />
have any of the cases already in their hands been<br />
concluded since the last issue of 7’he Author.<br />
<br />
—1—>+<br />
<br />
<br />
<br />
November Elections.<br />
<br />
Bannon, Mrs. : . $87, Alexandra Court,<br />
Queen’s Gate, S.W.<br />
Brown, Alan Roderick Lancing College, Shore-<br />
Haig (&. A.). ham, Sussex.<br />
Cecil, George 16, Panton Street, Hay-<br />
market, S.W.<br />
Tournafulla, Newcastle<br />
West, Co. Limerick.<br />
Holly House, Gateshead-<br />
on-Tyne.<br />
6, Lawn Crescent, Kew<br />
Gardens, 8. W.<br />
Macquoid, Mrs. Kathe- The Edge, Lucien Rd.,<br />
rine 8. Tooting Common.<br />
Shorrock, Mrs. S. Hope 39, Kiangse Rd., Shan-<br />
: ghai, China.<br />
<br />
The Manse, Hambledon,<br />
Henley-on-Thames.<br />
Leez Priory, Hartford<br />
<br />
-End, Chelmsford.<br />
Williams, Dawson 2, Wyndham Place, W.<br />
<br />
Only one member of those elected does not<br />
desire publication of his name and address.<br />
<br />
Since the beginning of the year 173 members<br />
and associates have been elected.<br />
<br />
Lane, T. O’Neill .<br />
Lister, Walter H. .<br />
Mackay, Wallis<br />
<br />
Thomas, Rev. G. P.<br />
<br />
Turner-Turner, J.<br />
<br />
tee<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—1—>— +<br />
<br />
M* and Mrs, Sidney Webb are engaged on<br />
a long investigation into English Local<br />
Government, with a view to describing its<br />
<br />
structure and function during the whole of the<br />
<br />
nineteenth century. The first part of their work,<br />
extending down to 1835, and dealing with ‘The<br />
<br />
End of the Old Order,” may be expected to appear<br />
<br />
next spring.<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Max Pemberton is writing a story of the<br />
last days of Venice for the Graphic, and is spend-<br />
ing the winter at Brighton, and afterwards at<br />
Venice to do it. He is also finishing an Old<br />
English comedy which he wrote last summer 3.<br />
he is now re-casting it.<br />
<br />
Mr. William Toynbee has been engaged on a.<br />
<br />
satire, dealing with certain aspects, political and<br />
social, of the present day. This satire, which is.<br />
in dramatic form, will be published almost imme-<br />
diately by Mr. Glaisher, of Wigmore Street, under<br />
the title of “‘ When the Devil Drives.”<br />
<br />
In addition to the series of papers, ‘ Mankind<br />
in the Making,” now appearing in the Fortnightly<br />
Review, and destined to make a companion volume<br />
<br />
to “ Anticipations,” Mr. H.G. Wells has two other<br />
<br />
books in preparation. One is the story ofa draper’s<br />
assistant who rises in the world. It was com-<br />
<br />
menced in 1898, when “ Love and Mr. Lewisham”<br />
<br />
was finished, and is not likely to be ready for<br />
publication before 1904.<br />
<br />
The other was begun last year ; itis the story of<br />
<br />
the most momentous discovery in the world, and<br />
it will probably be ready for serialization by 1904.<br />
<br />
Mr. William Le Queux is very busy. For nearly<br />
a year he has been at work on a new novel which<br />
is to appear as a serial in England and America<br />
next spring. It will run over here in Chambers’<br />
Journal. Some of the action takes place in<br />
Galloway; and as this popular author is extremely<br />
particular about the accuracy of his local colour, he<br />
<br />
has been visiting Mr. Crockett’s country recently.<br />
<br />
Other scenes are laid at Crowland Abbey and in<br />
London.<br />
<br />
The title of Mr. Leonard Williams’ new work.<br />
<br />
on Spain which will shortly be published by<br />
Messrs. Cassell & Co., Limited, has been changed<br />
<br />
from “Madrid: Her Records and Romances” to-<br />
<br />
“Toledo and Madrid: ‘Their Records and<br />
Romances.” The scope of the text has been<br />
enlarged ; the plates will be fifty instead of the<br />
<br />
thirty that were originally projected ; and the-<br />
<br />
price in consequence has been raised from 10s.<br />
net to 12s. 6d. net.<br />
<br />
His many readers will be sorry to learn that<br />
there is no immediate prospect of any new poetical<br />
work from the pen of Sir Lewis Morris. The<br />
thirteenth edition of his ‘‘ Works” is, however, just<br />
published, and contains his last book, ‘ Harvest-<br />
tide.” It comprises everything he has written<br />
<br />
except the Coronation and Installation Odes of<br />
<br />
this year.<br />
<br />
Miss Nethersole has still the refusal of his.<br />
<br />
«“Gycia,” while his other play, “ The Life and<br />
<br />
Death of the Emperor Leo the Armenian,” is-<br />
<br />
under offer to Sir Henry Irving.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ie<br />
<br />
a<br />
<br />
peek td pk PD<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 61<br />
<br />
Professor Victor Spiers, of King’s College,<br />
London, has published this year with Messrs.<br />
Simpkins, Marshall & Co. two books, one for our<br />
children, the other for older students. The ‘“‘Second<br />
French Book” is adapted for the upper forms of<br />
preparatory schools, and for the junior forms of<br />
public schools, z.e., for boys and girls of twelve to<br />
fifteen years of age.<br />
<br />
It follows upon the lines of the “ First French<br />
Book,” embodying the best features of the newer<br />
aud successful methods in vogue on the Continent,<br />
and adapting these to British standpoints and<br />
ideals. It contains charming illustrations, anec-<br />
dotes, puns and songs of eminently French stamp,<br />
glimpses into French history and present French<br />
life, as well as a visit to Paris. The practical utility<br />
of learning how to write a letter in French is recog-<br />
nised, and free composition is practised in its three<br />
forms. Outlines of conversations and proverbs are<br />
given in each of the forty lessons. At the same<br />
time all the essentials of French grammar are given<br />
in French at the end of the book.<br />
<br />
The second book is the ‘‘ Senior French Reciter.”’<br />
Professor Spiers believes in phonetic transcript, and<br />
has transcribed some of the finest pages of the authors<br />
of the Golden Age of French literature. The author,<br />
in his Preface, emphasises the fact that in every piece<br />
learned by heart from an ordinary text-book, the<br />
best pupils get into their heads a few mispronun-<br />
ciations hard to eradicate. With the phonetic<br />
transcript, he asserts from his experience, these<br />
mispronunciations are reduced to a minimum. It<br />
is a sequel to his “Junior French Reciter,” and<br />
the phonetic alphabet adopted is that of the M. P.<br />
(Maitre Phonétique), viz., of the International<br />
Phonetic Association.<br />
<br />
Sir Herbert Maxwell has in the press a History<br />
of British Fresh-Water Fish. It is a volume of<br />
Messrs. Hutchinson’s Woburn Library Series. It<br />
is illustrated from photographs.<br />
<br />
This indefatigable author will issue through<br />
Mr. John Murray a most interesting work, “The<br />
Creevey Papers,” compiled from the MSS. of<br />
Thomas Creevey, M.P. 1802-30—the counterpart,<br />
from the Whig and Radical Opposition, to the<br />
Croker papers ex parte the Tory Government.<br />
<br />
Mr. Creevey was in correspondence with all the<br />
leading men of the Whig and Radical parties;<br />
Was an intimate friend of the Prince Regent ; and<br />
was at Brussels in 1815, where he became intimate<br />
with the Duke of Wellington. His papers, which<br />
have been very carefully preserved, contain original<br />
letters from Sir John Moore, Lord Grey, S. Whit-<br />
breafl, Brougham, Sheridan, Romilly, Tierney, etc.,<br />
and throw a vivid light upon the political, social<br />
and literary events of his day.<br />
<br />
Commander the Hon. Henry N. Shore, R.N.<br />
author of “ Smuggling Days and Smuggling Ways,”<br />
has commenced a series of articles in the Kentish<br />
Express dealing with the South Coast Gang, which<br />
operated between Rye and Walmer. There is, too,<br />
an authentic account of the celebrated Aldincton<br />
Gang. :<br />
<br />
Mr. Charles Gleig’s new short novel, entitled,<br />
‘The Misfit Mantle ” (Treherne & Co.), is a light<br />
farcical story dealing with the curious experiences<br />
of an English peer in a fourth-rate boarding-house<br />
at the seaside, in which he had to hide himself.<br />
<br />
A long novel, which has occupied most of the<br />
author’s spare time (he writes short tales for the<br />
magazines and contributes to the naval and military<br />
weeklies) during the past eighteen months, is just<br />
completed. The hero is a naval officer, a physical<br />
coward. The book may be described as a plea for<br />
greater consideration for physical cowardice, on<br />
the ground that cowardice is, in effect, a disease.<br />
Mr. Gleig shows that it may be combined with<br />
considerable moral courage.<br />
<br />
Mr. Arthur Paterson has just published through<br />
Mr. Heinemann here and Messrs. Appleton in<br />
America an historical novel called “The King’s<br />
Agent.” The main incident of the story round<br />
which the plot is centred is strictly historical, and<br />
is known as “The Flower-pot Conspiracy.” In<br />
William IIT.’s reign Marlborough was accused of<br />
high treason, and thrown into the Tower, and was<br />
in danger of attainder and the block. He is the<br />
hero, the most prominent figure.<br />
<br />
The book is dedicated to Lord Wolseley (our<br />
latest biographer of Marlborough) from whom<br />
Mr. Paterson has received invaluable information<br />
concerning the details of the conspiracy and the<br />
persons engaged in it.<br />
<br />
A little volume called “ Letters from Ireland,”<br />
by “H. B.,” recently published by Seely, Bryers, and<br />
Walker of Dublin, is exciting much interest in the<br />
sister country. In it a patriotic Catholic Irish-<br />
man, returned from America, describes te a friend<br />
his impressions of his native land as seen after<br />
forty years of absence, by a man of education and<br />
experience who has travelled a great deal and can<br />
compare one country with another. ‘The sincerity<br />
of the writer is manifest, as is his profound love<br />
for Ireland, which bids him in some cases risk<br />
unpopularity in the hopes of removing obstacles to<br />
her betterment.<br />
<br />
Though “H. B.” writes with the utmost impar-<br />
tiality, his sympathies are evidently with the new<br />
Gallic movement for the revival of the Irish<br />
language and industries. He advocates a much<br />
needed system of higher education for the priests,<br />
and of industrial education for the people.<br />
62<br />
<br />
Mr. E. B. Kennedy’s “The Black Police in<br />
Queensland,” published by Mr. John Murray, is a<br />
most interesting account of things that happened<br />
while the author was an officer of the Native<br />
Mounted Police in the early days of the colony.<br />
Incidentally the book deals with other matters<br />
which are of enduring interest, not only to those<br />
who know Queensland, but also to all those who<br />
have at heart the interests of the Empire.<br />
<br />
In this regard special attention may be directed<br />
to what is said as to the capability possessed by<br />
black trackers for scouting services. This, how-<br />
ever, is but one point, briefly treated, in a volume<br />
which, although it deals strictly with matters of<br />
fact, is every whit as exciting and good reading as<br />
Mr. Kennedy’s previous book, “ Blacks and Bush-<br />
rangers,” a work of fiction. The book is capitally<br />
illustrated.<br />
<br />
Mr. Harry A. Spurr’s “Life and Writings of<br />
Alexandre Dumas” (J. M. Dent and Co.), is a<br />
readable volume full of anecdotes and quotations<br />
to the point. Mr. Spurr, who writes com amore,<br />
<br />
visited Paris last July and attended the centenary<br />
fétes at Villers-Cotteréts, and Dieppe, making the<br />
acquaintance of the Dumas family and receiving<br />
much valuable assistance from them and other<br />
authorities on the subject.<br />
<br />
In The Shrine of November there is an interesting<br />
<br />
narrative-article by Miss E. Baker. It is called<br />
“The True Story of Lady Anne Neville and<br />
Richard, Duke of Gloucester.” Miss Baker in the<br />
telling of it adheres strictly to contemporary<br />
authorities ; even in the imaginary conversations<br />
between Anne and Richard she keeps to the spirit<br />
of ascertained facts. Her chief point is that<br />
Richard was not that monster, that devil in body<br />
and soul, he has been represented by tradition and<br />
Shakespeare.<br />
<br />
“The House Building, and other Poems” is a<br />
volume of thoughtful verse by Marshall Bruce<br />
Williams, author of “The Strategy of Nature.”<br />
The poem which gives the volume its title is<br />
mainly a dialogue between a poet and a scientist,<br />
in which the poet has the last word. There are<br />
a number of sonnets, also some poems of which<br />
“The Other Side of the Shield—Olympus” is<br />
particularly good. Mr. R. Brimley Johnson is<br />
the publisher.<br />
<br />
“Bookeeping for Laundries,” by Mr. W. H.<br />
Smith (Simpkin Marshall, 2s. 6d. net), sets forth<br />
a safe and easy system of laundry account-keeping,<br />
dispensing with troublesome ledgers. It has been<br />
revised by Mr. H. Furnival Jones, A.S.A.A.,<br />
Incorporated Accountant. It is a capital book,<br />
concise, lucid, and exhaustive.<br />
<br />
Mr. Arthur H. Holmes has just published a new<br />
novel through Mr. Thomas Burleigh, entitled, “The<br />
Voice of the World.”<br />
<br />
THE AUTHOR.<br />
<br />
We understand that Mr. H. VY. Esmond’s new<br />
comedy, “ Imprudence,” produced last month at<br />
the Empire Theatre, New York, has scored a decided<br />
success, and has been highly praised by the critics:<br />
into the bargain. Miss Fay Davis and Mr. William<br />
Faversham, who filled the leading réles, were en-<br />
thusiastically received. Though Miss Davis is an<br />
American, she has never before played in New York.<br />
<br />
Mr. Hall Caine’s “ The Eternal City ” was given<br />
at the Victoria Theatre on the same night, and was<br />
well received by a Jarge audience. In response to<br />
repeated calls, Mr. Hall Caine appeared before the<br />
curtain and made a short speech.<br />
<br />
ee ae<br />
<br />
PARIS NOTES.<br />
meee<br />
<br />
ITH the inauguration of Falguiére’s fine<br />
statue of Balzac all kinds of anecdotes<br />
have been told and retold about the<br />
author of the “ Comédie Humaine.”. It scarcely<br />
seems possible to us now, that a man with such<br />
talent should have been compelled to do all in his<br />
power to boom his own books. We are told tha<br />
this was the case with “Peau de Chagrin” and<br />
<br />
one or two others.<br />
<br />
A yery typical story is told of Balzac when<br />
asked by a publisher to write an article on th<br />
Rue Richelieu. The terms which the author fixe<br />
were so high that the publisher was amazed.<br />
<br />
“Tf I am to describe the Rue Richelieu in<br />
way worthy of the street and of myself, I mus<br />
know it thoroughly, and must not upon an<br />
account fail to investigate all that specially charac<br />
terizes it. I shall have to commence by lunchin<br />
at the Café Cardinal, then I must buy a gun and<br />
cravat pin at the two shops next door to eac<br />
other. After that I must go to the tailor’s at th<br />
corner of the Rue St. Mare :<br />
<br />
“Oh, don’t go any farther than that,” inter<br />
rupted the publisher in alarm. “ You would com<br />
to the Indian shop next, and things there are<br />
fabulous price.”<br />
<br />
M. Gaston Deschamps wrote quite a long articl<br />
recently on French literary women, who of lat<br />
years have certainly come very much to the from<br />
‘As a rule they adopt masculine pseudonyms, bu<br />
their secret 1s very soon an open one.<br />
<br />
Marcelle Tinayre’s novel ‘La Maison du Péché<br />
is one of the most remarkable ones of this seaso:<br />
It is a strong, realistic novel, the story of whic.<br />
reminds one vaguely of the “Ordeal of Richa<br />
Feverel.” Augustin de Chanteprie is educated<br />
most carefully, a tutor who is a rigid Catholi<br />
comes from Syria for six or seven years, and th<br />
boy grows up with no idea of a world outside th<br />
narrow circle of his ancestral home. His widowe<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 63<br />
<br />
mother spends most of her time in religious<br />
devotions and charitable works. When Augustin<br />
reaches the age of manhood he is almost as austere<br />
and fervent in his religious devotions as his<br />
mother. Unfortunately for his peace of mind a<br />
young widow comes to live in the neighbourhood.<br />
She is an artist, and the daughter of an artist, and<br />
from the date of her arrival commences a new<br />
phase in the existence of Augustin de Chanteprie.<br />
As a study in psychology, this book is a valuable<br />
addition to French literature, but it will not be<br />
appreciated by readers who are unacquainted with<br />
the subtle power and authority of the Roman<br />
Catholic Church. It is a book in which all the<br />
characters live, and each one is drawn with scrupu-<br />
lous accuracy.<br />
<br />
Guy Chantepleure’s new book, “Ames Fémi-<br />
nines,” will probably be appreciated by English<br />
readers. It is what the French describe as a<br />
roman honnéte, and is a careful study of some<br />
types of the new French woman.<br />
<br />
‘Petites Epouses,”’ by Myriam Harry, is the<br />
story of a French Government official, who, while<br />
in exile, married a Japanese wife. The authoress<br />
handles the subject with great skill and delicacy,<br />
so that, as a French critic says, the book is<br />
Quelque chose comme un Loti qui serait femme.<br />
<br />
“T/Aimant,” by Jacques Morian, is another<br />
variation on the usual theme of the modern French<br />
novel. The French author is greatly handicapped<br />
in his choice of a subject by the system of educa-<br />
tion of girls in France. He is obliged to com-<br />
mence where the English novelist leaves off for the<br />
simple reason that the Frenchwoman’s romance so<br />
frequently begins when she is married. ‘ L’Ai-<br />
mant”’ is rather an exception to this rule, as the<br />
most interesting character in the story is a girl<br />
who has her romance before her marriage.<br />
<br />
Brada’s new book tells us by its title what to<br />
expect. “Comme les autres ”’—it certainly is as<br />
far as the subject is concerned. Once more the<br />
eternal theme, but treated in a way which makes<br />
the book fascinating from the first page to the last.<br />
<br />
“ Deux Vies,” by Paul and Victor Margueritte,<br />
is a novel written to show up the injustice of<br />
certain laws. The Margueritte brothers have a<br />
mission, they have recently submitted to the<br />
Chamber a project for the facilitation of divorce,<br />
and this book of theirs is an eloquent appeal in<br />
favour of their project.<br />
<br />
The heroine of the novel has made a most un- ,<br />
<br />
fortunate marriage, and after years of misery she<br />
jeaves her home, and with her little girl takes<br />
refuge with her mother, determined to apply for a<br />
divorce. The mother, who is a staunch Catholic,<br />
opposes her daughter’s idea. She, too, had suffered<br />
a martyrdom, but as her religion does not counte-<br />
nance divorce, she endeavours to persuade her<br />
<br />
daughter that the only happiness left for her is in<br />
resignation to her lot. Francine is not of this<br />
way of thinking, and she at once takes steps to<br />
obtain her divorce. Then follows an account of<br />
all the obstacles she encounters, of all the diffi-<br />
culties and the misery she endures until the day<br />
when the court refuses to grant her divorce, and<br />
she is compelled to return to her husband’s house.<br />
The dénouement is dramatic, for when she is<br />
crushed, humiliated, and desperate, Francine is<br />
persuaded to set aside the laws of Church and<br />
society, and, taking her child with her, to seek for<br />
happiness in another country.<br />
<br />
“* L’ Associée,” by Lucien Muhlfeld, is a book likely<br />
to please English readers. The “Associ¢e” is a<br />
woman whose one idea in life is to be her hus-<br />
band’s right hand. She helps him in every way<br />
possible, but so quietly, so discreetly, that he<br />
never realises how much he owes to her. He is a<br />
doctor, and he becomes a celebrity ; but the whole<br />
interest of the book centres in the struggles and<br />
disappointment of the wife and the perfect egotism<br />
of the man.<br />
<br />
For M. Bataille’s drama, taken from Tolstoi’s<br />
“ Resurrection,” the documents necessary for the<br />
scenery have been sent by Tolstoi’s friends and by<br />
the French consul in Moscow.<br />
<br />
Among other things in this drama are some<br />
Russian popular songs, Siberian chorals, and a<br />
song by Tchaikovsky. The play is an immense<br />
success, and arrangements have been made for its<br />
translation into several languages.<br />
<br />
M. Guitry’s venture with the Renaissance Theatre<br />
appears to be a success. He was fortunate in open-<br />
ing with “La Chatelaine,” by M. Capus, and in<br />
securing Jane Hading for the chief role.<br />
<br />
M. Deval is one of the happy actor-managers<br />
gifted with the “flair” in selecting his plays. “ Le<br />
Cadre,” by Pierre Wolff, was very well received, and<br />
the chief 7éles are admirably suited to M. Deval<br />
and Madame Valdey.<br />
<br />
M. Larroumet’s advice to dramatic authors when<br />
criticizing this and other plays was, that they<br />
should cease writing for stars, and not trouble in<br />
the least, when writing the piece, about the distri-<br />
bution of the ré/es. :<br />
<br />
M. Bour is persevering in his attempt to establish<br />
the International Theatre here. The plays are all<br />
given in French. Italian, Portuguese, and German<br />
pieces already figure in his repertoire.<br />
<br />
Sarah Bernhardt had a hearty welcome on her<br />
return to Paris after her tour abroad.<br />
<br />
A series of delightful afternoon lectures and<br />
readings have been given during the last month,<br />
with Mounet Sully to interpret the various authors.<br />
<br />
These lectures are very much in vogue in Paris,<br />
and one-act plays. are frequently given by way of<br />
variation. At alecture of this kind the other day<br />
<br />
<br />
64<br />
<br />
“Qharles V. et du Guesclin” was put on, and<br />
afterwards ‘ Bourrasque,” by M. Foley, the author<br />
of “ Heard at the Telephone.”<br />
<br />
Auys HALLARD,<br />
<br />
—_—_———+——_+_—_—_——_-<br />
<br />
THE INTERNATIONAL CONGRESS OF<br />
PUBLISHERS.<br />
<br />
——1—~<— + ——<br />
Report from the Permanent Officer at Berne.<br />
<br />
[Printed by kind permission from The Publishers’ Circular. ]<br />
<br />
PYVHE meeting of the Executive Committee of<br />
[ the International Congress of Publishers<br />
<br />
was held at Berne on October 9th and 10th.<br />
The President, M. A. Brockhaus, and Messrs. R.<br />
Fouret, E. Bruylant, and H. Morel were present.<br />
Messrs. F. Brunetiére and J. Murray, regretting<br />
their inability to be present, sent letters of<br />
apology.<br />
<br />
After presentation of the first Annual Report of<br />
the Bureau, and examination of the Statement of<br />
Accounts, which was found correct, the Committee<br />
decided to add the balance in hand to the guarantee<br />
fund organised by Mr. Fairholme, in London. The<br />
Statement of Accounts for the year begins July 1st,<br />
ending June 30th.<br />
<br />
The National Associations contributing to the<br />
expenses of the Permanent Office belong to the<br />
following countries: Austria, Belgium, Denmark,<br />
England, France, Germany, Holland, Hungary,<br />
Italy, Norway, Spain, Sweden, Switzerland, the<br />
United States of North America.<br />
<br />
After settling different questions relating to the<br />
administration of the Bureau, the Committee have<br />
taken into consideration the resolutions passed at<br />
the four sessions of the Congress.<br />
<br />
The carrying out of the resolutions concerning<br />
the authors’ rights has been approved of. These<br />
resolutions relate to: (1) the adhesion of Austria,<br />
Hungary, Russia, and the Netherlands to the<br />
Berne Convention ; (2) the improvement of the<br />
international protection in the United States ;<br />
(3) the communication to the different Govern-<br />
ments of the resolutions passed by the Congress at<br />
its several sessions, in view of the improvement of<br />
the national and international protection of the<br />
authors’ and publishers’ rights.<br />
<br />
The Committee have also approved the proceed-<br />
ings of the Bureau with reference to the preparation<br />
and execution of other resolutions (duty on books,<br />
postal service, maintenance of the published price,<br />
new forms, music trade, relations to the press,<br />
metric system, overs in printing, substitution of<br />
parcels, solid packing, on the use of the word<br />
“edition ”’).<br />
<br />
Other resolutions passed at the different sessions<br />
<br />
THE AUTHOR.<br />
<br />
have also been discussed by the Committee (national<br />
bibliographies, catalogues of books, professional<br />
schools and classes, interchange of documents be-<br />
tween the different publishers’ associations, tech-<br />
nical libraries, interchange and loan of catalogues,<br />
etc.).<br />
<br />
The Committee, having approved the Statement<br />
of Accounts and Report, have proposed a vote of<br />
thanks to the Permanent (Office, which was carried.<br />
<br />
The Committee have considered the fifth session<br />
of the Congress, which is to take place at Milan.<br />
Mr. Toto Ricordi, President of the ‘‘ Associazione<br />
Tipograficolibraria Italiana,” has been good enough<br />
to be present at the session of October 10th, in order<br />
to converse on the subject with the Executive Com-<br />
mittee. It has been decided that the Committee<br />
would meet at the end of May or beginning of<br />
June, 1903, in order to organise the fifth session.<br />
<br />
Oe<br />
<br />
COPYRIGHT IN PHOTOGRAPHS.<br />
<br />
——<br />
<br />
N the November number of The Author an article<br />
| appeared dealing with the question of photo-<br />
graphic copyright.<br />
<br />
This question is of great and growing impor-<br />
tance to all those members of the Society who<br />
contribute illustrated articles to illustrated maga-<br />
zines. In consequence several remarks have come<br />
to hand from different members. It is evident<br />
that many difficult and complicated issues may<br />
arise. One member has set out his difficulties<br />
in the following series of questions. As it is<br />
possible that others may have similar doubts, we<br />
will endeavour to answer them for the benefit<br />
of all. :<br />
<br />
1. The word “copyright” is stamped across or<br />
printed upon some photographs. Is the absence of<br />
such indication to be regarded as evidence that the<br />
photograph has not been registered ?<br />
<br />
2. Isthere any means of determining whether the<br />
copyright in a photograph has expired, and has<br />
the assignment of the copyright to be registered ?<br />
<br />
3. Can we take it that all photographs taken<br />
before a certain date are public property. If so,<br />
what is the date ?<br />
<br />
4. A man sits to a photographer, at the photo-<br />
grapher’s request, for a “series of celebrities,”<br />
and is presented with a certain number of copies.<br />
The word “copyright” does not appear in the<br />
correspondence. ‘The portrait is used without the<br />
sitter’s consent in a newspaper. Has the photo-<br />
grapher aright to make a charge. Supposing the<br />
photograph to be used without previous application<br />
to the photographer, can he claim damages, or can<br />
he merely send in a bill for half a guinea? Can<br />
the photographer in such a case authorise the<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 65<br />
<br />
reproduction of a portrait in a paper in which, for<br />
whatever reasons, the sitter does not wish to<br />
appear ?<br />
<br />
5. Supposing a firm, instead of an individual, to<br />
acquire copyright by taking a photograph, can the<br />
copyright expire while the firm continues to exist ?<br />
<br />
6. It would also be useful to state in the<br />
article :—<br />
<br />
(a) What are the countries unprotected in<br />
England, because they stand outside the Berne<br />
Convention.<br />
<br />
(b) At what date did the different countries<br />
acquire protection by adhering to the Berne<br />
Convention.<br />
<br />
(¢) Have foreign photographs to be registered<br />
to acquire copyright? Is there any means of<br />
ascertaining in England whether any given foreign<br />
photograph has been registered or not, and whether<br />
the copyright in any given photograph has expired<br />
or not ?<br />
<br />
(d) Supposing that I buy a foreign photograph<br />
at Spooner’s and use it without referring to the<br />
photographer, what is liable to happen? Does it<br />
make any difference to one’s legal position if one<br />
acknowledges the source of a photograph? This is<br />
important as photographs are generally wanted in<br />
a hurry, and Spooner always says that he has no<br />
authority to treat. Is there no international Union<br />
of Photographers which has anticipated these<br />
difficulties and provided for them by undertaking<br />
always to accede to certain terms ?<br />
<br />
It is evident that these points are of considerable<br />
importance.<br />
<br />
The answers to them, as far as it is possible to<br />
answer them at the present time without further<br />
investigation, will be as follows :—<br />
<br />
(1) According to English law, it is not essential<br />
to stamp or print the word “copyright” on a<br />
photograph in order to obtain statutory protection.<br />
The absence of such note, therefore, cannot be<br />
taken as evidence either way.<br />
<br />
.(2) It is exceedingly difficult to determine<br />
whether the copyright in a photograph has expired<br />
or not. Registration at Stationers’ Hall demands<br />
merely, in the first instance, the name and place of<br />
abode of the author, (2) the name and place of<br />
abode of the proprietor, (3) their description, with<br />
nature and subject of the work, and if desired<br />
(4) sketch outline or photograph of the work.<br />
<br />
As the former article fully explained, the copy-<br />
right lasts from the date of the making of the<br />
work by the author, for the life of the author and<br />
seven years afterwards. If the photograph is not<br />
registered the writer, who is desirous to illustrate<br />
<br />
his article, need have no hesitation in using it, so<br />
far as the law is concerned. No damages can be<br />
obtained for any infringement that occurs prior to<br />
registration. If, however, the work is registered,<br />
<br />
then the would-be reproducer must find out whether<br />
the gentleman described as author is still alive ;<br />
and here lies the difficulty.<br />
<br />
S The latter part of the question is more complex.<br />
That an assignee must register before commencing<br />
action is Clear, bat whether such registration will<br />
cover cases of infringement before registration of<br />
the assignment is doubtful. The safest course in<br />
any event is to register the assignment at once.<br />
<br />
(3) The Act of 25 & 26 Vict. Ch. 68 came into<br />
force on 29th July, 1862. Any photograph made<br />
before that date, it would seem, carried with it no<br />
copyright. The copyright in photographs made<br />
since that date must depend upon the life of the<br />
author.<br />
<br />
(4) The sanction of the man, who sits at the<br />
request of the photographer, is not essential to the<br />
right of reproduction. The photographer (the<br />
author of the likeness) has a right to make a<br />
charge, and has a right to claim damage for<br />
infringement, supposing that the work is repro-<br />
duced without his sanction. If he commenced<br />
action it would be for damages for infringement<br />
of copyright. If he had already sent in a bill he<br />
would most probably be bound by the amount<br />
stated in that bill, as the limit of damages he could<br />
claim. If however the amount was exorbitant it<br />
would lie with the Judge or Jury to assess the<br />
amount. The sitter would not be entitled to stop<br />
the republication of his likeness unless the circum-<br />
stances were exceptional. The readers of Zhe Author<br />
are referred to an amusing story in the May number,<br />
in which the dangers of the sitter’s position are fully<br />
set forth. It will be as well to impress upon those<br />
desirous of having their photographs printed in<br />
public papers, that they should in all cases retain<br />
the copyright in the photograph, or limit the photo-<br />
grapher to reproduction in papers authorised by<br />
themselves.<br />
<br />
The answer to question (5) is clear from the state-<br />
ment of the former article which has already been<br />
referred to. It is impossible for a firm to be the<br />
original makers of the photograph, in the sense<br />
conceived in the Act, and the date of the copyright<br />
would run from the life of the maker of the photo-<br />
graph. ‘The principal countries unprotected in<br />
England because they stand outside the Berne<br />
Convention are Sweden, Holland, Russia, the<br />
United States of America, Austria-Hungary,<br />
Turkey, Egypt, 8. American Republics, China.<br />
With the United States England has a Oopy-<br />
right Arrangement, and with Austria-Hungary a<br />
Copyright Treaty, very much on the lines of the<br />
Berne Convention.<br />
<br />
The names of the principal countries belonging<br />
to the Convention, and the dates of their joining<br />
are as follows :— ae<br />
<br />
Germany, Belgium, Spain, France, Italy, Switzer-<br />
66<br />
<br />
land and Tunis. These signed the original Con-<br />
vention of 1886, and the additional Act of Paris,<br />
1896.<br />
<br />
Norway joined on the 15th of April, 1896,<br />
signing the Convention of 1886, and Japan joined<br />
in July, 1899, signing both the Convention of 1886<br />
and the subsequent Convention of 1896.<br />
<br />
The answer to the two subsequent paragraphs<br />
(c and d) requires deep study and a profound know-<br />
ledge not only of International law, but of the laws<br />
of each country. It would appear in most coun-<br />
tries that registration is necessary, and it may also<br />
be stated that in most countries, copyright in<br />
photographs is of very limited duration, and does<br />
not last anything like the length of time that<br />
it lasts in England and France. Mere acknowledg-<br />
ment of the reproduction of a photograph would<br />
make no difference to the legal position. It might<br />
however be evidence of the fact that there was no<br />
wilful intent to defraud.<br />
<br />
—_—____+——+ —___——__<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
— to<br />
<br />
Royalty Agreement: A Warning.<br />
<br />
OT so long ago a publisher, in submitting his<br />
<br />
agreement to authors, stated that it had been<br />
<br />
approved by the Society, and thereby, no doubt,<br />
induced writers to sign a document which, under<br />
other circumstances, they might have hesitated to<br />
do. The Secretary of the Society remonstrated<br />
when this fact came to his notice. The publisher<br />
replied, that the transaction referred to had never<br />
taken place. Unfortunately, he had so far forgotten<br />
himself on one occasion as to commit himself in<br />
writing on this point, and the letter was in the<br />
Secretary’s hands. Accordingly, he was bound to<br />
apologise, and promised that it would not occur<br />
again.<br />
<br />
There is another method of inducing an author<br />
to sign, which is very commonly adopted in another<br />
publishing house. ‘The man of business affirms that<br />
the agreement submitted to the author, is similar<br />
in every respect to that signed by his other authors.<br />
Tf this statement was correct, there would be nothing<br />
to say on the subject, except that the other authors<br />
must have been extraordinarily lax in their methods<br />
of disposing of their property ; but unfortunately,<br />
the Secretary of the Society happens to know full<br />
well, that although no doubt the agreement, as<br />
drafted, is offered for signature to other authors,<br />
on occasions too numerous to specify, the authors<br />
have refused to sign without considerable alteration.<br />
<br />
The agreement is, in substance, with a few minor<br />
<br />
THE AUTHOR.<br />
<br />
alterations, the royalty agreement drafted on behalf<br />
of the Publishers’ Association, about which so<br />
much has been written from time to time in Zhe<br />
Author.<br />
<br />
Owing to the frequent recurrence of the circum-<br />
stances stated above it would, perhaps, be no dis-<br />
advantage to quote the form of agreement with<br />
some comments, in order to put authors on their<br />
guard. Some of the objections are vital, others<br />
are of minor importance, but should be insisted<br />
upon if the position of the author is strong enough<br />
to carry them.<br />
<br />
MEMoRANDUM OF AGREEMENT made this<br />
day of between<br />
<br />
(hereinafter termed the author) of the one part,<br />
and<br />
<br />
(hereinafter termed the publisher) of the other<br />
part, whereby it is mutually agreed between the<br />
parties hereto for themselves and their respective<br />
executors, administrators, and assigns (or succes-<br />
sors, as the case may be), as follows :—<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
1. The publisher shall at his own risk and<br />
expense, and with due diligence, produce and<br />
publish the work at present intituled<br />
<br />
by<br />
and use his best endeavours to sell the same.<br />
<br />
2. The author guarantees to the publisher that<br />
the said work is in no way whatever a violation<br />
of any existing copyright, and that it contains<br />
nothing of a libellous or scandalous character, and<br />
that he will indemnify the publisher from all suits,<br />
claims and proceedings, damages, and costs which<br />
may be made, taken, or incurred by or against him<br />
on the ground that the work is an infringement<br />
of copyright, or contains anything libellous or<br />
scandalous.<br />
<br />
3. The Publisher shall during the legal term<br />
of copyright have the exclusive right of producing<br />
and publishing the work in England, the Colonies,<br />
and United States of America. The Publisher<br />
shall have the entire control of the publication<br />
and sale and terms of sale of the book, and the<br />
Author shall not during the continuance of this<br />
agreement (without the consent of the Publisher)<br />
publish any abridgment, translation, or dramatised<br />
version of the work.<br />
<br />
4. The Publisher agrees to pay the Author the<br />
following royalties, that is to say :—<br />
<br />
(a) The first copies shall be free of royalty,<br />
<br />
<br />
hae Nese<br />
<br />
pant<br />
phi hee<br />
<br />
1%)<br />
2<br />
<br />
Ca<br />
<br />
<br />
<br />
<br />
<br />
ie<br />
if<br />
as<br />
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<br />
(Ook ee<br />
<br />
THE AUTHOR. 67<br />
<br />
aroyalty of ten per cent. uponthe next — thousand<br />
copies sold, and fifteen per cent. upon the next<br />
thousand copies, and twenty per cent. upon all sub-<br />
sequent copies, thirteen being reckoned as twelve<br />
throughout.<br />
<br />
(0) Upon the American edition the first<br />
copies shall be free of royalty, ten per cent. upon<br />
the next thousand copies sold, fifteen per cent.<br />
upon the next thousand copies, and all sub-<br />
sequent copies sold.<br />
<br />
(c) In the event of the Publisher disposing of<br />
<br />
copies or editions at a reduced rate for sale in the<br />
Colonies or elsewhere, or as remainders, a royalty<br />
of ten per cent. of the amount received by such<br />
sale.<br />
<br />
(d) In the event of the Publisher realising profits<br />
from the sale, with the consent of the author, of<br />
serial or Continental rights, or from claims for<br />
infringement of copyright, a royalty of fifty per<br />
cent. of the net amount of such profits remaining<br />
after deducting all expenses relating thereto.<br />
<br />
(e) No royalties shall be paid on any copies<br />
given away for review or other purposes.<br />
<br />
(f) The Author shall be entitled to six gratuitous<br />
copies, and any further copies required at trade<br />
price.<br />
<br />
5. The Author agrees to revise the first, and,<br />
if necessary, to edit and revise every subsequent<br />
edition of the work, and from time to time to<br />
supply any new matter that may be needful to<br />
keep the work up to date.<br />
<br />
6. The Author agrees that all costs of corrections<br />
and alterations in the proof sheets exceeding twenty<br />
per cent. of the cost of composition, shall be deducted<br />
from the royalties payable to him.<br />
<br />
7. In the event of the Author neglecting to<br />
revise an edition after due notice shall have been<br />
given to him, or in the event of the Author being<br />
unable to do so by reason of death or otherwise,<br />
the expense of revising and preparing each such<br />
future edition for press shall be borne by the<br />
Author, and shall be deducted from the royalties<br />
payable to him.<br />
<br />
8. During the continuance of this agreement,<br />
the copyright of the work shall be vested in the<br />
Author, who may be registered as the proprietor<br />
thereof accordingly.<br />
<br />
9. The Publisher shall make up the account<br />
annually to<br />
and deliver the same to the Author within<br />
months thereafter, and pay the balance due to the<br />
Author on same date.<br />
<br />
10. If the Publisher shall at the end of three<br />
years from the date of publication, or at any time<br />
thereafter, give notice to the Author that in his<br />
opinion the demand for the work has ceased, or if<br />
the Publisher shall for six months after the work<br />
is out of print decline or, after due notice, neglect<br />
<br />
to publish a new edition, then and in either of<br />
such cases this Agreement shall terminate, and, on<br />
the determination of this Agreement in the above<br />
or any other manner, the right to print and pub--<br />
lish the work shall revert to the Author, and the<br />
Author, if not then registered, shall be entitled to<br />
be registered as the proprietor thereof, and to pur-<br />
chase from the Publisher forthwith the plates or<br />
moulds and engravings (if any) produced specially<br />
for the work, at half cost of production, and what-<br />
ever copies the Publisher may have on hand at<br />
cost of production, and if the Author does not<br />
within three months purchase and pay for the said<br />
plates or moulds, engravings, and copies, the Pub-<br />
lisher may at any time thereafter dispose of such<br />
plates or moulds, engravings, and copies, or melt<br />
the plates, paying to the Author in lieu of royal-<br />
ties ten per cent. of the net proceeds of such sale,<br />
unless the Publisher can prove from his books that<br />
the publication has resulted in loss to him, in<br />
which case he shall be liable for no such payment.<br />
11. If any difference shall arise between the<br />
Author and the Publisher touching the meaning<br />
of this Agreement, or the rights or liabilities of<br />
the parties thereunder, the same shall be referred<br />
to the arbitration of two persons (one to be named<br />
<br />
_by each party) or their umpire, in accordance with<br />
<br />
the provisions of the Arbitration Act, 1889.<br />
<br />
12. The term “ Publisher” throughout this<br />
Agreement shall be deemed to include the person<br />
or persons or company for the time being carrying<br />
on the business of the said<br />
under as well its present as any future style, and<br />
the benefit of this Agreement shall be transmissible<br />
accordingly.<br />
<br />
As witness the hands of the parties.<br />
<br />
COMMENTS ON THE AGREEMENT.<br />
<br />
Firstly, then, the parties to the agreement. “It<br />
is agreed for themselves, their respective adminis-<br />
trators, executors, and assigns, or successors, as<br />
the case may be.”<br />
<br />
It is the greatest mistake for an author to con-<br />
tract with the executors, administrators, and<br />
assigns or successors of a publisher. The contract<br />
is between principal and agent, and is a personal<br />
contract, and should be maintained as a personal<br />
contract. Supposing an author were dealing with<br />
one of the best publishing houses in England, and<br />
the partners of that publishing house, for some<br />
reason or other, desired to retire from the busi-<br />
ness ; to clear up matters they might put up the<br />
contracts for sale by auction or otherwise. Under<br />
those circumstances an author might find the right<br />
to publish his work purchased by some enterpris-<br />
ing tradesman, who would bring it out in a manner<br />
and form which would be utterly repulsive to the<br />
author, and he would have no means of stopping<br />
<br />
<br />
68<br />
<br />
him ; and the same thing might occur should a<br />
firm go bankrupt. Tt is, therefore, a most dan-<br />
gerous thing to allow the agent who is dealing<br />
with the property to have a right to assign his<br />
agency.<br />
<br />
In Clause 1 the publisher undertakes to produce<br />
the work with due diligence. These words, as far<br />
as they go, are satisfactory, but the clause is not<br />
nearly comprehensive enough. The following points<br />
are suggested for consideration : that a date ought<br />
to be fixed on or before which the book should be<br />
produced ; that the form in which the edition is to<br />
appear should also be stated, and the price at which<br />
it is to be sold to the public; and further, it is best<br />
to limit the publisher to the production of a certain<br />
number of copies or editions, with the option of<br />
renewal, or to assign the right to publish, subject<br />
to proper safeguards, for a limited number of years.<br />
Several authors adopt this course.<br />
<br />
Clause 2 may, on the whole, be passed, with the<br />
single exception of the words “incurred by.” It<br />
is fair as between the parties that the publisher<br />
should be protected from all suits against him, but<br />
there is no reason why the author should indemnify<br />
him from all expenses incurred by him, as he might<br />
incur unnecessary expenses without the sanction of<br />
the author. There ought, therefore, to be some<br />
words of limitation by which the author has a<br />
voice in any action taken by the publisher. This<br />
Clause is a distinct improvement on the Clause<br />
put forward by Mr. Absolute, and quoted in the<br />
October number.<br />
<br />
Clause 3.—It is difficult to deal with Clause 3<br />
without, in fact, re-drafting the whole of the<br />
agreement, but it should be pointed ont that the<br />
rights which the author is expected to transfer by<br />
this agreement include the rights of production in<br />
the United States. Such rights are generally left<br />
in the hands of an agent, and much better so than<br />
in the hands of publishers, for this reason—that a<br />
publisher does not, as a general rule, undertake the<br />
work of the literary agent ; that his office is not<br />
to place literary work in other hands, but to<br />
produce literary work for the author ; that work<br />
of this kind left in the hands of publishers is not<br />
likely to receive anything like the same attention<br />
as it isif left in the hands of a literary agent ; that<br />
the publisher is the only person who gains by<br />
having control of this work, and that the author<br />
loses by leaving it in his hands. It should be<br />
further pointed out that the publisher does not<br />
anywhere in the agreement undertake to secure<br />
the United States copyright for the author, nor<br />
even to do his best to obtain it. It may pay an<br />
English publisher better to sell sheets or stereos<br />
and pay the author a royalty, as per Clause 4, but<br />
the result is hardly satisfactory to the author.<br />
<br />
It should be added that for this agency work,<br />
<br />
THE AUTHOR.<br />
<br />
while the literary agent charges 10 per cent., the<br />
publishers actually make 50 per cent. (see sect. (d)<br />
of clause. 4). Out of a large series of agreements<br />
from all sorts and conditions of publishers the<br />
lowest charge for this literary agency business has<br />
been 25 per cent., and this only in one case.<br />
<br />
The last part of the clause is extraordinary. It<br />
seems astounding that the author should not be<br />
allowed to deal with the translation.and dramati-<br />
sation of his own work without the consent of the<br />
publisher. An author must be of a curious Jrame of<br />
mind to part with his dramatic rights, perhaps more<br />
important than all the rest put together. With<br />
regard to the question of abridgment even, it is<br />
not fair that the author should be bound not to<br />
abridge the work unless the publisher is recipro-<br />
cally bound not to obtain an abridgment or to run<br />
any other work which is likely to conflict with the<br />
author’s. So far, this clause has been considered<br />
from the general point of view, but from the point<br />
of view of the writer of technical works, educa-<br />
tional, medical, theological, &c., &c., the clause is<br />
still more disastrous.<br />
<br />
Under no circumstances should a writer of<br />
technical books hand over to his publisher so large<br />
a right of publication. It should be limited<br />
especially as to the number of the edition, giving,<br />
if the author thinks fit, an equitable right to<br />
produce further editions.<br />
<br />
A technical writer must keep the command of<br />
his work, must be able if necessary, to alter,<br />
amend, amplify. He cannot do this with a free<br />
hand if he does not keep undivided control,<br />
<br />
The publishers’ answer will be: ‘“ But this is<br />
provided for by Clauses 5 and 7.”<br />
<br />
But it is submitted that it is one thing for the<br />
author to have unfettered judgment, and another<br />
thing to be forced to revise at request of his<br />
publisher or see his work arbitrarily revised by<br />
another. Whilst considering this question, it<br />
should be mentioned that one of the peculiarities<br />
of publishers’ contracts is, that in the case of<br />
technical works a clause is nearly always intro-<br />
duced conveying the copyright to the publisher.<br />
<br />
An agreement containing such a clause should<br />
never be signed by an author.<br />
<br />
Clause 4.—In Section (a) the royalty is to be<br />
paid thirteen copies as twelve. Royalties should<br />
never be calculated on this basis. All the royalty<br />
accounts put forward by the Authors’ Society have<br />
been (wrongly) reckoned on the basis that the<br />
royalty is paid on every copy sold, as it had been<br />
previously taken into account in the Cost of Pro-<br />
duction that the publisher had to sell thirteen for<br />
twelve to the booksellers. This they do not really<br />
do, except they sell in quantities, and a great many<br />
booksellers are unable to afford to buy in quan<br />
tities ; therefore, in taking the royalty to be paid<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 69.<br />
<br />
as in Section (a), the publisher is not only<br />
profiting by the liberal estimates of the Society<br />
with regard to royalties, but is also endeavouring<br />
to take in an extra 8 per cent., and the extra<br />
amount on those copies, of which there are many,<br />
sold in less numbers than twelve. The reader is<br />
referred to the October Awthor, where there is an<br />
article entitled ‘‘ Thirteen as Twelve.”<br />
<br />
The clause is also drafted that a certain number<br />
of copies should be free of royalty. This seems to<br />
imply that no book can afford to have a royalty<br />
paid on it from the beginning. Of course this is<br />
not the case, but when such an arrangement is<br />
placed before an author as an equitable agreement,<br />
these points of equity should be clearly explained.<br />
<br />
If the royalty is to be paid after the sale of a<br />
certain number (in this case such a number whose<br />
sale will amply cover the cost of production), then<br />
the author must take care (1) that a number<br />
beyond the number specified is printed ; (2) that<br />
he gets a proportionately higher royalty for fore-<br />
going it so long—e.g., he must then get 50 per<br />
cent. of the trade price, or over 25 per cent. of the<br />
published price.<br />
<br />
If a royalty agreement cannot bear a high<br />
<br />
royalty from the beginning, then a royalty<br />
<br />
increasing with the sale is certainly a fair<br />
arrangement as between author and publisher.<br />
<br />
The same remarks about the royalty refer to<br />
Section (2) and the American sales. It should be<br />
clearly understood whether or not the publisher<br />
intends to obtain United States copyright. He<br />
ought not to be allowed to have the option, as it is<br />
frequently the fact that it pays a publisher better<br />
to sell sheets or plates to the United States than<br />
to go to the trouble to negotiate for the copyright.<br />
If the publisher secures the copyright, it must be<br />
fully understood that it is secured in the name of<br />
the author.<br />
<br />
Section (c).—It is a common thing for a pub-<br />
lisher to pay a royalty on the net amount received<br />
from the sale of a remainder, but under no circum-<br />
stances should the author allow such a loose clause<br />
as the one put forward. If the publisher sells at a<br />
reduced rate to the Colonies, 10 per cent. is an<br />
exceedingly small amount to pay to the author.<br />
On the ordinary 6s. book sold to the Colonies in<br />
sheets, the author will get between 2d. and 4d. a<br />
copy; 10 per cent. is only a fraction over a penny.<br />
The words “ at a reduced rate” and “ or elsewhere ”<br />
are fatal. Who is to decide what is a reduced<br />
rate? There are many methods of selling books<br />
to the trade. Thus, one and all may be called<br />
“books at a reduced rate.’ Would it be fair,<br />
therefore, to pay the author merely a share of the<br />
amount realised? The royalty should always be<br />
paid on the published price, except in the case of<br />
remainders. The section, therefore, should be<br />
<br />
drafted so that a fixed price is paid on the sales to<br />
the Colonies, and a royalty on the net amount<br />
realised from Joné fide remainder sales. The rest<br />
should be deleted. The case of remainder sales<br />
should be distinguished with great care from the<br />
sale of books at a reduced price. The clause, as<br />
worded, cannot but tend to confuse the two issues.<br />
<br />
Section (d) is amusing. It is best to take these<br />
rights out of the hands of the publisher, and place<br />
them in the hands of the agent, if for no other<br />
reason than the fact that the agent would charge<br />
10 per cent. where the publisher charges, as in this<br />
case, 50 per cent. It is absurd to think that the<br />
publisher, as stated above, should assert that all<br />
his authors signed this agency clause. Anyone<br />
acquainted with the marketing of literary property<br />
would confidently deny such a statement, or come<br />
to the conclusion that the publisher had nothing<br />
but veritable tyros to deal with. This is not the<br />
case with the publisher whose agreement is printed<br />
above. If the author is willing to allow the pub-<br />
lisher to have the marketing of these rights, he<br />
should pay him the usual 10 per cent. commission,<br />
and he might also be entitled to 10 per cent. com-<br />
mission if he was mainly instrumental in recover-<br />
ing money for infringement of copyright.<br />
<br />
Section (f) of Clause 4 is a little vague. Of<br />
course, no royalty ought to be paid to the author<br />
on copies given away or sent for review, but the<br />
words “other purposes’? might cover a good deal<br />
more than this, and are insufficiently precise.<br />
<br />
Clause 5.—The wording of the fifth clause is not<br />
very satisfactory. In the case of technical works,<br />
to which a clause like this specially refers, the<br />
publishers should in the first instance be only<br />
given a right to publish a limited number of<br />
copies, and the author might give him the<br />
option of producing further editions, subject to<br />
certain limitations. Under those circumstances<br />
the right to revise would lie within the author’s<br />
hands, as it should do with the creator of any<br />
work, who alone ought to have power to add or<br />
subtract from what he has already put before the<br />
world. This has all been explained when com-<br />
menting on Clause 8, but the principle is of such<br />
importance that it is worth while to repeat it. In<br />
the case of the publication of ordinary works of<br />
fiction or travel, etc., this clause should be deleted.<br />
It does not apply, and it is bad draftsmanship to<br />
retain it.<br />
<br />
Clause 6.—The author is not safeguarded here.<br />
Could it not be provided that periodically (say |<br />
weekly) during the printing the author be in-<br />
formed of the cost of corrections? He must in<br />
any case be informed what is the cost of composi-<br />
tion, and what is the connection between corrections<br />
and shillings.<br />
<br />
Clause 7 might, under certain circumstances—<br />
<br />
<br />
70<br />
<br />
that is if the publisher has purchased the copy-<br />
right—be inserted in an agreement, but in the<br />
present form of royalty agreement it should be<br />
struck out. There is no need for it. Its imprac-<br />
ticability with regard to technical writers during<br />
their lifetime, and its inapplicability to ordinary<br />
fiction at any time has been mentioned. It should<br />
be either altered or deleted.<br />
<br />
Clause 8.—There is no need either for the inser-<br />
tion of Clause 8. The copyright is the author’s,<br />
and must remain so. The clause is inserted evi-<br />
dently with the idea of the copyright being vested<br />
in the name of the publisher. This would be a<br />
mistake.<br />
<br />
Clause 9, the account clause, is so beautifully<br />
vague that it is hardly worth while to comment<br />
upon it, except to point out that it is a mistake to<br />
have accounts made up annually, and delivered<br />
and paid three months after they are made up, as<br />
it makes it possible for the publisher to retain the<br />
author’s money for nearly fifteen months. This is<br />
a common account clause among publishers, and<br />
no doubt they find it exceedingly useful to have<br />
the control of the author’s money for so long a<br />
period. But the inconvenience to the author, not<br />
to mention the danger of bankruptcy or similar<br />
contingencies to the firm, is very considerable.<br />
<br />
Clause 10.—The first part of Clause 10 is cer-<br />
tainly necessary for the protection of the author,<br />
as it would be very awkward supposing the pub-<br />
lisher refused to produce the book when the author<br />
had a certain market for it. If, however, as in<br />
the case of some educational works, the publisher<br />
desired still to maintain the control of the market,<br />
so as not to allow the author to republish a book<br />
in competition with one which the publisher had<br />
already before the public, it would be easy to evade<br />
the clause by having afew copies ready on hand.<br />
The latter part of the clause, however, could not<br />
possibly be equitable as between author and pub-<br />
lisher. It is quite possible that the moulds and<br />
engravings might be so worn that they would not<br />
be worth half the cost of production, and the<br />
copies of the book that the publisher had on hand<br />
might not be worth the whole cost of production,<br />
_ as it is quite possible that they might have been<br />
damaged or otherwise defaced. If, therefore, the<br />
author refused to purchase the books at the cost of<br />
production on account of some damage that they<br />
had received, it would be possible for the author in<br />
reproducing the work with some other publisher to<br />
be undersold. The author should have the option<br />
of taking over the stock and plates at a valuation.<br />
The danger, however, is not a very large one, as if<br />
the book was in such a condition that the author<br />
desired to bring out a new edition and the pub-<br />
lisher did not, it would most probably argue that<br />
the book had very nearly reached the end of its sale,<br />
<br />
THE AUTHOR.<br />
<br />
in which case there would most probably be only a<br />
few copies on hand. The danger, however, is one<br />
that should be guarded against.<br />
<br />
Clause 11 ought to be struck out, as, until a<br />
dispute arises, it is impossible to say whether it is<br />
a fit subject for arbitration ; besidés, arbitration<br />
is more expensive than an action at law, and a<br />
publisher thereby avoids that publicity which is<br />
essential for the interests of authors and the puri-<br />
fication of the trade, which no doubt all publishers<br />
desire.<br />
<br />
Clause 12 should on no account stand. It is<br />
most important, as explained when discussing the<br />
parties to this agreement, that the contract should<br />
be a personal contract, and this point should always<br />
be before authors when signing agreements. They<br />
should under no circumstances allow such a clause<br />
to pass.<br />
<br />
This is a fair comment on the royalty agreement<br />
as it stands. Many suggestions might be made as<br />
to the insertion of various clauses, and the protec-<br />
tion of the author on other points. But these are<br />
faults of omission, and the agreement has only<br />
been dealt with as regards the drafted clauses. It<br />
might be well to mention that some definite time<br />
should be fixed on, before which a publisher should<br />
not be allowed to make remainder sales.<br />
<br />
Finally, it must be repeated, do not be taken in<br />
by the apparently plausible statement that all a<br />
publisher’s authors sign the agreement submitted.<br />
As a rule, where such a suggestion is made, it may<br />
be taken that the statement is not strictly in<br />
accordance with fact.<br />
<br />
ee<br />
<br />
American. Copyright.—A Copyright Decision,<br />
<br />
Cuicaao, Ill., October 31.—An important copy-<br />
right decision was given to-day in the United<br />
States Court of Appeals, which established the<br />
principle that the owner of a copyrighted manu-<br />
script cannot be deprived of his exclusive rights<br />
of publication by the error of one who prints the<br />
article with his consent, but who carelessly omits<br />
the notice to the public provided for by law.<br />
<br />
“And After,” a story written by Julia Truitt<br />
Bishop, was in contention. It had been copy-<br />
righted by the Daily Story Publishing Company.<br />
One of the patrons of that firm is the St. Louis<br />
Globe-Democrat, which published “And After”<br />
without the copyright notice. The American<br />
Press Association appropriated the article and<br />
distributed it among its subscribers.<br />
<br />
The owners of the copyright threatened to sue<br />
the patrons of the Press Association for damages.<br />
The Press Association applied for a bill to restrain<br />
such suits. It was denied by Judge Kohlsaat, and<br />
his ruling was affirmed by Judges Jenkins and<br />
Baker.<br />
<br />
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a<br />
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THE AUTHOR. 71<br />
<br />
GENERAL MEMORANDA.<br />
— +<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —:<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction. should be<br />
managed by a conipetent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement). :<br />
<br />
In this case the following rules should be attended to :<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights. :<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in The Author.<br />
Readers can also work out the figures themselves from the<br />
** Cost of Production.”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :-—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
ge<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
me<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gruss receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (i.é.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
<br />
- be limited, and are usually limited, by town, country, and<br />
<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words,<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
——<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
— > —<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
adyice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member.<br />
<br />
<br />
72<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
THE READING BRANCH.<br />
<br />
—-—~——9 —<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
<br />
<br />
ee<br />
<br />
NOTICES.<br />
<br />
—<br />
<br />
VHE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
THE AUTHOR.<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, §.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
te<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EDITOR on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered létter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—1+—~>—+ —<br />
<br />
N this number we publish a report of the doings<br />
of the International Congress of Publishers.<br />
Such a combination may do useful work not<br />
<br />
only to their own trade, but for the better securing<br />
of the author’s property.<br />
<br />
There is also a possibility that such a combina-<br />
tion may at some future date be a very serious<br />
menace to author’s rights, backed as it is by large<br />
capital, Money, at all times, is a great power to<br />
enforce an opinion or to pass a law. Would it not<br />
be possible for those societies which represent<br />
the trade side of literature from the author’s point<br />
of view, to form an international combination, in<br />
order to counteract any ill effect which may be<br />
produced by the combination of the trade ?<br />
<br />
<br />
<br />
We must congratulate Mr. John Murray that<br />
his historic house in Albemarle Street has escaped<br />
the ravages of the Tube disease, which he has<br />
aptly termed Tube-Yerke-ulosis.<br />
<br />
The Nobel Prize Committee of the Society of<br />
Authors, of which Lord Avebury is the ‘chairman,<br />
met on the afternoon of November 19th, at<br />
39, Old Queen Street.<br />
<br />
Inthe unavoidable absence of Lord Avebury, the<br />
chair was taken by Mr. Edmund Gosse. Mr. G.<br />
Herbert Thring acted as secretary. A letter was<br />
read addressed by the Director of the Swedish<br />
<br />
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<br />
THE AUTHOR. 73<br />
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Academy, the poet, ©. D. af Wirsen, to Lord<br />
Avebury as Chairman of the Committee, expressing<br />
the hope that the English Nobel Committee would<br />
not be discouraged if the prize of £8,250 should<br />
this year be awarded to a foreign poet or poets, since<br />
any imaginative writer, strongly supported by the<br />
authors of England, “‘has every prospect of gaining<br />
the Nobel Prize for Literature at some future time.”<br />
Dr. Garnett suggested that unanimity and persist-<br />
ence were of the greatest importance, and that<br />
the Committee should not be impatient if the prize<br />
were not immediately given to the English candi-<br />
date. At the suggestion of Mr. Austin Dobson, it<br />
was agreed that the Committee should take the<br />
same steps as were taken last year to collect the<br />
votes of the qualified British voters.<br />
<br />
We are glad to see that the literary activity of<br />
the Canadian is constantly on the increase.<br />
<br />
A Tennyson Club has just been started at<br />
Toronto, under the auspices of the Victoria<br />
University and the Canadian Society of Authors.<br />
The Honorary President is Professor William<br />
Clark, and the Active President, Professor Pelham<br />
Edgar.<br />
<br />
We hope to have further particulars, and to be<br />
able to follow the course of the club’s labour and<br />
work.<br />
<br />
The editor of La Revue has obtained the opinions<br />
of some leading French authors on the following<br />
subject: “ Would you regret to die? Why?”<br />
<br />
The French are proverbially a light-hearted<br />
nation, and it is no wonder therefore that the<br />
majority of the answers obtained show that the<br />
French author would have a decided objection to<br />
death, and would leave this world with consider-<br />
able regret. The reasons put forward are varied,<br />
some serious, some satirical, some amusing.<br />
<br />
The author who writes under the well-known<br />
pseudonym of “ Gyp” merely replies, “ Oh, pas du<br />
tout.”<br />
<br />
It would be interesting to know what opinions<br />
British authors would express in answer to the<br />
same question.<br />
<br />
One author living this side of the Channel<br />
has given his answer: That his only object in<br />
living was that he might contrast the pleasure of<br />
death. He did not therefore regret to die. It<br />
might be as well to remark that this author was<br />
not an Irishman.<br />
<br />
At a jovial gathering of members and guests of<br />
a certain club frequented by followers of the<br />
literary profession, an argument arose between<br />
two Oxford men as to whether, given a previous<br />
<br />
choice, the majority of men, knowing the life<br />
they would have to go throngh, would consent to<br />
be born into this world. The younger contestant<br />
argued strongly, that no one would have been<br />
born into the world under these circumstances.<br />
As the point obtained some show of interest<br />
among the company, it was finally decided to<br />
take the opinion of a dozen of those present.<br />
Each was allowed to choose his victims. The<br />
party was composed of men of mixed views, but<br />
among the number were one or two decadents,<br />
and others whose lives had not been what, on<br />
the whole, could be called cheerful. With careful<br />
choice the younger member thought that his vic-<br />
tory was assured, but what was his disappointment<br />
when he found that, after having chosen the most<br />
unfortunate men in the room, there was no one to<br />
support him. The question, though not similar to<br />
that put forward by the French editor, carries with<br />
it some analogy.<br />
<br />
The performing rights of a song have been again<br />
before the public. A case has just been tried in<br />
the High Courts where this point was in dispute. *<br />
<br />
We have from time to time impressed upon<br />
those composers who are members of the Society<br />
the importance of reserving to themselves the<br />
performing rights. Publishers generally answer,<br />
if a composer in his temerity makes the demand,<br />
that performing rights have no money in them in<br />
England. The composer’s answer to this is quite<br />
clear : “Then, there is no reason why they should<br />
be transferred to the publisher.”<br />
<br />
It is possible that under the present system<br />
there is no money in performing rights, but the<br />
case tried in the High Court tends to show the<br />
contrary.<br />
<br />
Even if there is no money, it is vastly important<br />
that the composer himself should have, if it seems<br />
good to him, the right of veto, so that a song, on<br />
which he may set great store, should not be pro-<br />
duced and sung in public at times and in places<br />
which might appear to him unfit.<br />
<br />
The publisher’s statement is by no means true.<br />
In the performing rights of certain kinds of songs<br />
produced in comic operas, at music halls and under<br />
other circumstances, there is a considerable amount<br />
of money. ‘These songs are often not written as<br />
part of the opera, but pitchforked into the opera,<br />
in order to make it more attractive, so that an<br />
individual song may obtain a great vogue. Of<br />
course, the composer obtains some kind of com-<br />
pensation from the advertisement, but there is<br />
something far beyond this.<br />
<br />
The French composer has already proved this.<br />
It is time that his English confrére should also<br />
stand firm.<br />
<br />
<br />
<br />
<br />
74<br />
<br />
An Epigram.<br />
Publisher : Th’ agreement’s signed; the profits<br />
<br />
we divide—<br />
A half to each; applaud a just<br />
decision.<br />
Author: Peace and good will to all at<br />
Christmastide—<br />
<br />
Clearly, *twixt you and me there’s<br />
no division.<br />
<br />
———__1—>_+—___——_<br />
<br />
A LITERARY ACADEMY.<br />
<br />
ee<br />
TI. A Quotation from Zola on Academies.<br />
<br />
HILE the subject of an Académy of Letters<br />
is once again, for a brief moment, before<br />
us in England, I should like to draw<br />
<br />
attention to the views of Zola—the earlier Zola—<br />
on Academies in general: partly because of their<br />
intrinsic interest, and partly because it is just now<br />
well worth while to point out to English readers<br />
that, before the unliterary moralist who wrote<br />
« Trayail ” and “ Fécondité ” made himself known,<br />
there existed a really powerful man of letters,<br />
author of the “ Conquéte de Plassans,” of “'Thérese<br />
Raquin,” and of more than one volume of vigorous<br />
criticism.<br />
<br />
In his “L’Argent dans la Littérature” (‘Le<br />
Roman Expérimental,” 1880), Zola traces the<br />
Academy of the present to the literary salons of<br />
the past, and shows what an article de luxe these,<br />
in their time, had made of literature. Speaking<br />
of what one may call the Augustan age of French<br />
writing, he says :—<br />
<br />
“Tt is now ” (say 1700) ‘ the salons which are at<br />
work upon the literary spirit and which determine<br />
its course. Books are dear and rare; the mob does<br />
not read, the bourgeoisie hardly reads ; we are far<br />
from that great current of literature which to-day<br />
sweeps along with it the whole of society, It is the<br />
exception to meet a passionate reader, who devours<br />
all that the publishers set before him. Thus the<br />
great public—what we call ‘ opinion,’ universal<br />
suffrage, so to speak, does not exist in literary<br />
matters : and the salons, a few groups of chosen<br />
people, have alone to pronounce a decisive judg-<br />
ment. These salons really reigned over literature.<br />
It was they who decided on language, the choice of<br />
subjects, and the manner of treating them. They<br />
sorted out words, adopting some, condemning<br />
others ; they established rules, set fashions, made<br />
their great men. Thence came the character of<br />
literature, as I have tried to indicate it above: a<br />
fleur desprit, an amiable pastime, a_high-class<br />
amusement for well-bred people. Picture to<br />
yourself one of these salons which laid down the<br />
laws of letters. A woman gathered round her a<br />
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set of writers whose sole care was to please her ;<br />
manuscripts were read in a select committee, there<br />
was much conversation, carried on with all the<br />
delicacy and all the conventions in the world.<br />
Genius, as we understand it nowadays, with its<br />
irregular power, would have found itself very ill<br />
at ease there; but mere talent flourished in the<br />
pleasant atmosphere of a hothouse. Even in the<br />
earliest days of French culture, when the salons<br />
had scarcely begun and great seigneurs contented<br />
themselves with keeping in their pay a poet as<br />
they kept a cook, the state of domestic servitude<br />
in which letters found themselves put them at the<br />
mercy of a privileged class, which they flattered<br />
and whose taste they had to consult. This gave<br />
them all kinds of pleasant qualities—tact, measure,<br />
a balanced pomp, an artificial construction and<br />
language; and, again, all the charms which are to<br />
be found in a society of well-bred women, subtleties<br />
and refinements of brain and of the heart, delicate<br />
conversations on delicate subjects, touching lightly<br />
on all without bearing heavily on anything—those<br />
fireside chats which are like musical airs, and which<br />
are confined to the melodies, gay or sad, 6f the<br />
human being. This was the literary spirit of the<br />
last two centuries.<br />
<br />
“Naturally, the salons led to academies ; and it<br />
was there that the literary spirit blossomed forth in<br />
a fine flourish of rhetoric. Disengaged from the<br />
society element, having no longer women to con-<br />
sider, it became above all things grammatical and<br />
rhetorical, buried in questions of tradition, of rules<br />
and recipes. You should hear Sainte Beuve, with<br />
his free spirit, still speaking of the Academy with<br />
all the importance and indignation of an industrious<br />
clerk who has gone to his office and has been<br />
shocked by the conduct and the work of his<br />
colleagues. Many men of letters loved these<br />
sittings devoted to disputes about words, these —<br />
gatherings at which one squabbled in the name of<br />
the oracles of antiquity. ‘There they hurled Greek<br />
and Latin at your head, they revelled in a com-<br />
munity of pedantry, in the midst of an extra-<br />
ordinary complication of hates and jealousies, of<br />
petty battles and petty triumphs. There is no<br />
porter’s lodge in which more blows have been<br />
exchanged than in the Academy. For two cen-<br />
turies, statesmen fallen from power, bilious poets<br />
boiling over with conceit, bookmen with their<br />
heads stuffed with folios, have gone there for relief,<br />
to enjoy the illusion that they were famous, bitterly<br />
discussing their own merits, without ever carrying<br />
the public with them.”<br />
<br />
In these words, and many more of the same kind, ©<br />
Zola sets forth his opinions on the nature, and the —<br />
effect upon literature, of the Academy, to which at<br />
that time—presumably—he did not wish to belong.<br />
<br />
EpWARD Rose.<br />
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THE AUTHOR.<br />
<br />
iT.<br />
<br />
I am strongly in favour of the establishment<br />
of an Academy of Letters, because I believe<br />
that there is at the present time a practical<br />
piece of work that very much requires to be done<br />
in the domain of letters, and that nothing but an<br />
Academy can do it.<br />
<br />
I do not regard the project, as some regard it,<br />
as the establishment of a species of Order of<br />
Literary merit, because I should feel that the<br />
tendency now-a-days is rather to overdo the<br />
recognition of public services than the reverse.<br />
<br />
But I believe that literature in England just at<br />
present is rather in an unsatisfactory condition.<br />
There is a great demand for literature of a certain<br />
kind, and there is a strong tendency among writers<br />
to regard monetary rewards as the test of success.<br />
I imagine that there are a far larger number of<br />
people who make a living by writing than there<br />
were fifty years ago, and | suppose that the incomes<br />
made by successful writers reach a far higher<br />
average than ever before. Thisisa state of things<br />
which has its dangers ; for there is not, among the<br />
consumers of literature, at all a high instinctive<br />
standard of literary merit, or at all a cultivated<br />
appreciation of literary form.<br />
<br />
It is not for the sake of the Academicians them-<br />
selves that I should like to see an Academy estab-<br />
lished ; but there should be, I believe, a strong<br />
central body of eminent writers, whose duty it<br />
should be to be on the look-out for work of high<br />
<br />
jiterary merit, and to commend such work with all<br />
the authority which such a body would naturally<br />
command.<br />
<br />
There are, I suppose, a few writers of high in-<br />
stinctive vocation in each generation who would<br />
work independently of reward of any kind. But the<br />
tendency at present in belles lettres is for writers<br />
to write with the hope of a large circulation<br />
before their eyes, and gradually to desert those<br />
paths in literature which do not lead either to<br />
honour or to money.<br />
<br />
At present the only people who can afford<br />
to write with the sincere aim of producing litera-<br />
ture of a high order are the fortunate people who,<br />
either by the inheritance of wealth, or by the fact<br />
that they hold a professional position which makes<br />
them independent, and provides them with a cer-<br />
tain amount of leisure, are able to disregard the<br />
ultimate tangible results of their work.<br />
<br />
Such people receive a certain amount of recog-<br />
nition from reviews in journals of high standing ;<br />
but the number of literary journals is not very<br />
great, and the tendency of such writers is to grow<br />
discouraged, and to feel that after all they are not<br />
wanted, and that no one very much cares whether<br />
they speak or hold their peace.<br />
<br />
It is certainly a remarkable fact that the purely<br />
<br />
15<br />
<br />
literary element in magazines and journals has<br />
lately decidedly decreased. A pessimist would say<br />
that this was owing to the fact that the number of<br />
writers whose works were worth literary considera-<br />
tion had decreased; but if this is so, it is, I believe,<br />
because literary activity is turned into other chan-<br />
nels, not because our literary energy is in any way<br />
diminished.<br />
<br />
_An Academy would then perform the office of<br />
authoritative literary criticism. They would ap-<br />
<br />
“point, I imagine, a small literary committee, whose<br />
<br />
duty would be to examine current literature, and re-<br />
commend acertain number of books for commenda-<br />
tion. It would be impossible for the Academicians<br />
themselves to desert the work of composition which<br />
had placed them in the forefront of letters, in<br />
favour of the exhausting task of reading the litera-<br />
ture of the day and adjudicating on its merits, but<br />
they could nominate a small committee of critics,<br />
not necessarily Academicians, men of wide cultiva-<br />
tion and catholic taste, who would make it their<br />
aim to discern what was likely to be of permanent<br />
value, and to recommend the work of rising writers<br />
to the commendation of the central body.<br />
<br />
I believe that this would be of the highest prac-<br />
tical utility. here are authors who would gladly<br />
forego the tangible monetary rewards of writing,<br />
if they could be dignified by the honourable<br />
recognition of the best writers of the time.<br />
<br />
I believe that the literary energy existing in<br />
England now-is very great, and that the one thing<br />
that is required to turn this in the right direction<br />
is the creation of a high standard of literary value.<br />
Authors would be encouraged to write deliberately<br />
rather than hurriedly, to study form and construc-<br />
tion rather than superficial attractiveness ; and it<br />
might possibly create a school of literary artists of<br />
a kind which England just now, considering its<br />
literary output, conspicuously lacks.<br />
<br />
It is idle to point to bygone centuries and to<br />
say that works of high literary merit were then<br />
produced without the assistance of any central<br />
literary body. What formerly existed in England,<br />
and what has ceased to exist, was a high degree of<br />
respect, felt and expressed by notable persons, for<br />
great literary performance. That has nowadays<br />
been completely over-ridden by the popular verdict,<br />
and by the fact that so far more people consider<br />
themselves competent to express opinions on litera-<br />
ture. I should look upon an Academy rather as<br />
a fort established to try and uphold the higher<br />
standard of respect for literature that formerly<br />
existed, than a new departure, a morbid attempt<br />
to confer a dignity on literature which it had not<br />
earned, and which it did not deserve.<br />
<br />
Artuur OC. BENSON.<br />
<br />
1<br />
<br />
<br />
76<br />
<br />
IIL.<br />
<br />
Srr,—The help offered by the Society of Authors<br />
is practical and possible ; what is looked for from<br />
an Academy of Letters is neither. Does anyone<br />
seriously believe that the rise, say of Scott, Dickens,<br />
or Macaulay, in public estimation, would have been<br />
in the smallest degree either hastened or enhanced<br />
by such an institution ; or that under its influence<br />
Keats would have been encouraged to live, or<br />
Robert Montgomery sooner and more effectually<br />
dethroned? Sir Walter Besant in “ The Fourth<br />
Generation” made one of the characters say, that<br />
through the sins of the father a descendant might,<br />
for instance, be prevented by poverty from taking<br />
the place in literature his talents fitted him for.<br />
What would or could an Academy do for such a<br />
case? It is the natural and inevitable tendency<br />
of all such bodies to settle down into coteries and<br />
to turn the republic of letters into an oligarchy.<br />
Mr. Herbert Trench says an English Academy<br />
would have to be made better than the one here.<br />
But how? Is England so especially the abode of<br />
academic rectitude ? An Academy of Letters would<br />
have condemned Shakespeare’s works on account<br />
of their irregularities. The surpassing merits of<br />
the greatest genius of our literature would have<br />
been ignored because of academical defects.<br />
Imagine “Hamlet” or “Macbeth” depending<br />
for success on the decision of the French Academy!<br />
If still publicly unknown, they would be even more<br />
contemptuously spurned by it to-day than in the<br />
days of Mazarin, its founder. When a master-<br />
spirit appears with new means to break new<br />
ground, it is an instinct of self-preservation in<br />
an Academy to frown upon him. It is only when<br />
he has been adopted by the multitude, and a new<br />
school has arisen, that the close corporation of<br />
Olympians condescends to recognize him. In<br />
Shakespeare’s time men ventured boldly in the<br />
new world of letters because there was no Academy<br />
to chill their ardour. The work that succeeds with<br />
an Academy is one that, while deferentially con-<br />
ciliating the predilections of one or two of its more<br />
active members, offends the susceptibilities of none<br />
of them—which means, something tamely correct.<br />
Lucas Malet says that “genius is sooner or later<br />
bound by right divine to conquer.” That is very<br />
pretty, but, alas, it is not true. There is abso-<br />
lutely no room for all the genius in the world to<br />
get a hearing. Like everything else in Nature,<br />
there is much more of it than mankind has need<br />
of. A new writer’s most legitimate, though not<br />
<br />
perhaps his commercially best, chance of succeed-<br />
ing with the public is in strong originality—by<br />
which, of course, I do not mean eccentricity, but<br />
originality governed by strong common-sense and<br />
by modest observance of universally accepted<br />
models.<br />
<br />
But strong originality is the very thing,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
I submit, to which an Academy would, even from<br />
the nature of its constitution, be least likely to be<br />
favourable. Appoint six men as a beginning, with<br />
power to add, say, thirty-four to their number.<br />
They choose as far as possible only men of their<br />
own way of thinking. And being constituted, the<br />
forty affix the hall-mark of their approval only<br />
when neither the public needs it for guidance nor<br />
the author for encouragement. The Academies of<br />
Painting and Music cannot be cited as analogous<br />
cases. With regard to the first, it is practically a<br />
necessity for painters to have their works viewed<br />
in a public exhibition of repute, for which it is<br />
equally necessary that there should be some sort of<br />
selection by some sort of committee. Writers are<br />
not subject to these necessities. Again, Painting<br />
and Music must both be very exactly taught, and<br />
Academies of these arts are or, like universities,<br />
ought to be not merely examining but also teaching<br />
bodies. Now, I boldly assert that the writer’s art<br />
cannot be taught. It can be learnt, and must be,<br />
but chiefly by much reading and practice on the<br />
part of the learner. If the young author has “ got<br />
it in him,” he will know how to educate himself ;<br />
if he has not, uo education in the world will bring<br />
out what isn’t there. As to the alleged need of a<br />
standard of criticism founded on the judgment<br />
of experts, a book may show indisputable signs<br />
of care and exceptional knowledge, but if its<br />
author does not possess the gift of infusing the<br />
fire of interest into his work, it is not an Academy<br />
of Letters or the applause of a few specialists that<br />
can make the public read it or even buy it. Still,<br />
it is insisted that an Academy’s guidance is really<br />
required. But is it gravely assumed that an<br />
official approval now and then of a new book would<br />
have any appreciable effect in a young author’s<br />
self-education or on publictaste? The assumption<br />
seems to me out of all proportion. The reading<br />
public in France, as a mass, pays not the slightest<br />
heed to the occasional “crowning” of a book by<br />
the Academy. I do not believe with Mr. Herbert<br />
Trench that there is a thirst among teachers for<br />
guidance in matters of general literature. As to<br />
school and college books, they just use those<br />
which give pupils the best chance of passing this<br />
or that examination, not forgetting the examiner’s<br />
own productions, where such exist. Ce n’est pas<br />
plus malin que ca. As to charlatans, with capital<br />
to foist rubbish on the public, there are humbugs<br />
who block the way in every line of life ; it is not<br />
an Academy that would suppress them. But, it<br />
may be urged, even if an Academy did no good, it<br />
could not after all really do much harm. Well,<br />
that is not a very strong reason for calling it into<br />
existence.<br />
A. HEFFER.<br />
Paris.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
S<br />
bot<br />
<br />
Ati<br />
<br />
*<br />
<br />
KI<br />
<br />
:<br />
<br />
if<br />
ig<br />
<br />
<br />
<br />
eet<br />
<br />
<br />
<br />
Pun<br />
<br />
THE AUTHOR.<br />
<br />
IV.<br />
<br />
Dear Srir,—A strange wind blew. Beneath it<br />
a mighty sea rose and raged, this way and that,<br />
in a most ‘‘ anarchic” fashion. On the beach was<br />
descried dimly the figure of a man_ groping.<br />
“ What,” Heaven asked him, in its own name,<br />
“are you doing?” “Looking for forty fossils”<br />
was his answer. ‘ And what,” Heaven asked him,<br />
in its own name, “are you going to do with them<br />
when you have found them?” ‘Calm the sea<br />
with them ”’ was his answer.<br />
<br />
The wind (need I add ?) is popular education.<br />
The sea is the book-reading public. The groping<br />
figure is that of Mr. Herbert ‘Trench. The forty<br />
fossils . . . but I, like Mr. Trench himself, prefer<br />
to devolve the task of naming ‘hem.<br />
<br />
Yours obediently,<br />
Max BEERBOHM.<br />
<br />
$< __—_<br />
<br />
A HISTORY OF GERMAN LITERATURE. *<br />
<br />
— ><br />
<br />
T is, perhaps, a platitude to assert that the<br />
chief snare in the path of the literary historian<br />
is the difficulty of properly subordinating<br />
<br />
detail to general development. In his admirable<br />
history of the great literature that extends from<br />
Ulfilas and the earliest Nibelungen sagas to Suder-<br />
mann and Nietzche, Mr. Robertson has avoided<br />
this pitfall with complete success. His work is<br />
one that should meet with nothing but praise, both<br />
for his complete comprehension of the growth and<br />
decline of all the various movements of Germanic<br />
thought and his lucid exposition of the elements<br />
common to all of them, and also for his admirable<br />
criticism in a space necessarily limited of the<br />
intellectual giants of the eighteenth and nineteenth<br />
centuries. While he is careful to trace the influence<br />
and to estimate the importance of Kant, Fichte, and<br />
Hegel in a literature which has always been and<br />
always will be connected with philosophy by the<br />
firmest of bords, he is not forgetful of the form<br />
which, after all, is the eternal element in all art,<br />
and his lyrical selections are most happy. A<br />
literary historian who can sum up the “ Kritik der<br />
reinen Vernunft”’ and the “ Kritik der praktischen<br />
Vernunft” in two pages, and praise with enthusiasm<br />
Heine’s<br />
“Thalatta ! Thalatta !<br />
Sei mir gegriisst, du ewiges Meer !”<br />
<br />
is indeed one in whom we may rejoice.<br />
<br />
The first period of German literature, as Mr.<br />
Robertson points out in his Introduction, falls<br />
<br />
<br />
<br />
* “A History of German Literature,” by John G.<br />
Robertson (Blackwood : MCMII.).<br />
<br />
77<br />
<br />
approximately between the period of Anglo-Saxon<br />
poetry in which Beowulf reached its final form,<br />
and the tiny golden age of the prose of Alfred<br />
and Ailfric. It was a monastic age, and Germany<br />
was slower than other nations in breaking loose<br />
from the ascetic trammels that have always proved<br />
so inimical to literature, if not to learning. The<br />
age of the Migrations (875—500, ca.) naturally<br />
failed to produce a written literature, although the<br />
struggles of Ostrogoth, Vandal, and Hun, and the<br />
characters of Ermanrich, Odoaker, and Dietrich,<br />
afforded material for the national epics which<br />
developed later. The second sound-shifting was<br />
fatal to alliterative verse, and Otfrid’s theological<br />
poems (ca. 830—850) followed the early Church<br />
hymns in the use of rhyme. The Middle High<br />
Germany poetry was late in setting in, but by the<br />
twelfth century the bonds of monasticism relaxed,<br />
and the secular themes of the wandering singers<br />
became popular. French influence began to appear ;<br />
the old sagas were remodelled, and the lyric fol-<br />
lowed the form set by the Provencal troubadours..<br />
The courtly Middle High German poetry, however,<br />
declined with knighthood ; as the middle classes<br />
rose to power, literary art subsided. Not until<br />
Luther’s genius had placed his nation in the van of<br />
European progress, and Luther’s Bible had fixed<br />
the standard of modern German, did this period of<br />
decadence end, as all periods of decadence do, in<br />
regeneration.<br />
<br />
terman culture in the sixteenth century was<br />
entirely due to the Reformation, and was at first<br />
completely out of reach of the Latin renaissance.<br />
When, however, it might have benefited by the<br />
latter, the horror of the Thirty Years’ War over-<br />
whelmed it absolutely. Germany was the intel-<br />
lectual outcast of Europe until the end of the<br />
seventeenth century, until the appearance of the<br />
genius of Leibnitz. The first period of German<br />
literature in the eighteenth century was character-<br />
ised by imitation of English and French models,<br />
the second was a period of national originality.<br />
Klopstock, Wieland, Lessing, respectively laid the<br />
foundations of the modern German lyric, novel,<br />
and drama, so that by the middle of the century<br />
Germany had passed far beyond the former dark-<br />
ness, and at the beginning of the nineteenth<br />
century German classical literature had reached<br />
its zenith. ‘The Romantic movement, and the.<br />
“young German epoch” that followed, were’<br />
really periods of decadence which produced a few<br />
men of genius and a vast number of fanatical<br />
mediocrities.<br />
<br />
Such is the scheme of development to which Mr.<br />
Robertson adheres. Through all its ramifications<br />
we may trace the element which is the dominant<br />
note of the Teutonic character—mysticism. It is<br />
apparent in the Old High German poetry of Otfrid<br />
<br />
<br />
78<br />
<br />
and the idea of retribution in the Nibelungen<br />
Lied ; ‘if it disappears in the “ Beast Epics and<br />
the didactic works which are characteristic of the<br />
decline of chivalry, in ‘Reinke de Vos” and<br />
Brant’s “Narren Schyff,” it is handed on by<br />
Luther and reappears widely in the seventeenth cen-<br />
tury ; if it is blotted out by the Thirty Years’ War,<br />
it is apparent in the great work of Leibnitz, and<br />
has been paramount in almost every branch of<br />
German literature since his day. The Teutonic<br />
temperament has always been romantic, 1n the true<br />
sense of the word ; the literature which enshrines<br />
its power is the literature of subjectivity and<br />
individualism.<br />
<br />
In surveying the growth of any branch of art,<br />
we cannot fail to notice how many works have<br />
survived on account of their historical value,<br />
although they are wxsthetically worthless. It is<br />
greatly to Mr. Robertson’s credit that he has never<br />
confused art and archeology, and that, on the<br />
other hand, he has recognised the real beauty of<br />
archaic “first beginnings, so dim and dewy,” as<br />
Browning rather unhappily called them. Modern<br />
criticism is far too apt to regard anything written<br />
in an obsolete dialect as the lawful prey of the<br />
philologist.<br />
<br />
Sr. Joun Lucas.<br />
—_—_—_—__-__<br />
<br />
MR. G. A. HENTY.<br />
<br />
— ts<br />
<br />
HE death of Mr. G. A. Henty, war corre-<br />
spondent and author, has come rather<br />
suddenly. There is no doubt that he<br />
<br />
supplied a certain type of literature which may<br />
entirely disappear with his death. He combined<br />
adventure with instruction, and wrote on lines<br />
that no modern author seems to touch.<br />
<br />
He was a most prolific writer, and certainly<br />
found amongst the boys to whom he appealed a<br />
class as eager for his productions as he was prolific<br />
in his writings.<br />
<br />
All his books were healthy, strong, and vigorous,<br />
full of life and full of “ go,” and all his writings<br />
advocated the strenuous life which he himself lived.<br />
<br />
It is with much regret we chronicle the sad<br />
event.<br />
_<br />
<br />
A LITERARY HISTORY OF PERSIA.*<br />
<br />
oe<br />
<br />
‘bee Tranis (of whom the Persians and Medes<br />
were the leading tribes) and their language<br />
and literature afford us an example unique<br />
<br />
in the annals of nations. The language used by<br />
<br />
* “A Literary History of Persia” (Prof. E. G. Browne).<br />
T, Fisher Unwin.<br />
<br />
THE AUTHOR.<br />
<br />
the Achzemanian kings in the sixth century B.o,<br />
would be easily understood by an educated Persian<br />
of to-day, and yet there have been breaches in<br />
their history and literature so wide as would have<br />
drained the life-blood of most other races.<br />
<br />
The Achemanian (Hakhamanish), or Old Persian —<br />
period, extended from about 560 B.C. to the over- |<br />
throw of the Iranian Empire by Alexander of<br />
Macedon in 330 3.c. The only remains of that<br />
literature are the royal acts and proclamations<br />
engraven on stone, and they possess the sonorous<br />
dignity and simplicity to which we are accustomed<br />
in edicts, by members of the same dynasty, re-<br />
corded in the Bible. The national cult and<br />
literature was practically suspended for the five<br />
centuries extending to about 200 .c., only linger-<br />
ing in Magian temples or inaccessible fastnesses<br />
of some reputed descendant of Hakhaman. The<br />
national awakening gave rise to what is known as<br />
the Sassanian period, or Pahlevi literature, which<br />
cannot be disconnected from what some scholars<br />
have defined, artificially, as the Avestic literature.<br />
The Avesta, or sacred books of Zoroastrianism, of<br />
which only about one-fourth are known, have come<br />
down to us in the forms imparted to them between<br />
200 and 350 a.c., but must necessarily include the<br />
oral traditions of the most ancient period, and,<br />
indeed, contains vestiges of practices and super-<br />
stitions from ante-Aryan times, common to all<br />
races. The Avestic literature is only interesting<br />
to him who quarries for the evolution of ideas in<br />
the childhood of the human race. The Pahlevi as<br />
applied to the national resurrection under the<br />
Sassanide dynasty, flourished from about 200—<br />
650 A.c. ; the remains of this literature, although<br />
principally religious (Zoroastrian), contain some<br />
40,000 words of historical romance, which with<br />
other remains, now only extant in Arabic transla-<br />
tions, supplied the subject-matter of that stupen-<br />
dous National Legend moulded by the genius of<br />
Firdusi during the Second Renaissance in about<br />
1000 A.C. d<br />
<br />
The Sassanide dynasty fell in 650 a.c., when the<br />
Empire was overwhelmed by the Arabs, and Persia<br />
became an Arabian province for 300 years, when<br />
Arabic became the language of literature, and<br />
Persian men of genius devoted their talents and<br />
knowledge to the enrichment of Arabic literature<br />
and the glories of Islam.<br />
<br />
The Second Awakening dawned in about<br />
850 A.c., but did not begin to shine until about<br />
950, and then only in distant provinces of the<br />
Caliphate and, chiefly, under the patronage of<br />
Turkish adventurers, who nurtured the Persian<br />
cult and made themselves more Persian than the<br />
Persians for the purpose of strengthening them-<br />
selves against their suzerains, the Caliphs of Bag-<br />
dad. I must refer the reader to Prof. Browne’s<br />
<br />
<br />
<br />
<br />
<br />
<br />
ood<br />
<br />
book for the many other causes which assisted the<br />
<br />
40098 Second Birth. This period, which is undoubtedly<br />
» aff the Golden Age of Persian literature, flourished<br />
me and expanded until the Tartar flood burst and<br />
<br />
» 79 overwhelmed Asiatic civilisation at the beginning<br />
to of the fourteenth century. Prof. Browne, in the<br />
oy volume before me, stops at 1000 4.c. and promises<br />
-7 us another one on the “Golden Age,” which will<br />
a) include such well-known names as Nizami, Sadi,<br />
O Omar Khaydm, etc. He has already dealt with<br />
4) the translation of Tabari’s great commentary into<br />
<br />
{ Persian; Assadi, the teacher of Firdusi, and in-<br />
<br />
»y ventor of the “ Romance of the Joust”; Rudaki,<br />
<br />
* “piquant in expression and fluent in verse,” so<br />
<br />
f fluent that he is credited with the composition of one<br />
<br />
' + millionthreehundredthousand verses! The greatest<br />
+8 figure is, of course, Firdusi, with his monumental<br />
»/@ Shah name (“Book of the Kings”); this stupendous<br />
4 National Legend, comprising some 60,000 couplets,<br />
'@ embraces the traditional primeval legends, the<br />
** Romance of Iamshid”’ (a sort of combination of<br />
* Solomon and King Arthur), the historical chronicles<br />
<br />
of the Sassanide dynasty and all that is romantic<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
and tuneful down to his own day, coloured, of<br />
course, with Moslem pigment and showing the<br />
grain of Chaldean imagery which the older Pahlevi<br />
writers had assimilated.<br />
<br />
The third Great Trance extended from the<br />
Mongol conquest to about the beginning of the<br />
last century ; but this Third Renaissance has, so far,<br />
concerned itself with recovering the treasures of<br />
the past, translations of foreign books, and—poetry.<br />
<br />
Their poetical forms, the couplet and quatrain,<br />
are borrowed from the Arabic, and from the ninth<br />
to the present century are dirge-like.<br />
<br />
The philosopher is naturally sad, but the senti-<br />
mental Persian wails in his loves, his hates, and his<br />
adorations. When he can spare time from sobbing<br />
a divine hymn to some petty kingling and patron,<br />
he weeps a melancholy dirge about wine, music,<br />
and woman. His eyes are so dimmed with tears<br />
that his Trinity must be brilliantly coloured and<br />
sensuous ; the “ruby wine,” the “heart-exploding<br />
erash of music,” “the ruby lips,’ and so forth.<br />
When a kingling (generally of Turkish extraction)<br />
rhymes, he sighs for “ red-hot blood” and “ nostril<br />
attacking incarmined cuirass.”<br />
<br />
It may be noted en passant that poets made<br />
money in A.C. 1000, for we are told that Rudaki<br />
possessed 200 slaves (some, let us hope, with<br />
‘ruby lips” and other strongly-coloured physical<br />
attractions) and 100 camel-loads of luggage.<br />
<br />
Prof. Browne holds a brief for Persia and devotes<br />
two-thirds of his book to Arabian literature, which<br />
he attempts to prove to be Persian, because many<br />
Persians, half-Persians, fractional-Persians and<br />
Arabs of “reputed” Persian descent wrote in<br />
Arabic. It would be just as easy to class the<br />
<br />
THE AUTHOR.<br />
<br />
79<br />
<br />
numerous works published in Latin throughou<br />
Europe during the last two centuries as “ Roman”<br />
literature. No! Arabian literature and Islam<br />
are no more Persian than the northern Sagas are<br />
the vapourings of a Baboo who has “failed B.A.<br />
Calcutta.”<br />
<br />
I shall look forward to Prof. Browne’s next<br />
volume dealing with the great Poet-Philosophers<br />
of the Golden Age, and should feel grateful if he<br />
would veil his profound erudition by massing his<br />
references in an appendix.<br />
<br />
M. M.<br />
<br />
ae<br />
<br />
CORRESPONDENCE.<br />
<br />
—— ———e— —<br />
<br />
“RUTHOR AND EDITOR.”<br />
<br />
Sir,—Mr. F. J. Winbolt is not complimentary !<br />
First he calls me “ An unknown author,” when my<br />
nameis very well known. Every London editor of any<br />
note knows it, I should say, and I have been called<br />
by an eminent living critic “one of the sweetest<br />
singers in Devon now alive”; besides being one of<br />
Mr. H. D. Traill’s “ Poets in the (late) Nineteenth<br />
Century.” Then he implies that 1am “ an obscure<br />
poet,” which again is wide of the mark, as not<br />
only have I had hundreds of reviews in London<br />
and provincial papers, but my poems have been<br />
extensively copied into the Indian, African, San<br />
Franciscan, and Canadian papers. Besides, he will<br />
find my name in “ Who’s Who.”<br />
<br />
Mr. Winbolt misses the point—i.c., that several<br />
(10) of the poems were from the Westminster Gazette,<br />
and that the editor had reviewed all my inferior<br />
books! Besides, other London papers noticed it—<br />
Pall Mall Gazette, The Queen, Field, Pictorial<br />
World, and others.<br />
<br />
Yours truly,<br />
F. B. Dovueton.<br />
<br />
Kirsfield, Torquay.<br />
<br />
P.S.—Again! What did the editor mean by<br />
saying “He had given my Vol. due considera-<br />
tion ’—a future review or none ?<br />
<br />
F. B.D.<br />
So ee<br />
INCOMPETENT REVIEWERS OF BOOKS—A<br />
PROTEST.<br />
<br />
Srr,—There are two abuses which no author—<br />
not even a young one—is obliged to tolerate. — he<br />
first is having his English cavilled at by a reviewer<br />
who has no grammar; and the second is the<br />
misquoting or mutilating of his printed work with<br />
a view to holding hit up to ridicule.<br />
<br />
Case number one. Discussing “The Land of<br />
the Dons,” my recent work on Spain, the Daily<br />
<br />
<br />
<br />
<br />
78<br />
<br />
and the idea of retribution in the Nibelungen<br />
Lied ; ‘if it disappears in the “ Beast pies and<br />
the didactic works which are characteristic of the<br />
decline of chivalry, in “ Reinke de Vos” and<br />
Brant’s “Narren Schyff,” it is handed on by<br />
Luther and reappears widely in the seventeenth cen-<br />
tury ; if it is blotted out by the Thirty Years War,<br />
it is apparent in the great work of Leibnitz, and<br />
has been paramount in almost every branch of<br />
German literature since his day. The Teutonic<br />
temperament has always been romantic, 10 the true<br />
gense of the word ; the literature which enshrines<br />
its power is the literature of subjectivity and<br />
individualism,<br />
<br />
In surveying the growth of any branch of art,<br />
we cannot fail to notice how many works have<br />
survived on account of their historical value,<br />
although they are esthetically worthless. It is<br />
greatly to Mr. Robertson’s credit that he has never<br />
confused art and archeology, and that, on the<br />
other hand, he has recognised the real beauty of<br />
archaic “ first beginnings, so dim and dewy,” as<br />
Browning rather unhappily called them. Modern<br />
criticism is far too apt to regard anything written<br />
in an obsolete dialect as the lawful prey of the<br />
philologist.<br />
<br />
Sr. Joun Lucas.<br />
<br />
i<br />
<br />
MR. G. A. HENTY.<br />
<br />
a od<br />
<br />
HE death of Mr. G. A. Henty, war corre-<br />
spondent and author, has come rather<br />
suddenly. ‘There is no doubt that he<br />
<br />
supplied a certain type of literature which may<br />
entirely disappear with his death. He combined<br />
adventure with instruction, and wrote on lines<br />
that no modern author seems to touch.<br />
<br />
He was a most prolific writer, and certainly<br />
found amongst the boys to whom he appealed a<br />
class as eager for his productions as he was prolific<br />
in his writings.<br />
<br />
All his books were healthy, strong, and vigorous,<br />
full of life and full of “ go,” and all his writings<br />
advocated the strenuous life which he himself lived.<br />
<br />
It is with much regret we chronicle the sad<br />
event.<br />
<br />
————_+-—<>—_e —___—__<br />
<br />
A LITERARY HISTORY OF PERSIA.*<br />
aes<br />
| Tranis (of whom the Persians and Medes<br />
were the leading tribes) and their language<br />
and literature afford us an example unique<br />
in the annals of nations. The language used by<br />
<br />
* “A Literary History of Persia” (Prof. E. G. Browne).<br />
T. Fisher Unwin.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
the Achzmanian kings in the sixth century B.c.<br />
would be easily understood by an educated Persian<br />
of to-day, and yet there have been breaches in<br />
their history and literature so wide as would have<br />
drained the life-blood of most other races.<br />
<br />
The Achemanian (Hakhamanish), or Old Persian<br />
period, extended from about 560 B.c. to the over-<br />
throw of the Iranian Empire by Alexander of<br />
Macedon in 330 3.c. The only remains of that<br />
literature are the royal acts aud proclamations<br />
engraven on stone, and they possess the sonorous<br />
dignity and simplicity to which we are accustomed<br />
in edicts, by members of the same dynasty, re-<br />
corded in the Bible. The national cult and<br />
literature was practically suspended for the five<br />
centuries extending to about 200 a.c., only linger-<br />
ing in Magian temples or inaccessible fastnesses<br />
of some reputed descendant of Hakhaman. The<br />
national awakening gave rise to what is known as<br />
the Sassanian period, or Pahlevi literature, which<br />
cannot be disconnected from what some scholars<br />
have defined, artificially, as the Avestic literature.<br />
The Avesta, or sacred books of Zoroastrianism, of<br />
which only about one-fourth are known, have come<br />
down to us in the forms imparted to them between<br />
200 and 350 A.c., but must necessarily include the<br />
oral traditions of the most ancient period, and,<br />
indeed, contains vestiges of practices and super-<br />
stitions from ante-Aryan times, common to all<br />
races. The Avestic literature is only interesting<br />
to him who quarries for the evolution of ideas in<br />
the childhood of the human race. The Pahlevi as<br />
applied to the national resurrection under the<br />
Sassanide dynasty, flourished from about 200—<br />
650 A.c. ; the remains of this literature, although<br />
principally religious (Zoroastrian), contain some<br />
40,000 words of historical romance, which with<br />
other remains, now only extant in Arabic transla-<br />
tions, supplied the subject-matter of that stupen-<br />
dous National Legend moulded by the genius of<br />
Firdusi during the Second Renaissance in about<br />
1000 A.C.<br />
<br />
The Sassanide dynasty fell in 650 A.c., when the ex:<br />
Empire was overwhelmed by the Arabs, and Persia 7 az<br />
became an Arabian province for 300 years, when<br />
Arabic became the language of literature, and<br />
Persian men of genius devoted their talents and<br />
knowledge to the enrichment of Arabic literature<br />
and the glories of Islam.<br />
<br />
The Second Awakening dawned in about<br />
850 A.c., but did not begin to shine until about<br />
950, and then only in distant provinces of the §<br />
Caliphate and, chiefly, under the patronage of §<br />
Turkish adventurers, who nurtured the Persian 3<br />
cult and made themselves more Persian than the<br />
Persians for the purpose of strengthening them-<br />
selves against their suzerains, the Caliphs of Bag-<br />
dad. I must refer the reader to Prof. Browne’s<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ee<br />
<br />
<br />
<br />
&<br />
<br />
ios<br />
ig.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Cowes S<br />
<br />
THE AUTHOR.<br />
<br />
book for the many other causes which assisted the<br />
<br />
v0 ? Second Birth. This period, which is undoubtedly<br />
<br />
the Golden Age of Persian literature, flourished<br />
and expanded until the Tartar flood burst and<br />
overwhelmed Asiatic civilisation at the beginning<br />
of the fourteenth century. Prof. Browne, in the<br />
volume before me, stops at 1000 4.c. and promises<br />
us another one on the “ Golden Age,” which will<br />
include such well-known names as Nizami, Sadi,<br />
Omar Khaydm, etc. He has already dealt with<br />
the translation of Tabari’s great commentary into<br />
Persian ; Assadi, the teacher of Firdusi, and in-<br />
ventor of the “ Romance of the Joust” ; Rudaki,<br />
“piquant in expression and fluent in verse,” so<br />
fluent that he is credited with the composition of one<br />
million three hundred thousand verses! The greatest<br />
figure is, of course, Firdusi, with his monumental<br />
Shah name (“Book of the Kings”); this stupendous<br />
National Legend, comprising some 60,000 couplets,<br />
embraces the traditional primeval legends, the<br />
“ Romance of Iamshid”’ (a sort of combination of<br />
Solomon and King Arthur), the historical chronicles<br />
of the Sassanide dynasty and all that is romantic<br />
and tuneful down to his own day, coloured, of<br />
course, with Moslem pigment and showing the<br />
grain of Chaldean imagery which the older Pahlevi<br />
writers had assimilated.<br />
<br />
The third Great Trance extended from the<br />
Mongol conquest to about the beginning of the<br />
last century ; but this Third Renaissance has, so far,<br />
concerned itself with recovering the treasures of<br />
the past, translations of foreign books, and—poetry.<br />
<br />
Their poetical forms, the couplet and quatrain,<br />
are borrowed from the Arabic, and from the ninth<br />
to the present century are dirge-like.<br />
<br />
The philosopher is naturally sad, but the senti-<br />
mental Persian wails in his loves, his hates, and his<br />
adorations. When he can spare time from sobbing<br />
a divine hymn to some petty kingling and patron,<br />
he weeps a melancholy dirge about wine, music,<br />
and woman. His eyes are so dimmed with tears<br />
that his Trinity must be brilliantly coloured and<br />
sensuous ; the “ruby wine,” the “heart-exploding<br />
erash of music,” “the ruby lips,” and so forth.<br />
When a kingling (generally of Turkish extraction)<br />
rhymes, he sighs for “ red-hot blood ” and “ nostril<br />
attacking incarmined cuirass.”<br />
<br />
It may be noted en passant that poets made<br />
money in A.c. 1000, for we are told that Rudaki<br />
possessed 200 slaves (some, let us hope, with<br />
‘ruby lips” and other strongly-coloured physical<br />
attractions) and 100 camel-loads of luggage.<br />
<br />
Prof. Browne holds a brief for Persia and devotes<br />
two-thirds of his book to Arabian literature, which<br />
he attempts to prove to be Persian, because many<br />
Persians, half-Persians, fractional-Persians and<br />
Arabs of “reputed” Persian descent wrote in<br />
Arabic. It would be just as easy to class the<br />
<br />
79<br />
<br />
numerous works published in Latin throughou<br />
Europe during the last two centuries as ‘‘ Roman”<br />
literature. No! Arabian literature and Islam<br />
are no more Persian than the northern Sagas are<br />
the vapourings of a Baboo who has “failed B.A.<br />
Calcutta.”<br />
<br />
I shall look forward to Prof. Browne’s next<br />
volume dealing with the great Poet-Philosophers<br />
of the Golden Age, and should feel grateful if he<br />
would veil his profound erudition by massing his<br />
references in an appendix.<br />
<br />
M. M.<br />
<br />
————<br />
<br />
CORRESPONDENCE.<br />
<br />
—<br />
<br />
“AUTHOR AND EDITOR.”<br />
<br />
Srr,—Mr. F. J. Winbolt is not complimentary !<br />
First he calls me ‘An unknown author,” when my<br />
nameis very wellknown. Every London editor of any<br />
note knows it, I should say, and I have been called<br />
by an eminent living critic “one of the sweetest<br />
singers in Devon now alive ” ; besides being one of<br />
Mr. H. D. Traill’s “ Poets in the (late) Nineteenth<br />
Century.” Then he implies that lam “an obscure<br />
poet,” which again is wide of the mark, as not<br />
only have I had hundreds of reviews in London<br />
and provincial papers, but my poems have been<br />
extensively copied into the Indian, African, San<br />
Franciscan, and Canadian papers. Besides, he will<br />
find my name in “ Who’s Who.”<br />
<br />
Mr. Winbolt misses the point—i.c., that several<br />
(10) of the poems were from the estminster Gazette,<br />
and that the editor had reviewed all my inferior<br />
books! Besides, other London papers noticed it—<br />
Pall Mall Gazette, The Queen, Field, Pictorial<br />
World, and others.<br />
<br />
Yours truly,<br />
F. B. Doveton.<br />
<br />
Kirsfield, Torquay.<br />
<br />
P.S.—Again! What did the editor mean by<br />
saying “He had given my Vol. due considera-<br />
tion ”’—a future review or none?<br />
<br />
EF. B.D.<br />
Sg<br />
INCOMPETENT REVIEWERS OF BOOKS—A<br />
PROTEST.<br />
<br />
Srr,—There are two abuses which no author—<br />
not even a young one—is obliged to tolerate. The<br />
first is having his English cavilled at by a reviewer<br />
who has no grammar; and the second is the<br />
misquoting or mutilating of his printed work with<br />
a view to holding him up to ridicule. 7<br />
<br />
Case number one. Discussing “The Land of<br />
the Dons,” my recent work on Spain, the Daily<br />
80<br />
<br />
Chronicle’s reviewer says, “It would not be fair to.<br />
<br />
make’ these strictures without giving specimens.”<br />
He then takes a sentence of sixteen words from<br />
my book, strikes out two commas, puts in a dash<br />
of his own, and, after completely changing the<br />
emphasis and the sense, prints his own travesty as<br />
my production. :<br />
<br />
‘Case number two. Says Zruth’s reviewer,<br />
“<Tmperative to,’ suggests that Mr. Williams’<br />
profuse and profound knowledge of Spanish has a<br />
little impaired his English.” Yet, a moment later,<br />
Truth’s reviewer produces a grammatical tit-bit of<br />
his own. He asks, “ What voice in literature has<br />
(sic) had the dim millions which in all ages and<br />
countries have lain out of sight like bees in the<br />
darkness of a hive from which we extract the<br />
honey ?” :<br />
<br />
Truth’s ingenious reviewer, therefore, while<br />
straining at the gnats of other people, seems to<br />
digest his own camels with singular complacency.<br />
Possibly, however, I am myself in error. It isa<br />
fact, as Truth is good enough to remind me, that<br />
I have long been absent from England ; but when<br />
I was there, a plural noun, unless my memory 1s<br />
very much at fault, was considered to demand a<br />
plural in its verb. \<br />
<br />
I am quite aware that by far the greater number<br />
of our reviewers of books are intelligent and<br />
<br />
kindly ; but from time to time an exception crops<br />
<br />
up and cries aloud for the pillory. The reviewer<br />
who repunctuates my writings in order to cast<br />
derision on them, imposes upon his readers and<br />
calumniates me. And the “reviewer,” such as<br />
Truth’s, who commits a grammatical blunder for<br />
which a schoolboy of ten would be soundly<br />
whipped, is incompetent to pass judgment on any<br />
book, whether written by me or by anyone else.<br />
<br />
LEONARD WILLIAMS.<br />
<br />
Madrid.<br />
<br />
—1~>—+ —<br />
<br />
THE RUSKIN MEMORIAL SCHEME.<br />
<br />
Dear Sir,—I should be grateful if you will<br />
allow me on behalf of the Ruskin memorial com-<br />
mittee to place before your readers a brief state-<br />
ment respecting the scheme.<br />
<br />
The Ruskin Society of Birmingham has existed<br />
for some seven years to do honour to the great<br />
teacher whose name it bears. It has endeavoured<br />
Lo promote the study of his works and make them<br />
a real power in the land, and it has sought to draw<br />
together men of all parties and creeds, the bond of<br />
union being the common desire to share the<br />
spiritual impetus arising from the study of the<br />
works of one, who preached a true philosophy, and<br />
the recognition that his profound genius was<br />
wholly used for the benefit of mankind.<br />
<br />
THE AUTHOR.<br />
<br />
But since the death of Mr. Ruskin the Society :<br />
decided to be no longer content to exist as an —<br />
academic body only ; and they thought that the<br />
best memorial they could raise in Mr. Ruskin’s<br />
honour was to carry out a practical scheme on the<br />
lines and in the spirit of his teaching.<br />
<br />
It was not difficult to choose such a scheme,<br />
The master’s love for country life is known to his<br />
most casual reader, as also are his magnificent<br />
experiments to foster it ; and the advice which in<br />
his later years he gave to those who sought his<br />
guidance as to practical work was to found a<br />
village institute to promote the higher life of the<br />
community around it.<br />
<br />
The Society resolved to act on this advice, and<br />
they believed that in the district of Bournville, if<br />
they could secure the necessary facilities, they had<br />
a most suitable place for their experiment, for here<br />
some of those social reforms, notably the housin<br />
one, about which (to quote Mr. Frederic Haram<br />
Mr. Ruskin had written long years before the<br />
statutes, conferences and royal commissions of our<br />
own generation, had been carried out. They there-<br />
fore ventured to approach the trustees of the<br />
Bournville Village Trust and sought their co-opera-<br />
tion. With a generosity only comparable to that<br />
shown on many occasions by Mr. Ruskin himself,<br />
the trustees offered to present, for the purposes of<br />
the memorial, a site of upwards of two and a half<br />
acres. Here we are building the memorial, of<br />
which Lord Avebury laid the foundation stone of<br />
the first portion on the 21st inst. That portion<br />
will embrace a library, museum and lecture room,<br />
and rooms for classes in arts and crafts.<br />
<br />
The site is a central one, not only for residents<br />
here, but for a group of thickly populated villages ~<br />
around. We seek to make the memorial building<br />
a centre of effort for the betterment of the con- —<br />
ditions of village life, and to bring to bear upon<br />
that life some of those influences which have now<br />
to be sought for in our large cities.<br />
<br />
We raise this memorial to Mr. Ruskin remember- —<br />
ing that he taught us that “There is no wealth<br />
but life—life including all its powers of love, of<br />
joy, and of admiration,” and that “That country<br />
is the richest which nourishes the greatest number<br />
of noble and happy human beings.” :<br />
<br />
For the completion of our present scheme we<br />
require a further sum of upwards of £3,000, and<br />
we most earnestly appeal to your readers for their<br />
assistance. We shall welcome all letters of enquiry,<br />
and shall be pleased to give any further informa-<br />
tion.<br />
<br />
Yours faithfully,<br />
<br />
J. H. WHITEHOUSE.<br />
Honorary Secretary.<br />
Bournville, Birmingham. | https://historysoa.com/files/original/5/478/1902-12-01-The-Author-13-3.pdf | publications, The Author |
479 | https://historysoa.com/items/show/479 | The Author, Vol. 13 Issue 04 (January 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+04+%28January+1903%29"><em>The Author</em>, Vol. 13 Issue 04 (January 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-01-01-The-Author-13-4 | | | | | 81–108 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-01-01">1903-01-01</a> | | | | | | | 4 | | | 19030101 | The Huthor.<br />
<br />
{ Tg<br />
i 6<br />
of<br />
<br />
<br />
<br />
<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
Vou. XIIT.—No. 4.<br />
<br />
JANUARY Ist, 1903.<br />
<br />
<br />
<br />
<br />
<br />
THE TELEPHONE.<br />
<br />
<br />
<br />
The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
eg<br />
<br />
NOTICES.<br />
<br />
pe ee<br />
<br />
OR the opinions expressed in papers that are<br />
K signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of 7he Author<br />
<br />
_ that the cases which are from time to time quoted<br />
<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
++ —<br />
<br />
List of Members.<br />
<br />
Tur List of Members of the Society of Authors<br />
can now be obtained at the offices of the Society,<br />
at the price of 6d. net.<br />
<br />
It will be sold to the members of the Society<br />
only.<br />
<br />
—+->-+—_<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tur investments of the Pension Fund at<br />
present standing in the names of the ‘Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou, XIII,<br />
<br />
[Prick SIXPENCE.<br />
<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
ee £816 5 6<br />
Wocal Goans =) a 404 10 0<br />
<br />
Victorian Government 8 % Con-<br />
solidated Inscribed Stock............ 291 19 11<br />
WearciGal 2. QOL 9.23<br />
Total 33.5. £1,714 4 8<br />
<br />
SPECIAL APPEAL.<br />
<br />
Tur Appeal sent out by the Chairman of the<br />
Society at the request of the Pension Fund Com-<br />
mittee has been very successful.<br />
<br />
Up to and including the 19th of December, the<br />
list of subscriptions and donations promised and<br />
given is set forch below. Further subscriptions<br />
and donations will be acknowledged as they<br />
come in.<br />
<br />
Subscriptions.<br />
<br />
Nov. 14, Tuckett, F. F. ' ; .£1 0 0<br />
S Cox, Miss Roalfe 0 5 0<br />
<br />
, Loynbee, William . 010 6<br />
<br />
, Anonymous . : : L070<br />
<br />
» odd, Miss Margaret, M.D. tt 0<br />
<br />
» Pearson, Mrs. Conney 2 2 0<br />
<br />
5 Seaman, Owen : ; - tt 8<br />
<br />
, Abbot, Rey. Edwin A, D.D.. 1 0 0<br />
<br />
. . Witherby, Rey. C. . 0 5.0<br />
<br />
» Salwey, Reginald E. 0 10 0<br />
Vacher, Francis 110<br />
<br />
Nov. 15, Parr, Mrs... ; 1 fr 0<br />
4 Davy, Man EO. : . 010 6<br />
<br />
. Allingham, Wiliam, FRCS. 1 1 9<br />
<br />
,» Armstrong, Miss Frances 0 5 0<br />
<br />
Holmes, Arthur H. (condi-<br />
<br />
tional) ; : :<br />
Rattray, Alex. : ‘ :<br />
,, Brodrick, ‘The Honble. Mrs. .<br />
Noy. 17, Nisbet, Hume : ; :<br />
Keene, H. G., C.5.1. : :<br />
Bayly, Miss A. E. (Edna Lyall)<br />
3 Forbes, E. . : : .<br />
ss Spiers, Victor.<br />
<br />
”<br />
<br />
a?<br />
<br />
owe oor cre<br />
—<br />
<br />
en bo Re OO Rt Ot<br />
<br />
eceocoooocosoo<br />
<br />
<br />
82<br />
<br />
Noy. 17, Kroeker, Mrs. Freiligrath<br />
» Burrowes, Miss Elsa<br />
» Cooke-Taylor, R. W.<br />
Noy. 18, Voysey, Rev. Charles<br />
, vones, W. Braunston<br />
» Anonymous .<br />
5 Salmond, Mrs. Walter<br />
» Amonymous .<br />
» Clough, Miss B. AL<br />
» Stanton, Miss H. M.<br />
» “Lucas Malet”<br />
Nov. 20, E. G.<br />
ao enkins, Miss Hadow<br />
Morrah, H. A. A<br />
Hatton-Ellis, Mrs. .<br />
Bertouch, The Baroness de<br />
,» Anonymous<br />
Nov. 21, Parr, Miss Olive<br />
Nov. 22, Forbes, Lady Helen<br />
» Twycross, Miss M.<br />
Nov. 24, Smythe, Alfred<br />
» Haggard, Mrs. John<br />
,, Anonymous ‘<br />
», Dale, Miss Nellie .<br />
oe Tresham Quaines” .<br />
Noy. 25, Young, W. Wellington .<br />
Nov. 26, Young, Capt. Charles<br />
Dec. 1, Finnemore, Mrs. .<br />
Dec. 3, Caulfield, Miss Sophia<br />
Dec. 5, Hecht, Mrs. :<br />
5» Hamilton, Mrs. G. W.<br />
Brinton, Selwyn<br />
Dec. 9, Dill, Miss Bessie<br />
Dec. 18, Sutherland, Her Grace the<br />
Duchess of<br />
Dec. 19, Toplis, Miss Grace .<br />
<br />
”<br />
<br />
”<br />
<br />
Donations.<br />
<br />
Noy. 13, Bullen, EF. A<br />
is Roberts, Morley (an annual<br />
subscriber). :<br />
Nov. 14, Rossetti, W.M. . :<br />
es Marshall, Capt. Robert .<br />
»» Hoyer, Miss ‘ :<br />
. EM 8B.<br />
“ Lefroy, Mrs. .<br />
» Sinclair, Miss May (an annual<br />
subscriber) . : ‘<br />
» McBride, Capt. E. E.<br />
» Garnier, Russell .<br />
Noy. 15, Burchell, Sidney H.<br />
» Spero” :<br />
5 “ Cecil Medlicott v<br />
», Harker, Mrs. Allen<br />
» Banks, Mrs. M. M.<br />
», Spielmann, M. H.<br />
» Garnier, Col. J. .<br />
», Benecke, Miss Ida .<br />
<br />
Oe<br />
<br />
or So by<br />
<br />
oor Of ©<br />
<br />
KSPR wWOoOOCCNOFRFS<br />
<br />
connnacd oro<br />
<br />
a<br />
<br />
illo e e<br />
aooccunce o orn HONS OO COLON OH HOA OLOTS OLD OH OHMS WN<br />
<br />
i<br />
<br />
He<br />
Howonmonworcneu<br />
<br />
THE AUTHOR.<br />
<br />
oacocoococoo<br />
<br />
=><br />
<br />
oo cCooaoocooeoeoo soso S OS Soo RSS<br />
<br />
So<br />
<br />
ecocoocoacaoceo eoocooocoo<br />
<br />
Nov. 15, Atton, Henry ; 05 0<br />
<br />
Nov. 17, Panter, Rev. C. R.. 0 5 0<br />
<br />
» Keene, H.G,CSi . 0 5 0<br />
<br />
», Spielmann, Mrs. M. H. . 1 i4@<br />
<br />
» Begbie, Harold ; . 8 3 0<br />
<br />
», Stevenson, J.J. . -10 0 0<br />
<br />
, Minniken, Miss Bertha M. 0 5 0<br />
<br />
Noy. 18, From sale of autograph . 124<br />
<br />
» Wintle, H. R. 010 0<br />
<br />
» Brickdale-Corbett, H. M. 010 0<br />
<br />
» Defries, Miss Violet : 010 6<br />
<br />
Nov. 19, Stanton, Miss Hannah M. 1 0 ¥<br />
» Warren, Major-General Sir<br />
<br />
Charles, K.C.M.G. 1 0.98<br />
<br />
» “lucas Malet”. 5 5 0<br />
<br />
Nov. 20, Wynne, Charles Whitworth 5 &<br />
<br />
Nov. 22, Skeat, The Rev. Prof. W. W.. 5 0 0<br />
<br />
Nov. 25, Jacobs, W.W. ; : 1 194<br />
<br />
; Young, W. Wellington . 0 5 0<br />
<br />
» Batty, Mrs. Braithwaite . 010 0<br />
<br />
Nov. 26, Cook, C. H. . 1.1 ¢@<br />
<br />
Noy. 27, Gleig, Charles 010 0<br />
<br />
» Harraden, Miss Beatrice 1 1@<br />
<br />
. Frankland, F. W. 1 0 0<br />
<br />
,» d Auvergne, Mrs. 0 5 0<br />
<br />
Nov. 28, Sutcliffe, Halliwell 1 2 8<br />
<br />
Nov. 29, Weyman, Stanley J. 5 0 0<br />
<br />
Dec. 1, Sanderson, Sir J. Burdon 5 0 0<br />
<br />
Dec. 2, Trevor- Batty e, Aubyn 1 14<br />
<br />
» Marks, Mrs. . ; 010 0<br />
<br />
Dec. 9, Moore, Henry Charles 0 5 0<br />
<br />
Dec. 11, Lutzow, Count 2 0 0<br />
<br />
« Leicester Romayne ” 0 5 0<br />
<br />
Dee. ‘12, Croft, Miss Lily 0 5 0<br />
<br />
a Panting, J. Harwood 010 0<br />
<br />
. Tattersall, Miss Louisa . 0 5 0<br />
<br />
Dec. 19, Egbert, Henry 0 5 0<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir — Bart., F.R.C.S.<br />
<br />
Rashdall, The Rev. H<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, Cc. B.<br />
<br />
‘There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
The total amount of cash actually received is<br />
£190 3s. 6d.<br />
<br />
SPECIAL CONDITIONAL SUBSCRIPTIONS.<br />
<br />
<br />
<br />
<br />
<br />
Mr. Hamilton Drummond, who is a member of<br />
our Society, has offered a subscription of £10 for<br />
five years, if nine other members of the Society<br />
will promise the same contribution before 31st<br />
March, 1903.<br />
<br />
We sincerely hope that sufficient members of<br />
<br />
<br />
THE AUTHOR.<br />
<br />
- ef the Society will be found to come forward and<br />
<br />
ose meet Mr. Drummond’s generous offer, and that<br />
<br />
. dee ‘before the time expires we may be able to print in<br />
<br />
», of the columns of Zhe Author the full list of ten<br />
» dae subscribers of the required amount.<br />
<br />
Subscriptions.<br />
<br />
ive Hawkins, A. Hope . : _£10° 0 0<br />
erisa@ Barrie, J. M. . : : ‘ ~ 10-0 0<br />
jaca Drummond, Hamilton : ; 10-02-60<br />
veg Wynne, Charles Whitworth . 2 19 0-9<br />
es<br />
Tue Pension FunD COMMITTEE.<br />
a In order to give members of the Society, should<br />
<br />
ed: they desire to appoint a fresh member to the<br />
,-a89 Pension Fund Committee, full time to act, it has<br />
-98e been thought advisable to place in Zhe Author a<br />
<br />
_ (I full statement of the method of election under the<br />
foe Scheme for administration of the Pension Fund.<br />
>a Under that Scheme the Committee is composed of<br />
ad three members elected by the Committee of the<br />
~- 908 Society, three members elected by the Society at<br />
si the General Meeting, and the Chairman of the<br />
908 Society for the time being, ex officio. The three<br />
‘9m members elected at the General Meeting when the<br />
os Fund was started, were Mr. Morley Roberts, Mr.<br />
<br />
' Wf M. H. Spielmann, and Mrs. Alec Tweedie. Last<br />
98) year, Mrs. Alec Tweedie resigned in due course,<br />
Sf and submitting her name for re-election was<br />
l/:Gh unanimously re-elected. This year, Mr. Morley<br />
1 99 Roberts in turn, under the Rules of the Scheme,<br />
09) tenders his resignation and submits his name for<br />
\/-@ re-election. The members have power to put for-<br />
‘ey ward other names under Clause 9 which runs as<br />
<br />
wolle follows :—<br />
<br />
ae! * Any candidate for election to the Pension Fund Com-<br />
if mittee by the members of the Society (not being a retiring<br />
s@ member of such Committee) shall be nominated in writing<br />
© to the Secretary, at least three weeks prior to the General<br />
~ Meeting at which such candidate is to be proposed, and the<br />
‘6 nomination of each such candidate shall be subscribed by,<br />
4; at least, three members of the Society. A list of the names<br />
+ of the candidates so nominated shall be sent to the members<br />
? of the Society with the annual report of the Managing<br />
_ Committee, and those candidates obtaining the most votes<br />
+ at the General Meeting shall be elected to serve on the<br />
*) Pension Fund Committee.”<br />
<br />
Tn case any member should desire to refer to the<br />
“| List of Members, a copy complete, with the excep-<br />
tion of those members referred to in the note at<br />
| the beginning, can be obtained at the Society’s<br />
| Office.<br />
<br />
It would be as well, therefore, should any of the<br />
members desire to put forward candidates, to take<br />
the matter within their immediate consideration.<br />
The General Meeting of the Society has usually<br />
been held towards the end of February or the<br />
<br />
<br />
<br />
83<br />
<br />
beginning of March. It is essential that all<br />
nominations should be in the hands of the<br />
Secretary before the 31st of January.<br />
<br />
—_——1—_—-<br />
<br />
Sir Walter Besant Memorial Fund.<br />
<br />
THE amount standing to the credit<br />
of this account in the Bank is......... £330 8 6<br />
<br />
There are a few promised subscriptions still<br />
outstanding. The total of these is, roughly,<br />
about £4, The subscriptions received from July 1st<br />
to the date of issue are given below :—<br />
<br />
Patterson, A. . : ‘ : fl 1 0<br />
Salwey, Reginald E. : : : 010 0<br />
Gidley, Miss E. C. : : 010 0<br />
Nixon, Prof. J. E. 0% 6<br />
Dill, Miss Bessie 0. 5.0<br />
Moore, Henry Charles 0 5 6<br />
<br />
———————_1——______<br />
<br />
FROM THE COMMITTEE.<br />
<br />
tt<br />
<br />
HE Committee held the last meeting in 1902<br />
on Monday, the 1st of December. They<br />
proceeded to the election of members. The<br />
<br />
list of those elected is set forth below. The post-<br />
age of magazines was one of the questions discussed.<br />
The Chamber of Commerce is dealing with the<br />
matter and the Committee are supporting its action.<br />
Two disputes were up for discussion. In the one<br />
negotiations are being carried forward, and in the<br />
other it was decided, if it was possible to obtain<br />
the support of the member concerned, to take the<br />
matter into Court. As the point under discussion<br />
is one of principle, and concerns a very common<br />
clause in authors’ agreements, it is hoped that the<br />
matter may be tried in Court in order that a test<br />
case may be put forward.<br />
<br />
During the past month one case has been tried<br />
in the County Court. The debt and costs were<br />
paid. The Secretary has forwarded four claims<br />
against American magazines for money due to<br />
the Society’s American agent. The Committee<br />
hope that they will terminate satisfactorily. With<br />
the sanction of the Chairman asmall County Court<br />
case was taken in hand. It was placed with the<br />
solicitors of the Society, but before the summons<br />
was issued the debt was paid.<br />
<br />
The Secretary during the past month has dealt<br />
with ten cases. Five refer to the rendering of<br />
accounts, three to claims for money due, and two<br />
deal with the return of MSS. Five of the cases<br />
have been satisfactorily concluded, two for money<br />
84<br />
<br />
due and three for accounts. The County Court case<br />
referred to must be reckoned as one of the five.<br />
There is every hope that the balance will terminate<br />
to the advantage of the authors without calling in<br />
the aid of the law.<br />
<br />
pee<br />
<br />
Election, December, 1902.<br />
<br />
The following members and associates were<br />
elected on December Ist, 1902.<br />
Burke, Arthur M. . 2, Carlyle Gardens,<br />
Cheyne Row, S.W.<br />
Carlile, Rey. John C.<br />
<br />
Davidson, Miss Lillias Graemsdyke, Cranes-<br />
Campbell water Park, Southsea.<br />
Foster, Arnold R. 38, Yew Tree Road,<br />
<br />
Withington, Lancs.<br />
<br />
Hextable, Swanley,<br />
Kent.<br />
<br />
Calle de Buenos Aires,<br />
Las Palmas, Canary<br />
Islands.<br />
<br />
Stanhope, The Hon. and Byford Rectory, Here-<br />
Rey. Berkeley ford.<br />
<br />
Nye, George .<br />
<br />
Meyer, Charles<br />
<br />
<br />
<br />
a<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
——$+—<—¢—<br />
<br />
IR ROBERT BALL is at present engaged on<br />
<br />
a treatise on “Spherical Astronomy.” His<br />
<br />
latest work, ‘‘ The Earth’s Beginning,” was<br />
practically an account of a recent course of lectures<br />
<br />
given by him at the Royal Institution. It has<br />
been published here by Messrs. Cassell. There is<br />
<br />
also an American edition ; and quite recently Sir<br />
Robert Ball received a copy of a Dutch translation,<br />
with the title “ Het Onstaan der Aarde,” trans-<br />
lated by Dr. B. C. Goudsmit.<br />
<br />
Edna Lyall’s new book, “The Burgess Letters,”<br />
just published by Messrs. Longmans, Green & Co.<br />
at 2s. 6d., is a record of child-life in the sixties.<br />
It is not fiction, but is a genuine record of this<br />
popular authoress’s own childhood. This interest-<br />
ing record has a coloured frontispiece, and eight<br />
full-page illustrations by Walter S. Stacey.<br />
<br />
Edna Lyall is just beginning to write a novel,<br />
the scene of which is laid partly in Italy and partly<br />
in England. It will be remembered that in the<br />
spring of 1902 this writer published through<br />
Messrs. Longmans a short story called “The<br />
Hinderers,” which upholds the Quaker view as to<br />
the unlawfulness of war.<br />
<br />
We must not expect anything from Miss Annabel<br />
<br />
Gray at present, as she is recovering from a most<br />
dangerous illness.<br />
<br />
THE AUTHOR.<br />
<br />
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<br />
<br />
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<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Lord Avebury’s “The Use of Life” has bee<br />
translated into Gujerathi and Urdu, and, like “The<br />
Pleasures of Life,” into Mahratti. The translation<br />
into Mahratti has an interesting preface by the<br />
translator, who states that his principal object was.<br />
to show that Englishmen had a cheerful view of<br />
life, while his countrymen’s view of life was just<br />
the reverse.<br />
<br />
Mr. Mackenzie Bell’s religious lyric, “ Lord<br />
Teach us to Pray,” which is set to music as am<br />
anthem by Herr Georg Liebling, has been trans-<br />
lated into German verse by the Rev. Professor Carl<br />
Glebe, of Westphalia, for use throughout Germany.<br />
The second edition of the anthem, just published<br />
in London by Dr. Charles Vincent, has both the<br />
English and the German words.<br />
<br />
Mr. Harold Begbie’s latest book, “ Bundy in the<br />
Greenwood” (Isbister, 5s.), is illustrated by<br />
Gordon Browne. It is Mr. Begbie’s first venture<br />
into the nursery, and it was only published after<br />
he had amended the MS. according to the criticism<br />
of his eldest daughter, rising six.<br />
<br />
This writer has just begun a series of ‘‘ Master<br />
Workers” in the Pall Mall Magazine. The first<br />
article dealt with the Bishop of London; the<br />
second with Sir William Crookes ; and the next<br />
two will deal with psychic research and the mys-<br />
tery of the subliminal consciousness. The object<br />
of the series is to convince the ordinary man that<br />
there is a vast amount of work proceeding in the<br />
modern world of which he knows very little.<br />
<br />
Austin Clare’s new north-country novel, “The<br />
Tideway,” will be published immediately by<br />
Messrs. Chatto and Windus.<br />
<br />
‘“‘The Cardinal’s Dawn,” the serial finishing in<br />
the January issue of Macmillan’s Magazine, is by &<br />
new writer, H. L. Montgomery. The novel is<br />
placed in Italy in the imquecento, and is based on<br />
the intrigues for and against Bianca Capelli.<br />
<br />
Mr. Austin Dobson has undertaken to write @<br />
life of ‘‘ Fanny Burney ” for Messrs. Macmillan’s<br />
“English Men of Letters,” and Mr. Edmund Gosse<br />
is at work on a life of “Jeremy Taylor” for the<br />
same series.<br />
<br />
Mr. Dobson’s “Side-walk Studies,” recently<br />
issued by Messrs. Chatto and Windus, is an enter-<br />
taining book. ‘There is an informing chapter on<br />
“Mrs. Woffington”; another on “The Vicar of<br />
Wakefield and its Illustrators ” ; there is “‘ A Walk<br />
from Fulham to Chiswick” ; and perhaps the most<br />
fascinating of all, “Dr. Johnson’s Haunts and ~<br />
Habitations.”<br />
<br />
From Mr. Dobson’s “Samuel Richardson’<br />
(Macmillan’s “English Men of Letters” Series) we<br />
should like to quote at length, but space permits<br />
only an extract or two. Referring to the recently-<br />
<br />
<br />
THE AUTHOR.<br />
<br />
«ie raised question of Richardson’s indebtedness to<br />
self Marivaux’s “ Vie de Marianne,” he says :—<br />
Es “That there are superficial affinities between Richardson<br />
_ (@ and Marivanx may at once be conceded. Both hit upon<br />
s4) the novel of analysis, and in this connection, no doubt,<br />
-js;1f Marivaux precedes Richardson. Their manners of writing<br />
+o» -were also similar in some respects ; and when Crébillon the<br />
voy younger, describing Marivaux, affirms that his characters<br />
jon not only say everything that they have done, and every-<br />
ogid) thing that they have thought, but everything that they<br />
».uo® would have liked to think but did not—he almost seems<br />
<br />
| 91 to be describing Richardson as well. .. .<br />
ie “There is not, as far as we are aware, a particle of evidence<br />
«/) that Richardson ever saw the earlier volumes of this version<br />
<br />
jo) (of ‘Vie de Marianne’). In fact, the only discoverable<br />
<br />
455 aeference he makes to Marivaux is contained in the post-<br />
(8. script to ‘ Clarissa,’ and that occurs in a quotation from a<br />
«4 French critic (translated) taken from the Gentleman's<br />
voll Magazine for August, 1749. That he knew no French is<br />
-. “ef demonstrable, and he could not therefore have studied<br />
sl Marivaux in the original, Moreover, he was not in any<br />
sass sense a novel reader ; and in‘ Pamela.’ the idea of which<br />
bad had been in his mind twenty years before he wrote it, he<br />
vif aimed at a moral work rather than a story.<br />
<br />
“ Richardson has given so circumstantial and reasonable<br />
<br />
ean account of the independent origin and development of<br />
<br />
04 ed) the book, that it seems superfluous to go outside it in order<br />
<br />
6) to establish his obligation to a French author, however<br />
<br />
fis gifted, of whom, when he first sat down to write the<br />
<br />
ias% * Familiar Letters’ to which ‘ Pamela’ owed its birth, he<br />
«; bee had probably never even heard the name.”<br />
<br />
1 In the last chapter, entitled ‘Last Years and<br />
oo) General Estimate,” there is an admirable bit of<br />
summing-up :—<br />
<br />
* His popularity is certain with the few—with those who,<br />
| like Horace Walpole, either read what nobody else does, or,<br />
| like Edward Fitzgerald and Dr. Jowett, read only what<br />
} takes theirfancy. He must always find readers, too, with<br />
<br />
‘the students of literature. He was the pioneer of a new<br />
‘movement ; the first certificated practitioner of sentiment ;<br />
4 the English Columbus of the analytical novel of ordinary<br />
i life. Before him, no one had essayed in this field to<br />
describe the birth and growth of a new impression, to show<br />
the ebb and flow of emotion in a mind distraught, to follow<br />
the progress of a passion, to dive so deeply into the human<br />
ieee heart, as to leave—in Scott’s expressive words—‘ neither<br />
: noe head, bay, nor inlet behind him until he had traced its<br />
<br />
‘92 soundings, and laid it downin his chart, with all its minute<br />
00a sinuosities, its depths and shallows.’ ”<br />
<br />
“ The Splendid Idle Forties,” by Gertrude Ather-<br />
ton (Macmillan & Co.), is a revised and enlarged<br />
© edition of her former book, “ Before the Gringos<br />
#2 Came.” The tales give a vivid and striking<br />
<br />
| picture of old Californian life before and during<br />
| the American conquest, of the beauty, grace, and<br />
<br />
passion of the Spanish women, and their fierce<br />
resentment against their country’s invaders.<br />
<br />
Mr. Stephen Gwynne has an interesting article<br />
‘on “Celtic Sagas” in the December number of<br />
Macmillan’s Magazine. He seeks to illustrate, by<br />
the method of resemblance and difference, the<br />
ancient poetry of Ireland, as represented by Lady<br />
Charlotte Guest’s famous version of ‘The<br />
Mabinogion.”<br />
<br />
Miss Henriette Corkran’s “‘ Celebrities aud I,”<br />
published a short while ago by Messrs. Hutchinson<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
85<br />
<br />
& Co., is a handsome volume brim full of enter-<br />
taining gossip and amusing anecdotes. Miss<br />
Corkran, who is a painter by profession, gives us<br />
her crisply-written impressions of the many<br />
celebrities she has known and met.<br />
<br />
Of Thackeray, kind friend of her childhood, we<br />
hear a good deal. ‘Then there are interesting<br />
anecdotes about the Brownings, Tennyson, W. G.<br />
Wills, the dramatist, Sir Frederick Leighton, etc.,<br />
etc. ; and last and latest, we are given an impres-<br />
sionist sketch of Mr. Richard Whiteing, the famous<br />
author of “ No. 5, John Street.”’ “ Celebrities and<br />
I” has been widely reviewed, and it ought to do<br />
very well.<br />
<br />
Mr. Andrew Lang’s “ The Disentanglers” is a<br />
series of stories, of more or less fantastic adven-<br />
ture, under one cover. (Longmans, 6s.) The<br />
interest which holds them together is supplied by<br />
the connection of some of the characters with an<br />
agency for the disentangling of matrimonial diffi-<br />
culties. We have, among others, “ Adventure of<br />
the Rich Uncle,” “Adventure of the Office Screen,”<br />
“ Adventure of the Exemplary Earl,” and “ Adven-<br />
ture of the Miserly Marquis.” It is an amusing<br />
book.<br />
<br />
Mr. Anthony Hope delivered a_ lecture last<br />
month in Edinburgh, before the Philosophical<br />
Society.<br />
<br />
He said (we quote from the Daily Chronicle) ‘‘the average<br />
man viewed his own sphere of life as normal ; he viewed<br />
as real what he saw existing among his neighbours, and<br />
regarded as real what was before him in ninety-nine cases<br />
out of a hundred. The ninety-nine he called real, and the<br />
one case in the hundred he viewed as unreal.<br />
<br />
“The average man had little adventure; his time was<br />
marked down for him, and he saw little hope of becoming<br />
other than what he was. The lot of the labouring classes<br />
was the most common, but the man who wrote about this<br />
class was marked down by the wealthy classes as a cynic.<br />
In a true and deep picture the novelist could not leave out<br />
the physical side of a man, for often his physical pleasure<br />
was his only pleasure, and in his pleasurable excesses often<br />
lay the man’s deepest temptation.<br />
<br />
“The notions of the man in the street were generally<br />
cousin once removed to truth. He had small sympathies<br />
with the parent who wrote to the newspapers that he liked<br />
to feel safe in handing a book to his girl to read. It did<br />
not do to have the truth told in all circumstances, but<br />
there was generally in a book a message for someone. The<br />
words romance and realism were too often the catchwords<br />
of criticism. Realism widened their views and broadened<br />
<br />
their sympathies.”<br />
<br />
We have received a dainty paper-covered booklet<br />
of selections from the works of John Greenleaf<br />
Whittier, entitled “ A Whittier Treasury.” The<br />
selections have been made by the Countess of<br />
Portsmouth.<br />
<br />
Mr. Percy White’s latest novel, “The New<br />
Christians,” has gone into a second edition. So<br />
has Mr. Morley Roberts’ “Immortal Youth.”<br />
Both these novels well deserve their undoubted<br />
<br />
SUCCESS.<br />
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?<br />
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86<br />
<br />
Mrs. Edward Kennard’s “ The Motor Maniac”<br />
is a capital story somewhat on the lines of her<br />
successful ‘ The Golf Lunatic.”<br />
<br />
Lieut.-Colonel E. Gunter (late East Lanes. Regi-<br />
ment) has published, through Messrs. Wm. Clowes<br />
& Sons, Ltd., 23, Cockspur Street, Charing Cross,<br />
a sixth edition of his well-known “ Officer’s Field<br />
Note and Sketch Book and Reconnaissance Aide-<br />
Mémoire.”<br />
<br />
“Harvest Home”? is the title of the latter-day<br />
poems of Mr. Thomas Winter Wood (Vanguard),<br />
of Plymouth. “ Harvest Home” contains poems<br />
which must appeal to many minds, and we refer<br />
our readers to the volume that they may taste for<br />
themselves. Messrs. Simpkin, Marshall are the<br />
publishers; the price is 3s. 6d. net.<br />
<br />
A volume of poems has been published by<br />
Ernest Western through Thomas Burleigh, 376,<br />
Strand. It is called ‘“ Creeds, Crosses, and Cre-<br />
denda,” and may be commended to those who care<br />
for pleasant verse.<br />
<br />
Messrs. Kegan Paul have published a new poem<br />
by Mr. Ernest A. Tietkens, author of ‘The<br />
Heavenly Link,” entitled “The Loves of the<br />
Flowers: a Spiritual Dream.” It is 2s. 6d. net.<br />
<br />
Mrs. Harcourt Roe, who has paid a six months’<br />
visit to New Brunswick, purposes writing some<br />
articles on New Brunswick and the very primitive<br />
condition of parts of the country there.<br />
<br />
Copies of those excellent and quite indispensable<br />
publications, ““Who’s Who” and ‘“ The English-<br />
woman’s Year Book for 1903” have been received<br />
at our office.<br />
<br />
a re<br />
<br />
PARIS NOTES.<br />
<br />
—+—<br />
<br />
FTER the Balzac statue comes the Balzac<br />
Orphanage. It seems that Madame Barbier,<br />
in whose house Balzac lived for some years,<br />
<br />
has founded a home for twenty orphan girls in<br />
memory of the great novelist.<br />
<br />
She is now seventy-five years of age, and she<br />
still owns the house in the Rue Raynouard ‘in<br />
which Balzac wrote so many of his books from<br />
1840 to 1847, the year of his marriage. Until<br />
last year Madame Barbier lived in this house.<br />
She and her daughter have given up their entire<br />
fortune in order to found this orphanage, and in<br />
spite of all the sacrifices they have made they will<br />
be short of two thousand francs to make up this<br />
year the thirty-two thousand of their expenses.<br />
M. de Braisne, an influential member of the Société<br />
des Gens de Lettres, has written a most touching<br />
account of Madame Barbier’s efforts and sacrifices,<br />
hoping that any admirers of the author of the<br />
<br />
THE AUTHOR.<br />
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“ Comédie Humaine” may come forward and offe<br />
their contributions to the Balzac Orphanage.<br />
The new novel by Anatole France, “ Histoir<br />
Comique,” commences with a tragedy. It is now<br />
appearing in serial form in the Revue de Paris, an<br />
will afterwards be published with illustrations ag<br />
an édition de luxe. It is a decidedly up-to-dai<br />
novel, and the story opens in the dressing-room 0<br />
an actress.<br />
“La Statue ensevelie,”’ by Ivan Strannik, i<br />
well worth reading. It is a novel with remarkabl<br />
little plot, and the whole interest of the sti<br />
centres in the état d’dme of the heroine. She is”<br />
one of the unfortunate women with an artisti<br />
temperament, and an obtuse, egotistical husband<br />
She naturally, under these circumstances, finds<br />
marriage a failure, and so takes refuge in art an<br />
in the friendship of a devoted cousin. There is<br />
nothing particularly original in the story itself,<br />
but the heroine is Russian, and the intense prid<br />
sullenness, and passion of the Russian temperament<br />
make the novel an interesting psychological study.<br />
“Sur la Branche” is the title of the new novel<br />
by Pierre de Coulevain, the author of “ Eye<br />
Victorieuse.” In the latter book we had a study<br />
of the American society woman at home and<br />
abroad, her faults and her qualities being compared<br />
with those of the French woman in the same rank<br />
of life. In this new novel the author gives us his<br />
candid opinion about England and the English.<br />
The general verdict of the English critics after<br />
reading “Eve Victorieuse” was that Pierre deCoule-<br />
vain thoroughly understood Americans. It will be<br />
interesting to read the opinion of the same critics<br />
after the publication of “Sur la Branche.” The<br />
last chapters of this novel are not yet written, but<br />
it is probable that the volume will be published<br />
early in the year.<br />
“TL Argent del’Autre,” by M. Charles de Rouvre,<br />
is an excellent novel. It is the story of a man<br />
who has no fortune of his own, and who falls<br />
desperately in love with a wealthy young widow,<br />
whom he eventually marries. His torment begins<br />
soon after this event. The idea of owing every<br />
thing to his wife humiliates him, particularly as<br />
the wealth she now owns comes to her from he<br />
first husband. The story is cleverly worked out,<br />
so that the reader enters thoroughly into th<br />
sufferings of the husband, and realizes all th<br />
humiliation of his position in the home.<br />
<br />
M. Waldeck Rousseau has just published a book<br />
entitled “ L’Action républicaine et sociale,” treat-<br />
ing of all the reforms that have been accomplished<br />
from 1899 to 1902.<br />
<br />
The French Society of Dramatic Authors he<br />
been fortunate in discovering a most capable ma<br />
as successor to M. Roger, whose death occurred<br />
some two or three months ago. M. Robe<br />
<br />
<br />
te: Gangnat, who has been elected Agent-Général_ of<br />
2 of the Society, is an advocate by profession. He<br />
2 -s% was secretary to M. Pichon, the present French<br />
iil/ Minister in Tunis, and attaché under M. Bourgeois,<br />
sail! Minister of the Interior and Minister of Foreign<br />
tit ® Affairs.<br />
al In 1898, M. Gangnat joined the staff of the<br />
Wl Matin as dramatic critic, and from 1891 to 1894<br />
sy of he was President of the dramatic society known<br />
<br />
es, as “Les Escholiers,” a society which stages the<br />
«toy works of unknown but talented authors. M.<br />
ae} Gangnat is therefore well known in the theatrical<br />
» 109 world, whilst his legal knowledge and experience<br />
. {lis will be invaluable to the Society he now represents.<br />
ae Things theatrical seem to be of the greatest<br />
ja importance, judging from the amount of literature<br />
duc published this season on subjects concerning the<br />
_ ed: theatre in France and in other countries.<br />
<br />
*__ A volume by M. Jules Claretie entitled “ Profils<br />
of de Théatre’’ is interesting from the first line to<br />
' 94 the last. M. Claretie, as director of the Théatre<br />
_voa9 Francais, has exceptional opportunities for writing<br />
ot aa book of this kind. He has the good fortune,<br />
* 90, too, to possess an excellent memory, so that the<br />
“fo volume, with its anecdotes of artistes living and<br />
ssi dead, is like an album of photographs. M. Claretie<br />
» (fs tells us of Dejazet refusing to act in “‘ La Dame<br />
“ui aux Camélias ” and of Frédéric Lemaitre’s pride in<br />
1 sit his “ Robert Macaire.” He tells us, too, interesting<br />
ine! details about Got, Reichenberg and Monnet Sully.<br />
<br />
‘As a kind of postscript to this book of M.<br />
sf Claretie’s comes a volume by M. Adrien Bern-<br />
igt heim, entitled “Trente Ans de Théatre.” The<br />
19g) author gives us details about the working and the<br />
sigh statistics of the four state theatres of France.<br />
ve 9) He also, like M. Claretie, gives us the benefit of<br />
ei his souvenirs, and finishes the volume with an<br />
©59; account of the Society called the “'Trente Ans de<br />
, $901 Théatre,” in which he is so deeply interested, and<br />
<br />
iy which was originally started as a kind of relief<br />
tie fund for artistes.<br />
-°4 Notcontent with giving us so much information<br />
«od, about the French stage, M. Georges Bourdon has<br />
$e been studying in England all things connected<br />
i dig with the English theatre, and as a result he has<br />
q published a volume entitled “Les Théatres<br />
Anglais.” M. Jusserand, too, has taken up the<br />
subject, and has just published a most interesting<br />
article on “The London Theatres in the time of<br />
Shakespeare.” It appears that the first permanent<br />
theatre was built in Paris in 1548, and that the<br />
first one in London dated from 1576.<br />
<br />
ay The two great successes of this season, so far,<br />
. 84 are undoubtedly the “ Resurrection” at the Odéon,<br />
and “La Chatelaine” at the Renaissance.<br />
<br />
“Le Joug,”’ which Madame Réjane has been<br />
playing since her return to Paris, has not been<br />
‘enthusiastically received. It is no doubt a clever<br />
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THE AUTHOR.<br />
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piece, and the dialogue is bright and witty, but<br />
the French public is getting tired of this kind<br />
of play.<br />
<br />
“Le Cadre” is another play of the same stamp.<br />
It was well received as it was admirably put on,<br />
but the public soon tired of this, too.<br />
<br />
Byron’s “ Manfred” was M. Lugne Poe’s latest<br />
venture, but it must be confessed that most people<br />
were disappointed with this play on the stage.<br />
<br />
At the Opéra Comique, “La Carmélite,” by<br />
M. Catulle Mendés, has been the great event of<br />
the season in the musical world. The theme of<br />
this opera has given rise to much discussion, as<br />
the more devoted Catholics strongly objected to<br />
the taking of the veil being employed as a stage<br />
effect.<br />
<br />
M. Paul Hervieu is the fortunate dramatic<br />
author who has produced a new play for Madame<br />
Sarah Bernhardt. M. Hervieu has had this piece<br />
on hand for about a year.<br />
<br />
The International Theatre is making great<br />
headway here. “Infedele,” by Roberto Bracco,<br />
and “Di Notte,” by Sabatino Lopez, are the two<br />
pieces now being given, and M. Bour has scored<br />
an immense success with both of them. The<br />
latter is a most curious play, and shows up the<br />
striking difference between the Italian and French<br />
theatres. The piece is full of surprises, unexpected<br />
incidents seem to be tacked on to the drama, and<br />
in one or two instances the tragedy borders on<br />
comedy. M. Bauer is excellent in his réle, and<br />
M. Bour’s acting is. as finished as in his famous<br />
“Alleluia.”<br />
<br />
“ Infedele”’ is a comedy in three acts, and is<br />
admirably put on. M. Bour, Mlle. Mylo d’Arcylle,<br />
and M. Bourny have the three chief parts. The<br />
play is an Italian variation on the “eternal<br />
theme,” so dear to French dramatic authors.<br />
The dialogue is witty, but most daring, and the<br />
piece demands extremely clever and finished<br />
acting.<br />
<br />
Attys HALLARD.<br />
———__1——_e—___—_—_-<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
oe eS ie<br />
Kipling +, Putnam.<br />
<br />
UDYARD KIPLING’S suit for $25,000<br />
damages against George Haven Putnam<br />
and Irving Putnam, constituting the pub-<br />
<br />
lishing firm of G. P. Putnam’s Sons, for infringe-<br />
ment of copyright and trademark, came up again<br />
for argument before the United States Circuit<br />
Court of Appeals on Kipling’s appeal from Judge<br />
Lacombe’s decision against him,<br />
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<br />
88<br />
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John L. Hill, in arguing for Mr. Kipling,<br />
said that at the time the critical sickness of<br />
the author in New York and the death of his<br />
little girl were exciting intense interest in him<br />
and his works, the defendants decided “ to shake<br />
the tree and get all the apples they could,” and<br />
that the Brushwood edition followed. He believed<br />
the intention was to forestall the sale of the<br />
“Outward Bound” edition, the authorized<br />
edition. ;<br />
<br />
Stephen H. Olin, for the Putnams, said the<br />
publishers had attempted no deceit whatever, and<br />
that only fifteen sets had borne the elephant’s<br />
head and autograph, which the plaintiff says were<br />
used to give the edition the colour of an authorised<br />
edition.<br />
<br />
The Court reserved decision.<br />
<br />
— +<br />
<br />
Literary Property and Copyright in the United<br />
States.<br />
<br />
Ix 1890 an American publisher entered into a<br />
contract with an English author, having in pre-<br />
paration a novel to be published serially in an<br />
English magazine, by which he agreed to pay<br />
£20 “in return for the sole and exclusive use of<br />
advance sheets of said novel in the United States<br />
and Dominion of Canada”; the price to be paid<br />
“on publication of the novel in America.” The<br />
author agreed to deliver to the publisher a complete<br />
copy of the work, either in advance sheets or<br />
manuscript, at least two months prior to the com-<br />
pletion of its serial publication in England. Prior<br />
to the publication of the work in America, in<br />
October, 1891, the greater portion of it had been<br />
published serially in England. Until July Ist,<br />
1891, there was no statute in the United States<br />
under which a copyright could be secured on a<br />
work by a foreign author. Held that, construing<br />
the contract in the light of such facts, it conferred<br />
no rights of proprietorship in the manuscript of<br />
the work which entitled the American publisher<br />
to copyright the same in the United States, but<br />
only the right to the exclusive use of the advance<br />
sheets to enable him to publish the work in<br />
America coincidently with or in advance of its<br />
publication in England.<br />
<br />
The bill charges that Mr. Barrie, the author of<br />
“The Little Minister,” a novel to be issued serially<br />
in the year 1891 in the magazine Good Words,<br />
published in London, on May 8th, 1890, entered<br />
into a contract with John W. Lovell as follows :<br />
<br />
“This contract entered into and made this<br />
eighth day of May, 1890, between J. M. Barrie, of<br />
London, and John W. Lovell, of New York,<br />
witnesseth: (1) In consideration of the premises,<br />
the said J. M. Barrie hereby grants and assigns to<br />
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THER AUTHOR.<br />
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the said John W. Lovell the sule and exclusive<br />
right to publish from advance sheets in the United —<br />
States and Dominion of Canada,.a novel by him to<br />
be issued serially in a magazine, known as Good —<br />
Words, during the year 1891. And. the said —<br />
J. M. Barrie agrees to deliver to the said John W.<br />
Lovell a complete copy of such work, either in the<br />
form of advance sheets or MS., at least two<br />
calendar months prior to the serial completion of<br />
such work in England ; and in the event of his —<br />
failure to do so, this contract, at the option of the<br />
said John W. Lovell, shall become inoperative and —<br />
void. (2) The said John W. Lovell agrees in<br />
return for the sole and exclusive use of advance<br />
sheets of the said novel in the United States and<br />
the Dominion of Canada to pay the said J. M,.<br />
Barrie £20 on publication of the novel in America,”<br />
Lovell assigned this contract to the United States<br />
Book Company, which company, on June 19th, ~<br />
1891, deposited with the Librarian of Congress at. —<br />
Washington a printed copy of the title of the book,<br />
and on October 14th, 1891, deposited two copies of<br />
the book in that office. The publication of the<br />
novel was begun in the January, 1891, number of<br />
the monthly periodical Good Words, in London.<br />
and continued throughout that year. Thirty-eight.<br />
chapters had been thus published prior to the<br />
publication of the completed book by the United<br />
States Book Company in America, and prior to the<br />
deposit of the copies with the librarian; the<br />
remaining seven chapters of the book being —<br />
published in the London magazine subsequently,<br />
The book, as. published in the United States by<br />
the United States Book Company, contained the<br />
notice in form required by the law of copyright,<br />
and the bill charges full compliance: with the<br />
requirements of law with respect to copyrights,<br />
whereby, as it is claimed, the United States Book<br />
Company became the sole owner of the copyrigh<br />
of the book in the United States of America, On<br />
May 29th, 1900, the complainant became the<br />
owner of the rights of the United States Book<br />
Company under the contract between Barrie and<br />
Lovell, and of the copyright, if any, secured’ by<br />
that company. It is further charged that Mr,<br />
Barrie, in 1897, without the consent of Lovell o<br />
any of his successors in interest, dramatised the<br />
novel “The Little Minister,” and secured it<br />
production and performance upon the stage within<br />
the United States under contract with th<br />
defendant Frohman ; that such dramatisation is in<br />
four acts, of which acts 3 and 4 are founded in<br />
plot, incident and characters upon, and much 0<br />
its language is contained in chapters 39 to 4<br />
inclusive, of the novel, and such acts are importan:<br />
parts of the dramatisation ; that the defendants<br />
Yack and Hards are managers or actors in the<br />
theatrical company associated with Frohman, an<br />
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wen BD<br />
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3 op ox. 9<br />
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od Shs Fa! ES ca GR ee ee<br />
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THE AUTHOR. 89<br />
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were about to produce the play and perform therein<br />
at certain places stated in the bill, within the<br />
jurisdiction of the court. The bill sought an<br />
Injunction restraining the performance of the<br />
drama. Yack and Hards demurred to the bill<br />
upon the grounds (1) that at the date of the<br />
contract the laws of the United States did not<br />
authorise a copyright in favour of the works of a<br />
foreign author; (2) that the story was first to be<br />
published in the English magazine, before any<br />
right of publication in the United States ; (3) that<br />
the right granted by the contract was merely a<br />
licence granting the exclusive right to publish the<br />
novel from advance sheets after publication thereof<br />
by the author ; (4) that the United States Book<br />
Company never became the proprietor of the book,<br />
and had no authority to procure a copyright ; (5)<br />
laches by the complainant in the assertion of his<br />
alleged right. On May Ist, 1901, the court<br />
sustained the demurrer and dismissed the amended<br />
bill for want of equity (105 Fed., 787), and on<br />
October 29th, 1901, an appeal was allowed to this<br />
‘court.<br />
<br />
Millard R. Powers for appellant; George A.<br />
Dupuy for appellees.<br />
<br />
JENKINS, Circuit Judge (after stating the facts<br />
as above).—The office of all construction and<br />
interpretation of contracts is to ascertain the inten-<br />
tion of the parties, and the meaning of the words<br />
they have used—their real design as disclosed by<br />
the whole contract. For that purpose we may<br />
resort to surrounding circumstances and the condi-<br />
tion of the parties at the time, not to ascertain<br />
what they may have secretly intended, but to<br />
resolve doubtful expressions and to ascertain the<br />
true meaning of the agreement, And this is to be<br />
judged, not from any separate provision or dis-<br />
connected expression in the writing, but taking it<br />
in its entirety.<br />
<br />
It is insisted for the appellant that the right<br />
acquired by Lovell to the manuscript of “The<br />
Little Minister,” so far at least as concerns the<br />
United States of America and Canada, was that of<br />
proprietor, and that, therefore, he had under the<br />
Jaw the right of copyright. At the date of this<br />
contract, May 8th, 1890, copyright was not<br />
authorised in this country in favour of foreign<br />
authors (Rey. St., sect. 4952); nor, as it would<br />
‘seem, could a foreign author assign or transfer to<br />
a citizen his manuscript or common law right of<br />
property therein, so that the latter could have<br />
copyright protection within the United States<br />
(Yuengling v. Schile, C. C., 12 Fed. Rep., 97, 102-<br />
107). The international copyright law granting<br />
copyright to foreign authors was passed March 3rd,<br />
1891, and went into effect July 1st, 1891 (26 stat.,<br />
1106-1110, chap. 565). It thus appears that the<br />
contract in question was entered into nearly ten<br />
<br />
months prior to the passage of this law. At its<br />
date Mr. Barrie had no right to acquire copyright<br />
within the United States, and could grant no such<br />
right. Nor could an assignee of his manuscript<br />
and common law right therein acquire such copy-<br />
right. It is, therefore, manifest that it was not,<br />
and could not have been, within the contemplation<br />
of the contracting parties to grant or to acquire a<br />
right to that which did not exist and was not the<br />
subject of a grant. Unless, therefore, by the<br />
agreement in question Lovell became the owner<br />
and the proprietor of the manuscript, to the<br />
exclusion of Mr, Barrie’s right therein, and could<br />
avail himself, with respect to that work, of the<br />
privilege conferred by subsequent legislation, he<br />
has no right to copyright of the work. The parties<br />
at the execution of the contract were thus circum-<br />
stanced: Mr. Barrie was engaged in writing a<br />
novel for serial publication in an English<br />
magazine, to be therein published monthly, com-<br />
mencing with the January number, 1891. By the<br />
agreement, Mr. Barrie granted and assigned to<br />
Mr. Lovell “the sole and exclusive right to<br />
publish from advance sheets, in the United<br />
States and Dominion of Canada,” the work to be<br />
published serially in the English magazine during<br />
the year 1891, and agreed to deliver to Lovell a<br />
complete copy of the work, either in the form of<br />
advance sheets or MS., at least two calendar<br />
months prior to the serial completion of such<br />
work in England.’ In consideration thereof,<br />
Lovell agreed to pay “for the sole and exclusive<br />
use of advance sheets of the said novel in the<br />
United States and the Dominion of Canada” £20<br />
upon its publication in America. It may be<br />
doubted whether the contract contemplated the<br />
serial publication of the work in America, as it<br />
provides for the delivery of the advance sheets or<br />
manuscript at least two calendar months prior to<br />
the serial completion of the work in England; and<br />
we are not informed by the bill concerning the fact<br />
of serial publication here, so that we can judge of<br />
the practical construction placed upon the contract<br />
by the parties. If Mr. Barrie was not bound to<br />
furnish any advance sheets or any portion of the<br />
manuscript until two months prior to the com-<br />
pletion of the serial publication in England then it<br />
is clear that as to the parts published ia England<br />
before the filing of copies of the book with the<br />
Librarian of Congress, namely, the first thirty-<br />
eight chapters, there was no possible right of<br />
copyright under the international copyright law<br />
(Holmes v. Hurst, 174 U.S., 82, 19 Sup. Ct. 606,<br />
43 L. Ed., 904 ; Same v. Donohue, C. C., 77 Fed.,<br />
179). The story contained forty-five chapters,<br />
and was completed in England in the December<br />
number of the magazine, and all but seven chapters<br />
were published in England prior to the deposit of<br />
<br />
<br />
90<br />
<br />
the book in the office of the Librarian of Congress.<br />
At the most, therefore, copyright could only com-<br />
prehend the last seven chapters of the work.<br />
Bearing in mind that upon publication in England<br />
of the work or parts of the work, there could be no<br />
copyright in the United States under the inter-<br />
national copyright law of the parts thus published,<br />
and that at the time of the contract there was no<br />
international copyright law, the meaning of the<br />
contract would seem tobe clear. Mr. Barrie could<br />
only secure any sum for publication of the work<br />
in America by granting the use of his manuscript<br />
in advance of its publication in England, for any<br />
American publisher could after such publication<br />
issue it here without liability to Mr. Barrie or to<br />
Mr. Lovell. It could be reproduced with impunity.<br />
An American publisher could only be first upon<br />
the market here by publishing it simultaneously<br />
with or in advance of its publication in England,<br />
and that could only be accomplished by obtaining<br />
advance sheets of the manuscript before the<br />
appearance of the story or any of its parts in the<br />
English magazine. It is clear to us that the<br />
purpose of the contract was to accomplish this<br />
simultaneous publication. Mr. Barrie did not<br />
sell his manuscript, or dispose of his common law<br />
right thereto. He merely agreed to furnish<br />
advance sheets, and gave to Lovell the exclusive<br />
right to publish them either simultaneously with,<br />
or within a short time before, the completion of<br />
the serial publication in England. Lovell agreed<br />
to pay £20, not for the work, not to become pro-<br />
prietor of the work, but “for the sole and exclusive<br />
use of the advance sheets” of the novel in the<br />
United States. ‘This is a mere licence to Lovell,<br />
giving him the advantage of the use of advance<br />
sheets. That use, it is true, was to be exclusive ;<br />
that is to say, Mr. Barrie agreed on his part that<br />
he would not furnish advance sheets to another.<br />
Lovell only acquired a qualified interest. He did<br />
not become the absolute owner. One of the<br />
qualities of absolute ownership in a work is that<br />
the author has the right to withhold it from<br />
publication if he so desire. Lovell could not do<br />
that. Under this contract he was bound to<br />
publish it, for the consideration expressed in the<br />
contract was not payable until publication. This<br />
construction of the instrument is fortified also by<br />
the amount of the consideration. As the author<br />
had no right of copyright, and as upon publication<br />
in England any one had right to publish it in<br />
America, the author could receive nothing for the<br />
work published here, except such as he might be<br />
able to obtain by allowing its publication here<br />
simultaneously with or in advance of its publica-<br />
tion in England. That accounts for the trifling<br />
consideration in the contract, and speaks the<br />
intent of the parties. It is inconceivable that a<br />
<br />
THE AUTHOR.<br />
<br />
distinguished author would have disposed of pro-<br />
prietorship in his manuscript for so inconsiderable.<br />
asum. We are of opinion that the contract con-<br />
ferred no rights of proprietorship in the manuscript<br />
but only the right of publication coincidently with<br />
or in advance of the publication of the work in<br />
England.<br />
The decree is affirmed.<br />
<br />
[Reprinted by kind permission of The Times.]<br />
<br />
Moul v. Boosey.<br />
<br />
THIS was an action for alleged libel. The defen-<br />
dant relied on the defence of fair comment on a<br />
matter of public interest.<br />
<br />
Mr. Lush, K.C., and Mr. 8. O. Henn Collins<br />
were for the plaintiff; Mr. Avory, K.C., and Mr,<br />
P. Rose-Innes for the defendant.<br />
<br />
It appeared that the plaintiff, Mr. Alfred Moul,<br />
was the chairman of the Alhambra, and had been<br />
a composer of musical works, and was the agent<br />
for the British Empire of the Société des Auteurs,<br />
Compositeurs, et Editeurs de Musique de France.<br />
The defendant, Mr. William Boosey, was now<br />
managing director of Chappell & Co. (Limited),<br />
music publishers. The plaintiff alleged that before<br />
the Copyright (Musical Compositions) Act, 1888,<br />
one Harry Wall had taken an active part in the<br />
institution of proceedings for penalties for the<br />
unauthorized performance of musical compositions,<br />
and that he had acted dishonourably and oppres-<br />
sively in the institution of these proceedings. The<br />
defendant, on March 18, 1902, had written a letter<br />
to the Daily Mail, saying that “ Mr. Alfred Moul,<br />
who protests in your columns against justice being<br />
done to English composers, publishers, and music-<br />
sellers, is the same gentleman who has for years<br />
been unsuccessfully attempting to persuade English<br />
music publishers to follow the example of French<br />
music publishers, and to demand from the public<br />
a performing fee for all the minor works in their<br />
catalogues. The piecemeal copyright legislation<br />
that Mr. Moul complains of is, no doubt, the Copy-<br />
right Act of 1882, which was a short Act passed<br />
as a matter of urgency by Parliament to assist the<br />
public in their dealings with a gentleman who was<br />
in Mr. Moul’s own line of business.”” The Act of<br />
1882 required the proprietor of the copyright, if<br />
he desired to retain the right of performance, to<br />
notify the same on each copy. The plaintiff alleged<br />
that the defendant meant the Act of 1888, that it<br />
was passed in consequence of actions for penalties<br />
brought by Wall, and that these words meant that<br />
the plaintiff conducted his business as agent of<br />
the above-mentioned society oppressively and dis-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 91<br />
<br />
honourably. The defendant also wrote to the<br />
Referee a letter, which appeared on March 21,<br />
1902, asking that paper to strain every nerve in<br />
their protest against a system of legalized highway<br />
robbery. This letter went on to say of the plain-<br />
tiff:—‘ He is neither composer, publisher, nor<br />
music-seller. He is not even a street pirate. He<br />
is merely the English representative of a society of<br />
French composers and publishers, who levy a tax<br />
upon the British public for the performance of<br />
waltzes, songs, and other small works in their<br />
catalogues. It is in the interest of these clients<br />
that Mr. Moul complains of our piecemeal legisla-<br />
tion—the said piecemeal legislation consisting of<br />
the Copyright Acts of 1882 and 1888, which, while<br />
admittedly very imperfect, at all events served<br />
their purpose to a certain extent.” The plaintiff<br />
alleged that this letter meant that he was dis-<br />
honestly representing himself to be acting in the<br />
interests of English composers, and that he carried<br />
on his business in a discreditable manner.<br />
<br />
The plaintiff stated that he had never brought<br />
an action for penalties, as distinguished from fees,<br />
for performance, and these fees his society divided<br />
with the publishers ; but the theory of many pub-<br />
lishers was that it would be better to do away with<br />
the right to fees for performance, as they thought<br />
they would sell more copies under such a<br />
system.<br />
<br />
Mr. W. M. Tilson stated that it was general<br />
knowledge that the Act of 1888 (which gave the<br />
Judge a discretion as to the amount of penalties<br />
for the performance of musical copyright works,<br />
instead of 40s. per performance, as under 3 & 4<br />
Wm. IV., c. 15), was passed in consequence of<br />
Wall’s suing for penalties in a great many<br />
cases.<br />
<br />
Mr. John Hollingshead said that he took the<br />
last words in the letter to the Daily Mail to refer<br />
to Wall, who did not carry on an honourable busi-<br />
ness. Mr. Moul’s business was the perfectly<br />
honourable one of collecting fees for his French<br />
clients ; but Wall sued for penalties for the benefit<br />
of his own pocket after performances had been<br />
given by people who did not know that they were<br />
making themselves liable to penalties.<br />
<br />
Corrohorative evidence having been given for<br />
the plaintiff, letters were read for the defence<br />
wbiols had been written to the papers by Mr. Moul,<br />
calling the music publishers pirates, and complaining<br />
of the copyright legislation as being piecemeal and<br />
in the interests of the music publishers, and it<br />
was said that the alleged libels were fair comment<br />
on a matter of public interest, as giving reasons<br />
why the plaintiff was not a proper person to inter-<br />
fere in the discussion, as he was really doing<br />
in a modified form what Wall had been doing<br />
before.<br />
<br />
The defendant, Mr. William Boosey, a music<br />
publisher, of New Bond Street, said that when he<br />
wrote the letters complained of he knew that Wall<br />
had used his rights in an oppressive manner, and<br />
that the Acts of 1882 and 1888 had been passed<br />
to limit those rights. By “line of business” he<br />
meant the collection of fees in respect of minor<br />
pieces of music ; and his objection was that, as<br />
Mr. Moul could not publish a list, the public had<br />
either to subscribe to his society or to run the risk<br />
of being sued, There was no ground for suggest-<br />
ing that he was hostile to the plaintiff. He did<br />
not intend to suggest that the plaintiff carried on<br />
a dishonourable business.<br />
<br />
The jury found a verdict for the plaintiff for<br />
£150.<br />
<br />
Judgment accordingly.<br />
<br />
Photographic Copyright.<br />
<br />
A CASE of some interest has been tried during<br />
the last month before Mr. Justice Ridley and a<br />
common jury, entitled Boucas v. Cooke and<br />
Others.<br />
<br />
The defendant Cooke is known, we believe, as<br />
“The Boy Preacher.” He went to the plaintiff<br />
and asked him to execute the photograph for the<br />
purpose of advertising his meetings, and, it appears,<br />
promised to purchase the negative if he was satis-<br />
tied with the photograph. When the photograph<br />
was made, defendant took it to one of the other<br />
defendants who was a party to the action, and the<br />
second defendant had a number of copies printed<br />
off, which were distributed at the meetings. The<br />
plaintiff registered the copyright of the photograph<br />
and then claimed the right of reproduction. The<br />
second defendant registered the copyright of his<br />
print from the original photograph, and sub-<br />
sequent to the date of the plaintiff’s registration<br />
sold several thousand copies. The question was<br />
whether the employment of the photographer was<br />
such an employment as to come under the first<br />
section of the Copyright Act, 1862, the words of<br />
which run as follows :—<br />
<br />
“ Provided that when the negative of any photograph<br />
shall be made or executed for or on behalf of any other<br />
person for a good or valuable consideration,” &c.<br />
<br />
If the photograph had been made on these terms<br />
the right of reproduction would have belonged to<br />
the defendant.<br />
<br />
The judge, in summing up, came to the con-<br />
clusion that the copyright in the negative was the<br />
property of the plaintiff, and the jury assessed the<br />
damages at £20.<br />
<br />
a<br />
<br />
<br />
92<br />
PUBLISHERS’ PROFITS ON NETT BOOKS.<br />
<br />
ee<br />
<br />
<br />
<br />
HE question of the nett book has been<br />
a6 agitating the minds of the publishers and<br />
booksellers for some time.<br />
<br />
In the United States the system was begun<br />
tentatively, and has taken firm hold. At first<br />
applied only to certain kinds of books, at certain<br />
prices, its success was so assured that it is probable<br />
the nett book will become universal, or nearly so.<br />
Mr. Charles Scribner, the president of the Pub-<br />
lishers’ Association of the United States, explained<br />
the whole case in Zhe Author of April.<br />
<br />
A similar evolution is gradually taking place in<br />
the English book trade. Here also it seems not<br />
unlikely that the nett book system, as its advan-<br />
tages become evident, will by slow degrees cover<br />
the whole market. What is the reason of this?<br />
What are its charms ? Why was it started ?<br />
<br />
Originally books were sold at full price. Then<br />
some enterprising bookseller discovered that he<br />
could still make sufficient profit for himself and<br />
undersell his rival by giving his customers a<br />
discount. This process of underselling continued<br />
till the public received five-and-twenty per cent.<br />
discount, but the small bookseller was no longer<br />
able to make a living profit. Then his voice was<br />
raised in the land, and the reaction set in. Butas<br />
there are always either those who, owing to the<br />
power given into their hands by a large capital, or<br />
those who, having no capital, are unscrupulous on<br />
the point of extravagant trading, it became<br />
necessary that some combination of the trade<br />
should be formed sufficiently powerful to enforce<br />
an equitable plan upon all, the willing and the<br />
unwilling. Such a combination was at hand in<br />
the Publishers’ Association.<br />
<br />
It is not for the author to look upon these<br />
universal trading laws with indifference, nor to<br />
cover himself with the warm cloak of his artistic<br />
temperament, imagining that the temperature is<br />
mild and the sun is shining when the bitter cold<br />
of competition is over all the land. For other-<br />
wise he may be overcome with that sleep which<br />
will surely assist in bringing his career to a<br />
close.<br />
<br />
In plain words, it is most important for the<br />
author that he should carefully watch the methods<br />
of distribution of his wares ; that he should study<br />
with interest trade currents and trade evolution,<br />
and should give his help where and when he is<br />
able, to assist the trade for his own preferment.<br />
He should, at the same time, keep a watchful eye<br />
that the trade does not assist itself at his<br />
expense.<br />
<br />
Many will say that all this careful watching is<br />
mean and sordid. But this view of the case should<br />
<br />
-<br />
<br />
THE AUTHOR.<br />
<br />
still be kept in mind by the writer, that in his<br />
profession all this meanness and sordidness—if<br />
such it is—may be an incident, but is not the<br />
ultimate object, the ideal; whereas in trade it<br />
is ‘the be-all and the end-all.” Further, it is<br />
the highest interest not of the author alone but<br />
also of literature that the circumstances under<br />
which the general public can buy should be<br />
thoroughly understood. But enough. There need<br />
be no question of meanness or sordidness on either<br />
side.<br />
<br />
The Publishers’ Association set itself the task of<br />
enforcing certain terms on the bookselling trade,<br />
with the full consent of all the most responsible<br />
booksellers. ‘To the publishers, as to the authors, —<br />
it was just as important that the great distributing<br />
medium should not be wiped out. It may be<br />
candidly stated that, except so far as the improve-<br />
ment of the bookseller was an advantage to the<br />
publisher, there was not a sign that the great<br />
middleman at that time had any other aim before<br />
him. Was this, however, the case ?<br />
<br />
It is the object of this article to show that not<br />
only did the booksellers benefit, but the publishers<br />
also—the former certainly to a greater extent than<br />
the latter. The author and the printer gained no<br />
advantage, and the public—the ultimate arbiter in<br />
all cases of trade—had to pay for the advancement.<br />
So long as the public is prepared to pay, the<br />
other parties must fight the fight between them-<br />
selves.<br />
<br />
The author, then, has this matter for considera-<br />
tion. He was quite willing to acquiesce in the<br />
nett system in order to benefit the distributing<br />
agent, the man who really ought, if he traded<br />
successfully, to be the only person on whom he<br />
need rely for a public appreciation of his efforts.<br />
But is he willing to give a further profit to the<br />
publisher? Ought he not to demand some share<br />
of the increase obtained from the consumer ?<br />
Certainly he ought.<br />
<br />
The publisher has always been affirming that the<br />
nett book is for the benefit of the bookseller<br />
only.<br />
<br />
The following example will demonstrate that this<br />
is not the case, and will show the difference in the<br />
returns of the publisher and the bookseller in<br />
which the author ought to share. The 6s. book<br />
does not, at present, fall within the nett system,<br />
For convenience sake a book costing 12s. 6d. has<br />
been taken. Judging by the book lists it is a<br />
common price for books above 6s. Perhaps owing<br />
to the fact that it is exactly 150d.<br />
<br />
The figures and prices following are taken from<br />
an existing case—a sound and average example—<br />
and can be relied upon as correct. It would not<br />
be necessary to state this, if the figures in The<br />
Author had not so constantly been contradicted.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
It is not essential to go into the details for this<br />
article, but the figures may be verified by any<br />
member.<br />
<br />
Let it be supposed that an edition of 1,050<br />
copies with binding and advertising costs £170,<br />
and that the author receives 10 per cent. on the<br />
published price.<br />
<br />
This is a low percentage, but so long as the<br />
figure is constant in both examples it will not<br />
interfere with the deduction — namely, the<br />
difference between the publisher’s and _book-<br />
seller’s profit.<br />
<br />
In the first instance the book is sold at 12s. 6d.<br />
nett.<br />
<br />
The whole 1,050 copies will in no case be<br />
sold.<br />
<br />
Under the Copyright Act six copies go to the<br />
public libraries, the author usually receives some<br />
presentation copies, and a considerable number<br />
are sent to the Press for review.<br />
<br />
If 100 copies are reckoned for these purposes<br />
the allowance will be liberal, for it must be<br />
remembered that the book is 12s. 6d. nett—an<br />
expensive book.<br />
<br />
The basis of calculation, therefore, must be the<br />
sale of 1,050 — 100 copies = 950 copies. As these<br />
copies alone bring in a return, the cost of pro-<br />
duction must be divided amongst them.<br />
<br />
The amount paid for a single copy of the book<br />
by the purchaser is the sum of four different<br />
amounts. 1. The amount per copy of the cost<br />
of production. 2. The royalty per copy paid to<br />
the author. 3. The amount of the publisher's<br />
profit on each copy. 4. The amount of the book-<br />
seller’s profit per copy.<br />
<br />
Let W = cost of production.<br />
X = the author’s royalty.<br />
Y = the publisher’s profit.<br />
Z = the bookseller’s profit.<br />
<br />
In each case on a single copy.<br />
<br />
Thus W +X%+Y+2Z = 12s. 6d.<br />
= 150d.<br />
<br />
Going back to the sale of 950 copies, the cost of<br />
production of a single copy must be ascertained.<br />
Thus— ‘<br />
<br />
£170 _ 40,800d.<br />
<br />
ee ae<br />
<br />
= 42°94d,<br />
950<br />
<br />
We can now write<br />
<br />
42°94 ++ X + Y¥ + Z = 150<br />
X+Y+2Z = 107°06.<br />
<br />
That is to say, that the sum to be divided<br />
between the author, the publisher, and the book-<br />
seller is—<br />
<br />
107:06d. = 8s. 11:06d.<br />
<br />
93<br />
<br />
Next the author’s royalty per copy must be<br />
ascertained. On a nett book the author usually<br />
receives his royalty on every copy sold. He is not<br />
compelled to count thirteen as twelve, a pernicious<br />
custom that has crept in for the publisher’s<br />
benefit, sanctioned, we regret to say, by authors’<br />
agents,<br />
<br />
The royalty is always paid on the published<br />
price.<br />
<br />
10 per cent upon 12s. 6d. or 150d. = 15d.<br />
<br />
The author receives ls. 3d. per copy. Then<br />
substituting 15d.—<br />
<br />
X + Y + Z = 107-06.<br />
165+Y+2Z2=10706. Y+2Z = 92°06.<br />
<br />
It is necessary now to solve the question of<br />
Y + Z, the publisher’s and_ the bookseller’s<br />
profit.<br />
<br />
Here the problem is complicated, owing to the<br />
fact that the publishers sell the book to different<br />
booksellers at different prices.<br />
<br />
It is interesting to note the following point not<br />
in relation to the present subject, but in order to<br />
show the faultiness of publishers’ methods. In<br />
those agreements where the author’s remuneration<br />
depends wholly or in part on the nett amounts<br />
received from the trade by the publishers, the<br />
words, ‘‘the usual trade terms,” are taken to<br />
express the sale to the trade, and in the accounts<br />
the price is generally rendered as uniform, and<br />
that—it is perhaps unnecessary to remark—not<br />
the highest price received. This is a trade<br />
method. “—<br />
<br />
The paragraph is an obiter dictum.<br />
<br />
What are these prices? What is the truth ?<br />
<br />
1. The bookseller who takes a single copy has<br />
it at 2d. in the shilling less than the nett price.<br />
If the book is expensive, a large number of sales.<br />
are made at this figure.<br />
<br />
2. If the bookseller takes thirteen copies, he has.<br />
them at the price of twelve.<br />
<br />
3. Certain houses and all export houses demand<br />
a further discount of 10 per cent.<br />
<br />
4, One house pays only two-thirds of the nett.<br />
price, minus 10 per cent.<br />
<br />
If an average of these four prices is taken the<br />
result is as follows :—<br />
<br />
<br />
<br />
<br />
<br />
1. The single copy . 10s. 5d. -<br />
2. 13 as 12, per copy 9s. 7°38d.<br />
3. Export, per copy . 8s. 785d.<br />
4. Lowestterms, percopy 7s. 6d.<br />
36s. 2°23d.<br />
8, 2°23d. :<br />
Average = we i. = 9s. 0°557d,<br />
<br />
Thus the average exceeds 9s. 04d. by a small<br />
fraction, and is based on the assumption that the<br />
<br />
<br />
<br />
<br />
94<br />
<br />
publisher sells at_least one-quarter of the copies at<br />
the lowest price. By assuming the price to be 9s. 1d.,<br />
a small advantage would be given to the publisher.<br />
But the publisher is always in dread lest, his profits<br />
should be over-stated, so to calm his mind, and in<br />
order to leave no door of escape open, 98. shall be<br />
the figure he receives from the trade. It follows,<br />
then, that the bookseller buying at 9s. and selling<br />
at 12s. 6d., makes 3s. 6d. on each copy.<br />
Repeating the formula :—<br />
<br />
W+x+Y+2Z=150<br />
42°94 +15 + Y + 42 = 150<br />
, Y = 50°06<br />
<br />
All the four quantities are now ascertained.<br />
42°94 +15 + 50:06 + 42 = 150<br />
<br />
The proportions of profit will be made more<br />
clear by stating them in percentages.<br />
Thus—<br />
<br />
28°63 + 10 + 33°37 + 28 = 100<br />
<br />
The same process of reasoning must now be<br />
applied to the discount book.<br />
<br />
In this case the work is sold to the public at a<br />
discount of 25 per cent., or 3d. in the shilling.<br />
<br />
The purchaser pays 9s. 44d. or 112°5d.<br />
<br />
The cost of production is constant, and the<br />
number of copies available for sale is constant.<br />
<br />
Therefore again—<br />
<br />
Wi X35 Y 4751125,<br />
42°94 4% +7947 = 1125,<br />
X+Y+2Z= 69°56.<br />
<br />
That is to say, the sum to be divided between<br />
the author, the publisher, and the bookseller is<br />
5s. 9°56d. A trifle more than 5s. 94d.<br />
<br />
The author’s royalties are nominally the same,<br />
that is 10 per cent., but in the case of the discount<br />
book the author has to allow thirteen copies to<br />
reckon as twelve. This never used to be the case<br />
in old days, but the author’s agent weakened in<br />
the bargains of important authors who could<br />
demand the full amount, and the smaller fry<br />
had in consequence to yield also.<br />
<br />
The royalty per copy is therefore—<br />
<br />
12 180<br />
—— 5 — ——.<br />
13% 15d. = 13<br />
The equation now stands—<br />
<br />
X+Y+2Z= 69°56.<br />
13°84 + Y + Z= 69°56.<br />
. Y + Z = 55°72.<br />
It only remains to discover how the publisher<br />
<br />
and booksellers divide the remainder.<br />
As with the Nett book, so with the Discount<br />
<br />
=13°84,<br />
<br />
“Sy,<br />
<br />
THE AUTHOR.<br />
<br />
book: the publishers sell to the bookseller at<br />
various prices.<br />
<br />
The following is a statement of the prices for a<br />
pook published at 12s. 6d. and sold subject to<br />
discoant :—<br />
<br />
For a subscribed book one-third less than the<br />
published price—<br />
<br />
13 as 12 at 8s. 4d. and 5<br />
count = 7s. 4d.<br />
<br />
Single copies at 8s. 4d. and 5 per cent. dis-<br />
count = 7s. 11d.<br />
<br />
After subscription—<br />
<br />
13 as 12 at 9s. and 5 per cent. discount = 7s. 10d.<br />
<br />
Single copies at 9s. and 5 per cent. dis-<br />
count = 8s. 7d.<br />
<br />
If, then, the average is taken of these four prices<br />
—presuming by this that the publisher sells half<br />
the edition on subscription—<br />
<br />
per cent. dis-<br />
<br />
<br />
<br />
—— = 7s, 11d. = 95d.<br />
<br />
Then the bookseller buys at an average price of<br />
7s. 11d., and sells at 9s. 4$d., therefore—<br />
<br />
'.L=1s. 54d. = 175d.<br />
Then<br />
Y + 175 = 55°72d.<br />
Y = 38:22a,<br />
All the four quantities are now ascertained—<br />
42°94 + 13°84 + 38°22 + 17°5 = 1125.<br />
If expressed in percentages—<br />
38°17 + 12°3 + 33°97 + 15°56 = 100.<br />
If these figures are correct, and on this point we<br />
are clear—although the fact is sure to be denied by<br />
the other side—this very instructive result is clear,<br />
<br />
that the publishers’ and booksellers’ profits stand<br />
out as follows—<br />
<br />
Publisher. Bookseller.<br />
Nett Book ...... 4s. 2°06d.......88. 6d.<br />
Discount Book... .3s. 2°22d....... 1s. 54d.<br />
<br />
The bookseller benefits to the extent of 2s. 04d.,<br />
and the publisher to the extent of 11°84d., or<br />
almost a shilling. Speaking roughly, a ratio of<br />
two to one.<br />
<br />
The profit to the bookseller, we are told, must be<br />
left with him in order to enable him to live, but<br />
the publisher can already live and flourish.<br />
<br />
It might be rightly claimed, then, that the extra<br />
shilling should belong entirely to the author. At<br />
any rate, he ought to gain something.<br />
<br />
‘Again, according to the publisher's statement the<br />
following ought to be the figures :—<br />
<br />
Publisher. Bookseller,<br />
Discount Book....3s. 2°22d....... ls, 54d.<br />
Nett Book ...... $5. O°22d.. 75... 4s. 8°84d.<br />
<br />
Either way the profit is not unreasonable, but it<br />
<br />
<br />
<br />
<br />
_ i is less in comparison for the publisher, who, in<br />
<br />
bbe addition to office and other expenses, places his<br />
<br />
ye9 eapital out with the printers and binders.<br />
<br />
The bookseller risks nothing.<br />
<br />
,/_ A close study of the figures and percentages has<br />
bel led to an interesting result. In another paper it<br />
<br />
o 1) is hoped to put forward some further matters for<br />
a9 consideration.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
4<br />
<br />
A MUSICAL AGREEMENT.<br />
<br />
—<br />
<br />
HE samples of perfect Agreements issued by<br />
<br />
the Publishers Association and approved,<br />
<br />
: so we must take it, by all those time honoured<br />
oe houses which the public have been accustomed to<br />
‘0! look upon as the kindly protectors of the.profession,<br />
»7e— gave the members of the Society a powerful insight<br />
ia into the equitable mind of the trade.<br />
‘Nothing could have been said if it had been<br />
*¢- openly avowed that they represented the extreme<br />
‘ei¥ view of the publishers, but this was not the case.<br />
af As readers of The Author may remember, they<br />
fy were put forward as equitable between party and<br />
Ts. party.<br />
by We refrain from argument.<br />
They bring their own condemnation.<br />
Again, the worn-out formulas put forward to per-<br />
su. suade some authors to give their signature, firstly,<br />
sq that the agreement is reliable, ‘it has been approved<br />
? v by King’s Counsel,” or, secondly, that “it isa form<br />
fl ib all my authors sign,” may deceive the one-book<br />
* man and secure to his publisher a temporary<br />
advantage, but can hardly affect those who care-<br />
fully peruse these pages.<br />
oe Yet in spite of all warning for barefaced com-<br />
® 98 mercial impudence the following—a common form<br />
209 among the still unrepentant musical publishers—<br />
will take the first prize against all comers, It has<br />
come before the Society from three different<br />
houses.<br />
<br />
In ordinary business the seller usually submits<br />
terms and gains the advantage, if any, but in<br />
publishing, the process is reversed.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
IN CONSIDERATION of a royalty of pence per<br />
copy, seven copies to count as six, the first two hundred to<br />
be free of said royalty—paid to me, the undersigned author,<br />
by the music publishers, the receipt whereof I do hereby<br />
acknowledge, I do hereby sell and assign absolutely to<br />
the said publishers all my copyright and interest of<br />
whatever kind for Great Britain, Ireland, the Colonies,<br />
“amd every other country, of and in the music and<br />
_ words of *<br />
<br />
And also the sole and exclusive right and liberty of<br />
representing or performing the same, and causing or per-<br />
mitting the same to be represented or performed, and also<br />
the copyright and theright of representation or performing,<br />
<br />
a<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
95)<br />
<br />
or causing or permitting the same to be represented or<br />
performed, in every foreign state in which such copyright<br />
or other rights aforesaid, or any of them, now exist or may<br />
hereafter be obtained. And I do hereby agree that the<br />
said publishers shall be entitled to arrange, use, and publish<br />
the said work, musie and words or any portion thereof, in<br />
any other separate form free from any other consideration<br />
in respect of such use and publication.<br />
<br />
And I, the undersigned, warrant and declare to the said<br />
publishers, that I am solely and absolutely entitled to the<br />
premises expressed to be hereby assigned and that free from<br />
incumbrances. Further, only half the above royalty pay-<br />
able on copies sold in the United States of America, :<br />
<br />
Witness my hand, this day of , in the<br />
year of our Lord one thousand nine hundred Z<br />
<br />
Tt is not intended to put forward a useful<br />
Author’s Agreement, but merely to comment on<br />
the extraordinary form in which this document is<br />
drafted, and to explain some of the more extrava-<br />
gant points.<br />
<br />
On the same principle that it takes two to make<br />
a quarrel, it has always been looked upon as<br />
necessary to have two parties to an agreement.<br />
But the Musical Publisher is above such con-<br />
siderations. He is a law unto himself, and appa-<br />
rently to the composer also.<br />
<br />
It is pitiful to consider that for years uncounted,<br />
ever since music was a property, composers,<br />
without a murmur, without a sigh, have been<br />
willing to resign their rights with such a childlike<br />
trust.<br />
<br />
Even now there are leading members of the<br />
profession who do not think that there is any need<br />
for an organisation to withstand this wholesale<br />
abandonment of valuable property.<br />
<br />
After consideration of the parties, or rather<br />
party—for, as we have pointed out, there is only<br />
one party who signs this estimable agreement—it<br />
is necessary to consider what the composer is<br />
conveying.<br />
<br />
He conveys all his copyright and interest in the<br />
piece for all the world, and the sole and exclusive<br />
right and liberty of performing the same. He is<br />
paid, it will be noticed, a certain sum on the sale<br />
of every copy—it is needless to say that the sum is<br />
inadequate in comparison with the cost of produc-<br />
tion, that the copies are reckoned seven as six, and<br />
two hundred given away free for advertising<br />
purposes—but on the performing rights he is<br />
paid nothing. :<br />
<br />
The publisher may say that on performing<br />
rights in England no money is paid. ‘This is not<br />
absolutely true. Take for example, musical operas,<br />
songs sung in music halls, and the many other<br />
forms of musical composition the performing rights<br />
of which are valuable. At no distant date a com-<br />
bination may be formed which will enable the<br />
composer to demand a certain sum for every public<br />
performance. This right in France is very valuable,<br />
simply because French composers and those who<br />
<br />
<br />
96<br />
<br />
publish French compositions have banded them-<br />
selves together in order to obtain a fall reward for<br />
the property they create. To assign these per-<br />
forming rights, therefore, is altogether inadvisable.<br />
Quite apart from the monetary side of the question<br />
it may be justly argued that the composer, under<br />
certain circumstances, would object to perform-<br />
ances at certain times or in certain places. He<br />
could not, however, stop them under the present<br />
arrangement. In addition, as the publisher holds<br />
the right of performance in foreign countries, the<br />
work might be performed in France, where these<br />
rights are exceedingly valuable. In that case<br />
the publisher would obtain a substantial return,<br />
in which the composer would have no share<br />
whatever.<br />
<br />
So far it<br />
agreement.<br />
<br />
But worse is to follow.<br />
<br />
The publisher not only has all copyright and<br />
performing right, put he also receives the right to<br />
arrange, use, and publish the said work in any other<br />
separate form free from any other consideration 1n<br />
respect of such publication. So that if, as not<br />
infrequently happens, a song runs pleasantly in<br />
waltz time, it would be possible for the publisher<br />
<br />
to adapt the air to a waltz with a new setting,<br />
publish it, and sell thousands of copies.<br />
<br />
seems impossible to imagine a worse<br />
<br />
There<br />
are many other methods of re-arranging an air.<br />
With these the publisher has every right to deal<br />
according to his agreement, and on the sale of<br />
this new arrangement nothing will return to the<br />
composer.<br />
<br />
Take one further instance. How many quad-<br />
rilles, polkas, and other dance music are there that<br />
are merely variants of the popular airs of the<br />
day ?<br />
<br />
The composer receives half royalty on copies<br />
sold to America. There might be some slight<br />
reason for a small reduction, but why a reduction<br />
of fifty per cent.? We should be glad if the<br />
publishers would furnish figures.<br />
<br />
Lastly, a few remarks must be made before the<br />
question is closed, concerning the remuneration<br />
that composers receive for their labours.<br />
<br />
It is the custom to pay exceedingly small<br />
royalties on a song or other musical composition.<br />
The royalty in all cases must be finally determined<br />
by the amount of capital invested by the publisher,<br />
and the return the publisher obtains over and<br />
above the sum invested. Compare for one instant<br />
the cost of production of a book beside that of a<br />
song.<br />
<br />
Any book from the pen of a popular author,<br />
which is sold at 2s. nett will bear a royalty of 2d.<br />
in the 1s.; but the cost of production of a book<br />
excluding advertising is more than twice as large<br />
as the cost of production of a song excluding<br />
<br />
THE AUTHOR.<br />
<br />
advertising. It will cost perhaps 15/. to produce —<br />
2,000 copies of a song which will sell at 2s. nett,<br />
the advertising, of course, coming outside this<br />
amount.<br />
<br />
Say 307. are spent on advertising, and 500 copies —<br />
of the song given away for all purposes, this leaves<br />
1,500 copies to be sold at, say, 1s. 2d. per copy. The<br />
return is therefore 87/. 10s. If from this the cost.<br />
of production is deducted, 42/. 10s. is left to be<br />
divided between author and publisher.<br />
<br />
Fourpence per copy royalty will, therefore, give<br />
the publisher a handsome profit, and the author a<br />
reasonable return. If the sales exceed 1,500, then<br />
the reproduction is in every way cheaper and the<br />
return to the author larger.<br />
<br />
It should be remarked also that the cost of pro-<br />
duction and advertisement, and number of free<br />
copies is reckoned on a very liberal scale. In<br />
many cases 30/. is an outside price for the advertise-<br />
ment of one song and less than 500 copies are usedi<br />
as gratis copies.<br />
<br />
Musical composers<br />
position.<br />
<br />
should reconsider their<br />
<br />
THE R. D. BLACKMORE MEMORIAL.<br />
<br />
—-—— + —<br />
<br />
MEETING of the Blackmore Memorial<br />
Committee was held at Stationers’ Hall on ~<br />
Wednesday, November 26th, Mr. James —<br />
<br />
Baker in the chair. Mr. R. B. Marston, the hon. ©<br />
treasurer, announced that the subscriptions received<br />
amounted to over £200, the total promised to date —<br />
being £223 1és. Designs from the sculptor, Mr. —<br />
Harry Hems, were submitted showing a medallion<br />
portrait on marble slab. Various suggestions were<br />
made, and it was decided to close the subscription om<br />
December 9th, and at the next committee meeting —<br />
to make final arrangements for putting the work<br />
in hand. Amongst those present were Professor<br />
Raphael Meldola, Mr. Mackenzie Bell, Mr. Herbert<br />
A. Morrah, Mr. James Baker, Miss Pinto Leite,<br />
and Mr. G. E. N. Ryan.<br />
<br />
On December 10th a further meeting of the —<br />
committee was held. Mr. Hems, the sculptor,<br />
produced a fresh design, which was unanimously<br />
approved. Mr. Hems stated that the work would —<br />
be completed and ready for erection early in April<br />
next.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 97<br />
<br />
GENERAL MEMORANDA.<br />
Ae<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —:<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duciion forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for ‘ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in Zhe Author.<br />
Readers can also work out the figures themselves from the<br />
** Cost of Production.”<br />
<br />
IVY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
eg ge ee<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
a<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager,<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(@.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(2.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(e.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (i.¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in anyevent. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be excced-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY,<br />
<br />
eg<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
i VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion, All this without any cost to the member.<br />
<br />
<br />
98<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
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<br />
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<br />
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_AND DRAMATIC WORKS, and when it is possible, under<br />
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Sa<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
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<br />
<br />
AUTHORITIES.<br />
<br />
rVNVHE case of Aflalo & Cook v. Lawrence & Bullen,<br />
which has been supported by the Society<br />
throughout, was heard on Appeal before<br />
Lord Justice Vaughan Williams, Lord Justice<br />
Romer, and Lord Justice Stirling, on Thursday,<br />
the 18th of December.<br />
<br />
Readers of Zhe Author may remember that<br />
judgment in the first instance was given in the<br />
favour of the plaintiffs, with costs. Against this.<br />
judgment the defendants appealed. The Appeal<br />
has been dismissed with costs. Lord Justice<br />
Romer and Lord Justice Stirling decided against<br />
the appellants, Lord Justice Vaughan Williams<br />
dissenting.<br />
<br />
The case is one of considerable importance, as it.<br />
deals with the interpretation of the 18th section of<br />
the Copyright Act. It has already been pointed out<br />
in the pages of The Author that this section is<br />
perhaps one of the worst sections that has ever been<br />
drafted in an Act of Parliament, and is difficult of<br />
interpretation and complicated.<br />
<br />
Every case, therefore, that tends to make it<br />
more explicit must be of importance to those:<br />
interested in literary property. It is hoped that in<br />
the next number of 7'he Author it will be possible<br />
to give a full statement of the judgment.<br />
<br />
<br />
<br />
We understand that King Oscar, one of the few<br />
royal authors, has been contributing an article to<br />
the magazine of the Swedish Authors’ Union.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 99<br />
<br />
Though it is the privilege of every crowned head<br />
to be egotistical—the subject of the paper was his<br />
own writings in fiction and poetry—yet he dealt<br />
some very frank criticism on his work. He used, he<br />
said, to be very proud of his lyrical productions,<br />
but doesn’t consider them now to be first class.<br />
The poem he considers his best is ‘The Baltic.”<br />
He trusts that his readers’ opinions will coincide<br />
with his own.<br />
<br />
No sooner has King Oscar finished criticising<br />
his own works than another royal personage<br />
comes before the public as an author. “La<br />
Carriére d’un Navigateur” is the title of a work<br />
by Albert I., Prince of Monaco, and, like King<br />
Oscar, in his own line he proves himself an author<br />
of no mean capacity. The book is full of the love<br />
of the sea. It is imaginative and, in places, poetical.<br />
The work is published in Paris.<br />
<br />
Under “ Literary, Dramatic, and Musical Pro-<br />
perty,” we have, with the kind permission of the<br />
Editor of The Times, reprinted the case of Jfoul<br />
vy. Boosey, dealing with the performing rights of<br />
musical pieces.<br />
<br />
We desire again to bring this point before those<br />
composers who are members of the Society, and<br />
again to call their attention to the fact that owing<br />
to a strong combination of French composers the<br />
property in performing rights has become exceed-<br />
ingly valuable. In Germany and France, we believe<br />
that a royalty agreement on the sale of a song or<br />
musical composition is almost unknown, and the<br />
composers make their money from their performing<br />
rights. In England the reverse holds good. There<br />
is no reason, however, why both rights should<br />
not become a valuable property, and bring in a<br />
considerable income.<br />
<br />
The fact that a certain Mr. Wall in former<br />
years took advantage of the unsatisfactory state<br />
of the law to levy contributions from illegal per-<br />
formances, is no reason why the performing rights<br />
should therefore be allowed to run to waste.<br />
<br />
We trust that musical composers will give the<br />
matter their serious consideration.<br />
<br />
Various friends of the late Mr. J. T. Nettleship,<br />
the well-known animal painter, are desirous of<br />
placing a tablet to his memory in the fine old<br />
church of Kettering, his native town, to be<br />
supplemented, if practicable, by some small<br />
memorial in London. Besides being noteworthy<br />
as an artist, Mr. Nettleship was an accomplished<br />
<br />
writer, his ingenious essays, on the poetry of<br />
Robert Browning, first published as far back as<br />
the “sixties,” having done much to promote: a<br />
more general appreciation of the poet’s work.<br />
Mr. Alfred East, A.R.A., Mr. Alfred Parsons, A.R.A.,<br />
Mr. T. C. Gotch and Mr. William Toynbee have<br />
undertaken to organise a fund in London, and<br />
subscriptions may be sent to Mr. Toynbee, Hon,<br />
Treasurer, at 4N, Portman Mansions, W.<br />
<br />
John Kendrick Bangs—so states the American<br />
Author—agrees with Jules Verne that the novel is<br />
passing, and that in a hundred years from now<br />
there will be no such form of literature, or, at<br />
least, not as we knew it. “If wireless telegraphy,<br />
why not bookless romances, typeless novels, page-<br />
less poems? We already have jokeless comic<br />
papers. These things are surely coming, and I<br />
foresee the day when without novels, poetry or<br />
drama the public will be surfeited with romances<br />
and tales of the most stirring character, poems of<br />
stately measure and uplifting concept; psycho-<br />
logical studies of the deepest dye; and dramas<br />
that will take the soul of man and twist it until it<br />
fairly shrieks for mercy—and all of these things.<br />
men and women will get while they sleep.<br />
<br />
a<br />
<br />
A LITERARY ACADEMY.<br />
<br />
—1+~<<br />
<br />
L.<br />
<br />
AM so little instructed in the theory of literary<br />
I academies that it is only after reading the<br />
clever letters published on the subject in The<br />
Author by such authorities as Messrs. Herbert<br />
Trench, H. G. Wells and Morley Roberts, and<br />
Lucas Malet, that I feel emboldened to form a<br />
hasty opinion, entirely on the reading of the<br />
aforesaid letters.<br />
<br />
My blood boils, as does that of us all, including<br />
Mr. Herbert Trench, at the prevalence amongst us<br />
of what I will call the “ tub-novelist.” But would<br />
the establishment of an Academy of Letters in this<br />
country exercise any control over this variety of<br />
literary caterer? Would he not adapt his chair to<br />
the same purpose as he did his tub, and wave his<br />
academic crown to the tune of so much per<br />
thow’ as before ? Mr. Zangwill’s blunt, or<br />
rather pointed, allusion to the ‘“ vulgarity of the<br />
epoch’ seems to sum up the case for me, only I<br />
would substitute for vulgarity the adjective ‘“non-<br />
critical.” Weare, as a nation, non-critical—thank<br />
goodness we are, as a nation, creative. The<br />
French are both, the latter perhaps in a lesser<br />
degree. But in France, though there is a<br />
<br />
<br />
100<br />
<br />
tremendous fertility in rubbish, as with us, Litera-<br />
ture proper completely ignores the out-put. The<br />
books one reads to soothe the toothache, or to<br />
ameliorate a railway journey, are not the books one<br />
criticises. :<br />
<br />
The three unmentionable “ Claudines” that<br />
have had such a vogue over there were read with<br />
‘more or less amusement and cast aside—never<br />
considered seriously for one moment. But the<br />
English counterparts to ‘laudine—Heaven forbid<br />
that I should name them !—are on every decent<br />
table, and are gloated over by discreet K.C.’s and<br />
M.P.’s and discussed seriously in would-be literary<br />
salons. We do not distinguish.<br />
<br />
In France, the garcon de café, the demoiselle<br />
de comptoir read their Anatole France, their<br />
Huysmans, and are able to criticise and discuss<br />
him. ‘The French literary man varies from his<br />
‘English prototype just as much as his audience<br />
does. The labour of a French author has an<br />
absurdly unnecessary concomitant. He takes pains<br />
__jmmense pains. He does not, as a rule, have<br />
the tendency which Lucas Malet deplores in some<br />
-of his English confréres. He does not regard<br />
letters as a means, but as an end. He does not<br />
-aspire to rise from author to “ minister,” and he<br />
never hopes to have time for society. M. Pierre<br />
D’Alheim, the author of “La Passion de Maitre<br />
Fran¢éis Villon,” spent fifteen years over the pro-<br />
duction of this masterly study of the Middle Ages.<br />
And it is one of a trilogy, of which the other two<br />
are still to be written! M. Huysmans lives the<br />
‘life of a hermit—a genial one, par example ; he<br />
does not hate his fellow creatures, he simply has<br />
not time for them.<br />
<br />
It is my humble opinion that until we have a<br />
few more authors of this stamp in England, it is of<br />
no use arranging an Academy for them. The few<br />
truly earnest labourers in the literary field that<br />
we do possess would be obliged to double their<br />
parts and crown themselves. There are so few of<br />
them. And even then the enlightened critical<br />
public who should haste to acclaim the judgment<br />
‘would be wanting !<br />
<br />
VioteT Hunt.<br />
<br />
—<br />
<br />
II.<br />
<br />
On the subject of a Literary Academy Mrs.<br />
‘Clifford writes as follows :—<br />
<br />
«J would gladly contribute to the discussion on<br />
an Academy of Letters, but I am too busy, too tired<br />
to think out even what I feel on the subject—<br />
though I feel a good deal.” She continues :<br />
““My views so far are in entire agreement with<br />
those expressed by Mr. Herbert Trench. I think<br />
<br />
the only criticism I have to make upon his article<br />
<br />
touches the constitution of the committee, which<br />
-seems to me to be hardly far-reaching enough.” She<br />
<br />
THE AUTHOR.<br />
<br />
gives the names of a few gentlemen whom she<br />
would recommend as members, other than those<br />
mentioned by Mr. Trench.<br />
<br />
Under any circumstances; the selection of a<br />
committee of this kind would be difficult, and<br />
might lead to a considerable amount of heart-<br />
burning on the part of some and disgust on the<br />
part of others; but Mrs. Clifford proceeds: “A<br />
committee of this sort should be composed of the<br />
lovers of all kinds of literature, but above all, it<br />
should be composed of those who love it for its<br />
own sake, of those to whom it would be impossible<br />
to think of reward or advertisement, of pushing<br />
forward or holding back for personal reasons. In<br />
short, of men who have no axes to grind, except<br />
the one for which the Academy was instituted,<br />
that of immortalising good literature.”<br />
<br />
Surely it is not possible that any one can quarrel<br />
with Mrs. Clifford’s definition of the real<br />
Academician.<br />
<br />
oS<br />
II.<br />
<br />
I entirely agree with all that Mr. Arthur C.<br />
Benson says in his admirable article in favour of<br />
an Academy of Letters.<br />
<br />
Is it not the education of the masses which is in<br />
some way responsible for the down-hill road litera-<br />
ture is taking, and do not writers of the present day<br />
instinctively lower their standard of composition<br />
to a level which can be appreciated by the larger<br />
public ?<br />
<br />
If an Academy could influence this great _com-<br />
munity, and could inspire it with the desire to<br />
read only what is best, by holding before it high<br />
examples, its work would indeed gain a glorious<br />
crown, and we might hope before long to see the<br />
death of such debasing fiction as appears in our<br />
halfpenny newspapers.<br />
<br />
With things remaining as they are at present,<br />
with no powerful, saving hand held out to check<br />
this downward tendency in letters, the future state<br />
of affairs is not a happy one to contemplate. But<br />
we ought to strive to make it a happy one, and an<br />
Academy might be just the new force in the world<br />
of literature capable of doing it.<br />
<br />
To educate a great crowd of human beings is<br />
one thing ; this assists it in its active walk of life,<br />
but if we allow its leisure moments to be degraded<br />
by the perusal of the vitiating, worthless reading<br />
which pours forth from the press of cheap journals<br />
and elsewhere, the whole ideal of education is<br />
shattered. Let an Academy of Letters come to<br />
the rescue, and let it inspire both our authors and<br />
our public with the aim of crushing out of exist-<br />
ence all that is of bad quality in literature. | Then<br />
the author will produce the best that is in him, and<br />
the public will read it.<br />
<br />
F, I. W1nzott.<br />
<br />
<br />
<br />
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<br />
i= we ele Eee<br />
<br />
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iy<br />
<br />
THE AUTHOR.<br />
<br />
IV.<br />
[With kind permission of the Editor of the Morning<br />
Leader. |<br />
<br />
One ought to have an opinion on the often-<br />
mooted proposal for establishing a British Academy<br />
of Literature; and by the time I have finished<br />
this article it is possible that an opinion may<br />
have taken root in my mind. Bat as yet I<br />
am unable to work up any conviction either for<br />
or against the proposal. Mr. Herbert Trench<br />
and the distinguished novelist who chooses to<br />
be known as “Lucas Malet” have written to<br />
The Author—the trade paper of the literary class<br />
—strongly recommending an Academy as a pos-<br />
sible, and even probable, remedy for the miserable<br />
decline into which English literature has fallen.<br />
“The present state of affairs,” says Mr. Trench,<br />
“jis nothing less than the merest tumultuous<br />
anarchy. . . . Every year our people, as a whole,<br />
like those of the United States, seem to be<br />
marching steadily, slumberously, into new and<br />
vaster Dark Ages; Dark Ages, not of mere<br />
ignorance, but of the wildest positive error. The<br />
weltering Anglo-Saxon peoples have no intel-<br />
lectual standards, no thought centre, no axis.”<br />
The flippant might be tempted to reply that the<br />
academician - saviours heralded by Mr. Trench<br />
would have too many axes—to grind. But flip-<br />
pancy is out of place in this grave debate. I<br />
repent the untimely levity, and pass on. ‘‘ Lucas<br />
Malet’s” view of the situation is not much more<br />
cheerful than Mr. Trench’s. ‘“ English literature,”<br />
she writes, ‘in its higher and more distinguished<br />
expression, is sick, almost sick unto death.” “ It is,”<br />
she continues, “over-prolific and under-vitalised.<br />
The right of private judgment has run mad,<br />
thanks to a grafting of so-called modern ideas<br />
upon the old Protestant stock.” Wherefore “‘some<br />
of us,” she says, “hail the idea of an English<br />
Academy of Letters, regarding it as a possible<br />
remedial agency.”<br />
<br />
Now, before we can hail the remedy with any<br />
ardour of conviction, it behoves us to be certain<br />
that we have rightly diagnosed the disease. Is<br />
English literature in such a desperate case as<br />
Mr. Trench and “Lucas Malet” would have us<br />
think ? I have touched on the question before in<br />
this column, and have pointed out how Macaulay,<br />
writing in the very heyday of that Victorian period<br />
to which we now look back as to an age of giants,<br />
adopted exactly the same tone of despondency.<br />
Still more aptly did Mr. Gosse remind us, in his<br />
speech at the “ Encyclopeedia Britannica” dinner,<br />
that Montaigne in France, and Ben Jonson in<br />
England, each believed himself to be living in an<br />
age of hopeless literary decadence. I admit, how-<br />
ever, that there isa great difference between assert-<br />
ing the probability, and proving the fact, of illusion.<br />
<br />
101<br />
<br />
A great deal may be said, no doubt, in favour of<br />
Mr. Trench’s view of the present situation. While<br />
every age has had its loudly-applauded and extra-<br />
vagantly advertised charlatans—its Robert Mont-<br />
gomerys and Martin Tuppers—it must be owned<br />
that the present age is particularly prolific of these<br />
gentlefolks, and that they are “boomed” with a<br />
hitherto unexampled impudence of puffery. But<br />
does not the very word I have employed suggest<br />
the explanation of the phenomenon ? The modern<br />
literary “boom” is more deafening than the similar<br />
manias of bygone generations because the half-<br />
educated reading public is now so much larger..<br />
But in that there is no great harm ; the mischief<br />
would be if we found the manias of the half-<br />
educated public infecting the judgment of the<br />
educated public. Of this I confess I see no<br />
indication. When Thackeray was asked by an<br />
American, “ What do you, in England, think of:<br />
Tupper?” his reply was, “ We don’t think of<br />
Tupper.” With the same promptitude and con-<br />
viction all educated Englishmen of to-day might<br />
reply to a similar question, ‘We don’t think of<br />
What’s-his-name or Thingumbob.” There may be<br />
certain writers on the borderlands of literature<br />
whom some educated people discuss too seriously ;.<br />
but these are precisely the men who, one fears,.<br />
would worm themselves into an Academy. As for<br />
the tendency of mediocrity—as distinguished from.<br />
sheer blatant incompetence—to swamp command-<br />
ing talent, does not that arise from the fact that<br />
our mediocrity is really entitled to rank much.<br />
higher than the mediocrity of fifty years ago? If<br />
we have fewer writers of the very first rank (and.<br />
even that may be an illusion), have we not a great<br />
many more writers—not only absolutely, but in<br />
proportion—whose work attains a more than<br />
respectable standard of intellectual merit ? And<br />
if this be the case, can it be said that literature is<br />
altogether going to the dogs ?<br />
<br />
Let us assume, however, that our pessimists are:<br />
right in their diagnosis of the disease, and inquire<br />
a little into the further question, whether the:<br />
remedy they prescribe is likely to “ touch the spot ””<br />
—if so unacademic an expression may be forgiven..<br />
On this point ‘‘ Lucas Malet ” writes :—<br />
<br />
“ Ts it too much to hope that a recognised central autho-<br />
rity—-to which the elect among themselves may presently<br />
belong—an association of the most distinguished and<br />
enlightened minds of our day, might provoke in the rank<br />
and file a finer ambition and higher conception of the<br />
dignity of their calling, a sounder scholarship, a greater<br />
humanity and love of beauty, a greater self-forgetfulness in.<br />
work ?”’<br />
<br />
‘<br />
<br />
Mr. Trench takes a somewhat less ideal view.<br />
He would have us look upon the Academy as a.<br />
sort of accredited advertising agency, which should,<br />
‘in order to guide the public, confer titles of merit.<br />
<br />
<br />
<br />
<br />
102.<br />
<br />
or excellence at the end of each year on works of<br />
worth.” In this way, he thinks, an Academy<br />
would have brought Fitzgerald’s “ Omar Khayyam”<br />
into its due prominence at once, instead of leaving<br />
+t to be “discovered” after the lapse of a genera-<br />
tion. ‘ What qualified person,” he asks, “believes<br />
that the poetry of Matthew Arnold—so pure, so<br />
salutary for our time—yet occupies its just place<br />
in the minds of the multitude, who still acclaim<br />
Tennyson as a demi-god ?” The example does not<br />
seem to be very happily chosen, for it is scarcely<br />
conceivable that any academic laurels could have<br />
made Matthew Arnold popular with “ the multi-<br />
tude.” Arnold seems to me to have been entirely<br />
successful in seeking out his elective affinities. An<br />
Academy could at best have hastened the process<br />
a little. I would rather say that perhaps such a<br />
<br />
poet as Coventry Patmore, or, in our days, Mr..<br />
<br />
Robert Bridges or Mr. Francis Thompson, might<br />
be enabled, by academic recognition, to reach a<br />
larger public. Again, Mr. Trench thinks that the<br />
existence of “some such Society of the Spirit”<br />
would attract to literature “men of powerful talent,<br />
now absorbed by the Bar and commerce. Those<br />
men would be induced to speak who now stand<br />
aloof and silent, in overwhelming disgust.” This<br />
argument, I confess, appeals to me but little. I<br />
do not believe in the existence of the man who,<br />
having anything to say, and any power of saying<br />
it, is deterred by his despair of finding an audience<br />
worthy of his genius. I don’t doubt fora moment<br />
‘that there are men who, in their own esteem,<br />
-oceupy this pinnacle of intellectual superiority ; but<br />
I think the chances are that the pinnacle would<br />
prove as barren after as before the establishment of<br />
an Academy.<br />
Let us remember, however, that a case may be<br />
a very good one, though the arguments brought<br />
forward in support of it are individually insufficient.<br />
‘The worst of our national habits, to my thinking,<br />
is that of seizing on any plausible objection to a<br />
proposed reform and making it an excuse for<br />
sitting still and doing nothing. Mr. Trench very<br />
justly insists that “it is weak to plead that an<br />
Academy would be a prey to wire-pullers and<br />
intriguers. Any dignified human society that is<br />
worth framing must undergo, and can weather,<br />
such dangers.” Mr. H. G. Wells fears that the<br />
Academy will be swamped by “ well-bred influential<br />
amateurs ” such as Lord Rosebery and Mr. Balfour.<br />
This possibility has no terrors for me. I think a<br />
British Academy which excluded such a man as<br />
Lord Rosebery would be ridiculous. In sum, I am<br />
.-so far with the supporters of the proposal that I<br />
think its opponents have wholly failed to show<br />
that it could do any harm ; and since many people<br />
think it would do good, why not try it ?<br />
<br />
Winiuram ARCHER.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Vv.<br />
<br />
A few words more are asked for on the<br />
subject of an Academy of Letters. It must<br />
be difficult for any distinguished. man of<br />
letters to advance and say, “ Come let us form<br />
a society to save literature from the public dis-<br />
esteem into which it has fallen.” Yet I believe<br />
that were Tennyson, Browning, and Arnold living,<br />
they would have been willing to come forward.<br />
The natural inertia and shamefacedness of the<br />
Englishman would not have overcome them. The<br />
might well have made, and we should all have<br />
responded to, such an appeal.<br />
<br />
Tt seems to me that a public institution is required<br />
which shall image, symbolize, and stand for excel-<br />
lence in literature. For this reason I am gratefal<br />
to famous novelists like Lucas Malet, and to such<br />
admirable writers as Mr. Arthur Christopher Benson,<br />
Mrs. W. K. Clifford, Mr. Benjamin Swift, and Mr.<br />
William Archer, who have in these pages openly<br />
expressed sympathy not only with the aims in<br />
view, but with the means proposed.<br />
<br />
It is idle to say that such a society would wield<br />
no influence. Well could it safeguard its own<br />
dignity. ‘True; writers like Mr. Meredith would<br />
probably find no leisure for criticism, but, as Mr,<br />
Benson has suggested, the society could devolve its<br />
judgments and awards to a carefully-chosen critical<br />
committee. Andin what respect could an Academy<br />
do harm? The recurrent elections of its members,<br />
the merits of their work, might conceivably indeed<br />
elbow from the topics of the dinner tables some<br />
turf scandal or fashionable divorce. Intellectual<br />
and beautiful achievement would in fact stand<br />
some chance of their proportionate share of public<br />
attention. Directly or indirectly the Academy<br />
would become the main organ of English criticism,<br />
an elucidator of our chaos, a simplifier, an orderer,<br />
a guide to judgment.<br />
<br />
Why is this neglected field so important? Be-<br />
cause, surely, art, and in chief the art of literature,<br />
live by the sympathy, and increase the sympathetic<br />
intelligence, of all classes. Art tends to unify<br />
society and makes for solidarity. The novel, play,<br />
poem, are the village greens of the nation. In<br />
art the out-wearied master-printer, with brain<br />
exhausted by the technicalities and intense com-<br />
petitions of his trade, who now at his day’s end<br />
relapses faute de mieux on the mushroom romances<br />
of the boudoir, may learn to share interests with<br />
his foreman (chief reader of the. future), who,<br />
attending all day to the intricate, steady spinning<br />
of some comprehensive machine, returns home at<br />
night less fatigued than his master, and soon will<br />
be less easily satisfied. Art in letters is the reve-<br />
lation of themselves to the young, the invisible<br />
trysting-place of the sexes, the common ground of<br />
<br />
<br />
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<br />
<br />
THE AUTHOR. 103.<br />
<br />
the specialists, who, with theramifying of knowledge,<br />
tend to become ever remoter and mutually more<br />
unintelligible. Art is the only speech preserved in<br />
our Tower of Babel. It behoves greatly, therefore,<br />
that we guard this sympathetic art of literature ;<br />
see that it falls not into emptiness and dishonour,<br />
and that for the State’s own sake some honest<br />
endeavour is made to distinguish and reward those<br />
who practise this art with signal excellence.<br />
<br />
But let us take account of objectors. An<br />
“ Academy” must be “academic,” says Mr.<br />
Morley Roberts, foisting on us, with a smile, a<br />
play upon words. “The appeal of literature is<br />
individual, is personal. A bedy of men is a lower<br />
organism,” says Mr. Roberts. But it is from the<br />
rabble, from the chance of crowds, and the tender<br />
mercies of journalistic judgment, that I would save<br />
writers above the average. Let us give them a<br />
revising body, an enduring Court of Appeal, less<br />
tardy than that of Time, a court where the deciduous<br />
sentences of the daily papers are replaced by words<br />
of steadier attention. Nothing in Nature is more<br />
sure than that works of genius die and perish utterly<br />
unknown. Genius bears no sovereign amulet<br />
against mischance, and the majestic stupidity of<br />
numbers. Common sense alone can by organiza-<br />
tion set human barriers and safeguards for our great<br />
men against ill destiny and oblivion. ‘ Conven-<br />
tion,” “monotony,” “aridity,” “conservatism,”<br />
<br />
- sighs Mr. Morley Roberts apprehensively. ‘Masters<br />
<br />
of literature, if once publicly recognized, become<br />
fossils,” gently implies Mr. Max Beerbohm. But,<br />
“Tam compelled to ask, “Is there anything more<br />
conventional than the range of ideas in the Old<br />
Kent Road?” Intellectual civilization is free. It<br />
is the savage societies, and the clichés forced now<br />
on us in the guise of novels, that are, above all,<br />
arid and monotonous.<br />
<br />
We have no men, says (I think) Mr. Zangwill.<br />
What! We have still Mr. Swinburne, Mr. John<br />
Morley, Mr. Robert Bridges, Mr. Meredith, Mr.<br />
Pinero, Mr. Hardy, Mr. Yeats, Mr. Joseph Conrad,<br />
Mr. Shorthouse, Mr. Bury, Mr. Bryce, Mr. A.<br />
E. Housman. Are not these a brave beginning ?<br />
<br />
The truth is that, as Lucas Malet forcibly puts<br />
it, a central standard of taste is increasingly<br />
required in the double combat to be waged against<br />
the taste of the mob, and the influence of the<br />
millionaire (whom we have always with us). We<br />
must not look for help from the “ upper classes.”<br />
The French courtiers of the seventeenth century<br />
salons, the eighteenth century groups of English<br />
country gentlemen round Pope and Addison, round<br />
Johnson and Burke, were recruited from educated<br />
aristocracies. It was these gentlemen who formed<br />
noble libraries, and paid for splendid editions.<br />
They had gone on the “grand tour” to France, Italy,<br />
and Greece, to the older and wiser civilizations, and<br />
<br />
so had improved a naturally good eye for the taste-<br />
ful and the humane. But the modern grand tour<br />
is to the United States for a rich wife. Or our<br />
young aristocrat, if more wholesomely disposed,<br />
returns with the imperfect tastes of frontier<br />
peoples. Our young barbarian becomes accom-<br />
plished in Rhodesia or the Klondyke. He returns,<br />
perhaps, no worse a man than were the sons of<br />
Halifax, Temple, Fox, Walpole or Chesterfield.<br />
But as a judge of letters he is probably less complete.<br />
In our quandary no help is to be expected of him.<br />
No help, either, from our mob-deity the millionaire,<br />
who may found libraries till every Sheffield has its<br />
British Museum, yet cannot provide a living for<br />
literature. No! The writers of England, if they<br />
are to restore the dignity of their craft, must do it<br />
themselves. Their task, owing to the vast augmen-<br />
tation of the reading populace, and the all-perva-<br />
siveness of vulgar wealth, is harder far than it was<br />
for any French king or English aristocracy. But,<br />
on the other hand, is not that task tenfold better<br />
worth the doing? Its result may be the gradual<br />
ennoblement, not of clique in a capital, but of an<br />
entire nation.<br />
<br />
No idea of his function can be pitched too high<br />
for the weal of the artist. Priest of the mind and<br />
heart, he is the chief truth-teller left to humanity.<br />
“Treasure words,” said Gogol; “they are the<br />
noblest gift of God.” And the object I have in<br />
writing these lines is boldly to ask those who have<br />
the honour of English letters at heart to form<br />
themselves into a “ Guild of Literature,” as did the<br />
craftsmen painters of Flanders and Italy—a guild<br />
open to any fairly-accredited writer to join. From<br />
this guild should be elected, chiefly (1 think) by<br />
writers themselves, a number of leaders—Masters<br />
of the Craft—to protect it, to represent it, and do<br />
it honour.<br />
<br />
Such a public association of the distinguished<br />
and enlightened would act, as Lucas Malet says,<br />
as an immense encouragement to the rank and file<br />
of writers, especially those of the younger genera-<br />
tion. It would stimulate to steady work—concen-<br />
trate attention on noble ambition and pure reward.<br />
It would help year-long labour like “ that slow and<br />
scientific ” labour of Titian. It would secure for<br />
living writers praise and recognition far earlier than<br />
now is possible. Why, when we light upona splendid<br />
short tale by a living master, like the newly-pub-<br />
lished “Youth” of Mr. Joseph Conrad, should<br />
the knowledge of its beauty and perfection be<br />
confined to the chances of a few Press notices in<br />
London? Why should Mr. Conrad not improbably<br />
have to wait till he is old before he can enjoy the<br />
success he deserves? Why must Mr. George<br />
Meredith wait thirty-eight years after the publica-<br />
tion of “Richard Feverel” before his existence is<br />
acknowledged in the Quarterly Review 2 It must<br />
<br />
<br />
104<br />
<br />
be because England is all lawn or marsh. There<br />
is no broad culture among our people. There is<br />
no fit organ of letters to honour living artists and.<br />
maintain the magnificent tradition of the dead.<br />
‘The English take all things seriously—religion,<br />
love-making, family, politics, and commerce—all<br />
things, that. is to say, except art and literature.<br />
‘Her young writers, not regarding their craft as all-<br />
important, do not give it their best and yet<br />
we propose to reform national education—to<br />
multiply training colleges! It is in vain. You<br />
-cannot multiply wise teachers and simultaneously<br />
despise living literature. It is a kind of stupid<br />
‘hypocrisy. Recruited from the intellectual refuse<br />
.of Europe, the Churches, nominal custodians of<br />
-education, are soulless and decaying. The brains<br />
are out, the man must die. From them we may<br />
-get chicane in Houses of Lords, but we shall not<br />
-get light in the minds of the people. We must<br />
look to Art and Science to bear on the Torches<br />
‘relinquished by Religion. Let us therefore found<br />
this new Society of the Spirit—this new Guild of<br />
‘Literature—to spur and inspirit workers, and to<br />
‘strengthen them by fellowship. But the chief<br />
-yalue of such a Guild would be not so much its<br />
-substantive as its symbolic value.<br />
<br />
HERBERT TRENCH.<br />
<br />
Oi<br />
<br />
AMERICAN NOTES.<br />
<br />
—-—~>+ —<br />
<br />
LTHOUGH at the time we write our infor-<br />
mation is not so complete as to enable us<br />
to give definite figures, everything points<br />
<br />
to the conclusion that the output of books during<br />
‘the fall of 1902 has been almost unprecedented.<br />
“The bulk of this was, of course, made up of new<br />
‘fiction ; but other departments of literature, with<br />
the exception of verse, were not inadequately<br />
‘represented.<br />
<br />
Greater attention than ever has been paid to the<br />
«make-up and illustration of new works. Whether<br />
‘there has been a corresponding advance in the<br />
-quality of the contents may be more open to<br />
- question.<br />
<br />
One thing is noticeable as a sign of the times.<br />
It is this: that the success of a book by a popular<br />
author no longer helps the sale of his previously<br />
‘stocked works to anything like the extent which<br />
it used to do. The American public will have<br />
everything brand-new nowadays.<br />
<br />
As the book of the day, Winston Churchill’s<br />
“Crisis” has been displaced by Owen Wister’s<br />
“The Virginian.” This breezy romance of the<br />
“West, which holds its own against all newcomers,<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
is especially remarkable for its description of the<br />
lynching of the cattle-thieves. The book would<br />
undoubtedly have won its way to popularity on its<br />
own merits; but the dedication to President<br />
Roosevelt, and the curiosity excited by the<br />
allusion to the page which his delicate humanity<br />
caused to be rewritten, probably helped it not a<br />
little.<br />
<br />
One of the most notable productions of the early<br />
autumn was “ New France and New England,” the<br />
last of the late John Fiske’s historical writings.<br />
Unfortunately the author only lived to give final<br />
form to the first two chapters, which deal with the<br />
early history of what is now Canada; the rest<br />
consists of his unrevised lectures worked up by<br />
another hand. The motif of the whole is to show<br />
the effect on the development of New England of<br />
the French conquests and losses on the North<br />
American continent.<br />
<br />
Mr. J. N. Larned, of the Buffalo Public<br />
Library, has, in his “Literature of American<br />
History,” made some attempt at the bibliography<br />
of an enormous subject. Although his biblio-<br />
graphical guide gives an annotated list of four<br />
thousand titles, and is brought down to the year<br />
1900, one is not surprised to discover that it is by<br />
no means exhaustive.<br />
<br />
Meanwhile President Woodrow Wilson, of<br />
Princeton, has just finished for Harper and<br />
Brothers his “ History of the American People,”<br />
which is contained in five volumes, and comes<br />
down to the accession of Mr. Roosevelt. It is<br />
being offered on the monthly instalment system,<br />
the total sum to be paid amounting to twenty-five<br />
dollars. It is a great achievement.<br />
<br />
A work of still greater magnitude is “ The New<br />
International Encyclopedia,” published by Messrs.<br />
Dodd, Mead & Co., and edited by Dr. Daniel Coit<br />
Gilman, Dr. Harry Thurston Peck, and Dr. Frank<br />
Moore Colby. An especial feature is the substitution<br />
for the signed article of most European encyclo-<br />
pedias of contributions supplied originally by<br />
experts, but modified by the criticism of others,<br />
and finally issued by the editors in a form which is<br />
judged to combine the virtues of original individual<br />
research and those of co-operative criticism. This<br />
is a highly-interesting departure, and can hardly<br />
fail to work well in its application to scientific<br />
matters, whatever may be its weak points when<br />
employed in departments where the personal<br />
equation has a more legitimate field of action. A<br />
great effort has also been made to get rid of the<br />
traditional encyclopedic style, and thus to present<br />
in the attractive manner of Larousse matter which<br />
has been prepared on lines suggested by a study of<br />
the best German methods.<br />
<br />
The same publishers have issued a kind of<br />
poetical epitome of the world’s history under the<br />
<br />
<br />
<br />
<br />
3<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
title of ‘Every Day in the Year.” This compilation,<br />
the work of James L. Ford and Mary K. Ford,<br />
contains some eight hundred English poems com-<br />
memorative of great historical events.<br />
<br />
Anyone who is desirous of studying the making<br />
of the American army officer should read Mr. Hu.<br />
Irving Hancock’s ‘“ Life at West Point,” which is<br />
the work of a thoroughly competent observer.<br />
<br />
Those whose interests lie in the direction of the<br />
religious world will find much that is worthy of<br />
notice in Dr. Cuyler’s “ Recollections of a Long<br />
Life.’ While far from strong on the literary side,<br />
the book contains records of the writer’s acquaint-<br />
ance, not ouly with preachers and divines such as<br />
Spurgeon, Dean Stanley, and Henry Ward Beecher,<br />
but also with poets of the rank of Wordsworth and<br />
Whittier, and statesmen like Lincoln.<br />
<br />
Another biographical work which should not be<br />
passed by is the “ Men and Memories ” of the late<br />
John Russell Young, editor of the New York<br />
Tribune, which his widow has seen through the<br />
press. In the course of a public life of nearly half<br />
a century, Young came into contact with such<br />
diverse celebrities as President Lincoln, Horace<br />
Greeley, Henry George, Charles Dickens, and Walt<br />
Whitman, so that his recollections can hardly fail<br />
to be worth glancing at.<br />
<br />
Mr. Charles E. Benton, in the personal experiences<br />
of the Civil War, which Messrs. Putnam have<br />
published under the title, “As Seen from the<br />
Ranks,” contests Stephen C rane’s views as to the<br />
state of mind produced by warfare on the mind of<br />
the combatants. He himself was a member of a<br />
regimental band, but was often under fire when<br />
called upon, in the usual course, to do hospital<br />
duty.<br />
<br />
The numerous lives of Edgar Allan Poe have now<br />
been followed by an elaborate edition in seventeen<br />
volumes of his complete works, edited by Professor<br />
James A. Harrison. Besides the inevitable fresh<br />
life, there are some new letters. First editions of<br />
the most imaginative of American wrilers have<br />
realised fabulous prices of late years.<br />
<br />
An unpublished essay of Thoreau has been<br />
unearthed by Mr. F. B. Sanborn and printed by<br />
Goodspeed, of Boston. It is entitled, “The Service.”<br />
An ardently enthusiastic biographical study, “ The<br />
Hermit of Walden,” has come from the pen of<br />
Annie Russell Marble. :<br />
<br />
Among recent biographies of other American<br />
classical writers there is Professor Woodberry’s<br />
“Hawthorne,” showing the author of “The Scarlet<br />
Letter” “ shaking the dust of his native place from<br />
his feet, and frankly taking upon himself the<br />
character of the unappreciated genius”; and Colonel<br />
Higginson’s “ Longfellow,” yielding some new light<br />
upon the poet’s early married life and his career<br />
as Harvard professor.<br />
<br />
105:<br />
<br />
Before giving our readers a few jottings upon<br />
the latest luminaries In the sky of fiction, we would<br />
mention in passing one little volume that stands out<br />
from among the not too interesting mass of Christ-<br />
mas publications. It is “The Book of Joyous<br />
Children,” by James Whitcomb Riley. The veteran:<br />
verse writer 1s, we may add, well supported by his.<br />
illustrator, J. W. Vawter. There is plenty of fun<br />
and even a little poetry in the somewhat fancifully-<br />
named gift-book. ;<br />
<br />
Mr. Thomas Bailey Aldrich has brought out an<br />
appendix to his complete works in the form of a.<br />
volume of short stories entitled, “‘ A Sea Turn and<br />
Other Matters.”<br />
<br />
The latest work of that popular favourite,.<br />
Augusta Evans Wilson, “ ‘The Speckled Bird,”’<br />
has been productive of a somewhat sensational<br />
literary incident. Nettled at some not over-<br />
kind, but so far as we can judge perfectly<br />
bond fide, criticism in The Bookman, the novelist<br />
sent the editor of the offending paper a reply in)<br />
the form of a fable. This the editor decided to<br />
print in parallel columns with the reprinted.<br />
review ; and we think that the impartial reader<br />
will decide that he was not ill-advised in doing s0,.<br />
for the errors of taste into which the injured<br />
vanity of the author has betrayed her far exceed<br />
any surplus captiousness with which the critic—<br />
she, too, a fair one—may be justly charged. The<br />
curious may be referred to the November number-<br />
of the periodical above-mentioned.<br />
<br />
Mr. Richard Harding Davis has probably<br />
added to his reputation by his new novel, “Cap--<br />
tain Macklin”: and the same may be said of Sir<br />
Gilbert Parker’s “ Donovan Pasha.” George Barr<br />
McCutcheon’s second venture, “ Castle Craney-<br />
croft,” is thought by his admirers to be as full of”<br />
exciting incident as was “ Graustark,” his first-<br />
born. One of them has christened it “ Around the<br />
World in Eighty Chapters” ; but the castle itself<br />
was, we learn, situated in Luxembourg.<br />
<br />
One of the great hits of the season has been<br />
Mr. F. Hopkinson Smith’s “ Fortunes of Oliver:<br />
Horn,” a romance of the south and of artistic life<br />
in the New York of the fifties.<br />
<br />
George Horton’s “ The Long Straight Road ” is<br />
of the realistic school, a story of every day family<br />
life in Chicago. It is distinctly to be commended, .<br />
if only on account of its treatment of the child<br />
element. The short stories of Will Payne range<br />
round the same region ; but “On Fortune’s Road”<br />
is nothing if not humorous.<br />
<br />
The author of “ Uncle Remus” has written a.<br />
very readable complete story, which compares very<br />
favourably with the latest efforts of certain other:<br />
veterans. ‘Gabriel Tolliver” is the name of his<br />
southern reconstruction tale. Mr. Marion Crawford<br />
has added another item to his long list. The scene:<br />
<br />
<br />
106.<br />
<br />
of his “ Cecilia” is modern Rome, and the treat-<br />
ment is such as we are accustomed to expect from<br />
this novelist. ' :<br />
<br />
Perhaps the best piece of fiction produced in<br />
America during the present season is Newton Booth<br />
Tarkington’s “The Two Vanrevels.” It is a tale of<br />
Indiana in the days of President Polk ; love and<br />
politics are the main themes. To say that the<br />
characterisation shows a distinct advance upon that<br />
of “Monsieur Beaucaire ” would be awarding it but<br />
faint praise in comparison with its merits. Mr.<br />
Tarkington has been much quizzed in some<br />
quarters for the modesty of his proposal that<br />
the Indiana Legislature should endeavour to pro-<br />
mote literature by an annual offer of 500 dollars in<br />
prizes. :<br />
<br />
In conclusion, we must not omit to mention the<br />
swansongs of Paul Leicester Ford (‘ Wanted, a<br />
Chaperon”) and Bret Harte. “The Condensed<br />
Novels ” of the latter master of parody are worthy<br />
to rank with Thackeray’s “Novels by Eminent<br />
Hands,” and will doubtless afford much enjoyment<br />
to their subjects.<br />
<br />
The chief names in our obituary list are those of<br />
Edward Eggleston and Frank Norris. The former<br />
will be remembered not less by his successful<br />
exertions in the cause of international copyright<br />
than by his Hoosier Stories and historical works.<br />
The latter was looked upon by many good judges<br />
as likely to become the best American novelist of<br />
his generation. His first work, “ M’Teague,” was<br />
striking, but unpleasant. For ‘‘ The Octopus,” no<br />
one had anything but high praise. It was the<br />
first of a projected trilogy of wheat, the second<br />
part of which will appear early next year as “ The<br />
Pit.” The concluding portion had not got beyond<br />
its title, “The Wolf,” when the young author died<br />
at San Francisco at the early age of thirty-two, a<br />
victim to appendicitis. Before “ commencing<br />
novelist” he had been to South Africa and China<br />
as special correspondent.<br />
<br />
To the names of Eggleston and Norris we have<br />
to add those of Major J. W. Powell, sometime<br />
president of the Washington Anthropological<br />
Society and of the American Association for the<br />
Advancement of Science, and at his death Director<br />
of the Bureau of American Ethnology and editor<br />
of more than one scientific journal; and of William<br />
Allen Butler, author of “Nothing to Wear” and<br />
“Flora McFlimsey of Madison Square,” poems<br />
that once had as much vogue as Bailey’s “ Festus,”<br />
and whose names are even now by no means<br />
forgotten.<br />
<br />
THE AUTHOR.<br />
<br />
THE NOBEL PRIZES.<br />
<br />
Oe<br />
<br />
CCORDING to a telegram from Stockholm,<br />
this year’s Nobel prizes have been awarded<br />
as follows.<br />
<br />
Literature, Professor Theodor Mommsen, of<br />
Berlin.<br />
<br />
Peace, Professor Friedrich Martens, Pro-<br />
fessor of International Law in St. Petersburg.<br />
<br />
Medicine, Major Ronald Ross, of the School of<br />
Tropical Medicine, Liverpool.<br />
<br />
Chemistry, Professor Emil Fischer, of Berlin.<br />
<br />
Physics, divided between Professors Lorenz and<br />
Zeemann, of Holland.<br />
<br />
All the gentleman named are authors.<br />
<br />
They have all written books dealing with the<br />
subjects to which they have devoted their lives.<br />
In fact it is almost impossible nowadays that any<br />
man could spend his life on a matter of research<br />
for the benetit of all humanity without at one time<br />
or another committing himself to a book.<br />
<br />
Of all the awards, that to Professor Theodor<br />
Mommeen will interest members of the Society<br />
most. Many will remember his Roman History<br />
as the bugbear of their school and college days,<br />
and perhaps from the standpoint of the schoolboy<br />
or the undergraduate will be ready to join issue<br />
with the Swedish Academy on their award.<br />
<br />
Several candidates were mentioned as probable<br />
recipients of the prize. It is evident in the<br />
selection of Professor Mommsen that the members<br />
of the Academy are giving a wide and generous<br />
interpretation to the letter of the document that<br />
limits their choice.<br />
<br />
Professor Mommsen was born on the 30th of<br />
November, 1817. He is now, therefore, eighty-five<br />
years of age. He was educated in the Gymnasium<br />
at Altona, and graduated at the University of Kiel.<br />
It is curious that a man who has spent his life in<br />
the dry research incidental to the writing of<br />
history should have commenced authorship by<br />
publishing a book of poetry. This, however, is the<br />
case ; the work was issued under the authorship of<br />
himself and his brother, Tycho Mommsen, in 1839.<br />
In 1848 he obtained a grant from the Government<br />
of Denmark, which enabled him to make a journey<br />
into Italy, and this, no doubt, was the turning<br />
point in his career. From that moment he began<br />
his wonderful study of the History of Rome, and<br />
the many subjects connected with such a labour.<br />
It is on his work as a Roman Historian that his<br />
world-wide reputation is based.<br />
<br />
Between 1854 and 1856 he published three<br />
volumes of his history, and at once became famous.<br />
It was not so much the great learning and exhaus-<br />
tive study shown in the volumes which forced<br />
the attention of everyone to his work as the<br />
<br />
<br />
<br />
<br />
<br />
aS —a<br />
<br />
<br />
<br />
<br />
<br />
<br />
if<br />
g<br />
a<br />
ie<br />
¥<br />
5<br />
<br />
'<br />
[<br />
eek<br />
<br />
<br />
<br />
- characters of those mighty men of old.<br />
<br />
THE AUTHOR.<br />
<br />
insight into the life and character of the nation<br />
about whom he wrote and his new reading of the<br />
All<br />
applauded his methods, though they did not neces-<br />
sarily approve his deductions.<br />
<br />
One remembers his panegyric<br />
Augustus.<br />
<br />
Again, Cicero, whom it is customary to look<br />
upon as one of the most important men of letters<br />
and the greatest advocate of his times, Mommsen<br />
wrote down as a mere journalist, and Pompey he<br />
despised as little more than a recruiting sergeant.<br />
<br />
After the production of the three volumes, he<br />
for many years spent his time in studying the old<br />
Roman inscriptions, and produced in 1861 the first<br />
issue of the “Corpus Inscriptionum,” which was<br />
afterwards followed by sixteen other volumes. No<br />
man living has ever had such an insight into<br />
Roman life, Roman learning, and Roman law.<br />
There is no one who can rival his knowledge on<br />
any of these subjects. Though he never actually<br />
completed his History (it brought him to<br />
the fall of the Republic), he has written so many<br />
papers and collected so much knowledge that he<br />
has provided others with the requisite material.<br />
Everyone who has made careful study of his work<br />
will agree that he is a worthy recipient of the<br />
honour that has been conferred upon him.<br />
<br />
of Cesar<br />
<br />
THE REY. JOSEPH PARKER, D.D.<br />
<br />
<br />
<br />
Y the death of Dr. Parker London has lost<br />
<br />
a great personality and a powerful orator.<br />
<br />
The Society has lost a member who<br />
<br />
since 1890 has been a constant supporter of its<br />
aims and objects.<br />
<br />
He was born on the 9th of April, 1830, at<br />
Hexham-on-Tyne, and privately educated at<br />
University College, London. He began his<br />
career as a Minister at Banbury, Oxford, in<br />
1869. Over thirty years ago he came to the<br />
City Temple, London.<br />
<br />
He was not a great author, or an author of<br />
many works; but from those he wrote and<br />
ublished it was clear that he was a man of<br />
large mind and generous spirit. His work, the<br />
“Pulpit Bible,” has been of great use to all<br />
Christian preachers of whatever denomination,<br />
but it is not as an author that Dr. Parker will<br />
be remembered. It is as preacher and as auto-<br />
erat of the City Temple.<br />
<br />
——_———_———__+——— —____——_-<br />
<br />
107<br />
CORRESPONDENCE.<br />
<br />
——<br />
BOOK DISTRIBUTION.<br />
<br />
Srr,— Would it not be possible to extend more<br />
generally the privilege accorded to the large buyers<br />
of books, of inspection before purchase? There<br />
must be a large public who would increase their<br />
purchases if their opportunities of selection were<br />
enlarged.<br />
<br />
For example :—Acting upon the only evidence<br />
obtainable—the title, the name of author and<br />
publisher, the reviews that happen to come my<br />
way—l order a certain book. On its arrival I see<br />
at the first glance it is not what I expected, or<br />
what I want. I would willingly, there and then,<br />
accept a small fraction of the price of the book, to<br />
be rid of it. It isnot only the wasted money, but<br />
the space on the shelves filled by these undesirables,<br />
that makes book buying so unpopular.<br />
<br />
Again, if I want to inspect the recent books<br />
upon a given subject, or to choose the most<br />
attractive edition of a certain classic, I must<br />
conduct the search myself in the British Museum.<br />
<br />
Surely it would pay the book purveyor to assist<br />
the possible buyer, to help him to keep out of his<br />
house the undesired books, and to discover for him<br />
the desired books ; to encourage him in the forma-<br />
tion of a library of works selected and approved<br />
by himself. One of the chief factors in the success<br />
of the circulating library is the opening of a large<br />
book area to inspection ; only a few of the books<br />
received are selected for reading ; and there is no<br />
accumulation of printed matter in the house.<br />
<br />
It should be the aim of the publisher to convert<br />
the reader from a borrower to a purchaser, by<br />
giving him opportunities for inspection with a<br />
view to purchase. All recent books, and all older<br />
designated books, might be collected in a shop, a<br />
fee being charged for examination. Books might<br />
also be brought to the reader’s door, or sent him<br />
by post, either for an inspection fee, or for a fixed<br />
proportion of the price of each book returned.<br />
<br />
It is the present surprise-packet system, with<br />
its inevitable disappointments to the purchaser,<br />
that stops business.<br />
<br />
Norwoop Youne.<br />
<br />
— 11 —_<br />
<br />
MODERN LITERATURE,<br />
<br />
Sir,—It cannot be denied that the opponents<br />
of Sir E. Clarke’s theory regarding the degeneracy<br />
of modern English literature have certain case<br />
to argue. It is true that in the beginning of the<br />
Victorian era, there was an inequality of workman-<br />
ship which would not have been possible at its<br />
close; and a somewhat indiscriminating public<br />
<br />
<br />
108<br />
<br />
judgment passed this by with too much indulgence.<br />
This will account for the success of Sam Warren<br />
and Harrison Ainsworth, for the temporary popu-<br />
larity of Tupper and the too high estimate of<br />
Edgar Allan Poe. On the other hand, these<br />
opponents may point to such writers as Hardy and<br />
Blackmore, Swinburne, Meredith, and Kipling, as<br />
instances of good taste on the part of the more<br />
recent public which has duly appreciated these<br />
writers. But it will be noticed that their work is<br />
more or less of the kind technically known as<br />
“light.” Their works are not so likely to endure<br />
as classics as those of the earlier writers who<br />
undertook to convey to mankind intimations of<br />
greater moment. Amongst those will be remem-<br />
bered not only the names of Carlyle, and Newman,<br />
and Ruskin, but also of Emerson and Lowell; these<br />
latter, though Americans, “‘ spoke their American<br />
with a strong British accent,” and have been fully<br />
welcomed as English writers. Such literary work<br />
is perhaps hardly to be expected in the present<br />
conditions of our race. Decadent Latin nations<br />
are undeveloped ; peoples in the more Eastern<br />
regions may produce great craftsmen in arts and<br />
letters; but the eutonic races are otherwise<br />
engaged. ‘Their invention is shown in adminis-<br />
trative problems or in labour-saving machinery ;<br />
their eloquence is reserved for diplomatic dis-<br />
patches and political harangues. ‘To races so<br />
occupied the Muses are compelled to descend from<br />
Parnassus and content themselves with the<br />
humbler office as instruments for man’s occasional<br />
recreation.<br />
H. G. KEENE.<br />
<br />
THE CRITIC.<br />
<br />
Srr,—In glancing through the columns of the<br />
Morning Post the other day (8th December, 1902,<br />
p. 6) I came across a brief notice of a new number<br />
of the Pilot, a periodical which I understand has<br />
recently died and come to life again, and the fol-<br />
lowing passages in the review in question attracted<br />
my attention. ‘Lovers of good English and<br />
sound sense will welcome the reappearance of the<br />
Pilot. ... In glancing through the pages, how-<br />
ever, we have found the word ‘ relation’ standing<br />
in one case at least, and, so far as we can see, in<br />
the second also, for ‘relative.’ There is no reason<br />
why we should meet with this mode of speech in a<br />
journal like the Pilot.”<br />
<br />
Now, I should have thought (I have no privilege<br />
to weight my humble opinions with an editorial<br />
“we ”) that there was no reason why the critic of<br />
the Morning Post should not have been a little<br />
more explicit in his fault-finding, so as to mete out<br />
instruction to the ignorant in general as well as<br />
<br />
THE AUTHOR.<br />
<br />
blame in particular to the illiterate contributor to<br />
the Pilot. The question which the casual reader<br />
of such a criticism as this has to ask himself is,<br />
“In what possible meaning, out of many which it-<br />
is entitled to bear, can ‘relation’ be made to stand,<br />
improperly, for ‘ relative’?”’ To read through the<br />
Pilot is a possible course open to me which would<br />
perhaps supply the information, but it is one to<br />
which, perhaps owing to inherent laziness, I decline-<br />
to resort. ‘I'o some extent, however, I object to<br />
doing so, on principle, as I contend that the critic<br />
who apparently makes a charge against another<br />
writer of using bad English should do so clearly,<br />
so that those who read may understand the precise<br />
accusation brought. The obvious common mean-<br />
ing of “relation” and “relative” is that of<br />
“kinsman.” Does the writer in the Jorning<br />
Post refer to this? I am an old-fashioned person<br />
myself, so that Dr. Johnson, and the authorities.<br />
which he cites, together with what I believe to be<br />
universal usage, are good enough for me. There<br />
may possibly be some new fad as to the usage of<br />
“relation” and “relative” as synonyms for “ kins-<br />
man,” which everybody who knows anything ought<br />
to know, but with which I am unfortunately not.<br />
acquainted. Does the editor of the Morning Post,<br />
as the word “we” would suggest, endorse the<br />
views of his critic; and, if so, does he forbid “ rela-<br />
tion” as a synonym for “relative” in all the columns<br />
under his august control? Of course, I may be<br />
making an altogether absurd suggestion in even<br />
hinting that this could be the meaning of the<br />
criticism of the Pilot’s English. In that case I<br />
can only repeat what I have said before, that the<br />
charge of using bad English should have been<br />
made in terms to be understood by the ordinary<br />
reader of the daily newspaper in question or else<br />
not made at all. An accused person and the jury<br />
who are to try him have the right to know exactly<br />
what the charge is that is brought against him.<br />
<br />
EL A. AC<br />
<br />
AN AMERICAN EXPERIENCE.<br />
<br />
Dear Srr,—I beg to warn music critics against<br />
contributing to the Concert Goer, New York.<br />
That estimable organ, after duly appointing me its<br />
London correspondent, published articles written by<br />
a person whose opinions and methods of expressing’<br />
himself are not the same as mine, signing them.<br />
with my name.<br />
<br />
A London correspondent is, I understand, again,<br />
required by the Concert Goer, of New York.<br />
<br />
GEORGE CECIL.<br />
November 18th.<br />
<br />
BREINER<br />
<br />
Se<br />
uk. | https://historysoa.com/files/original/5/479/1903-01-01-The-Author-13-4.pdf | publications, The Author |
480 | https://historysoa.com/items/show/480 | The Author, Vol. 13 Issue 05 (February 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+05+%28February+1903%29"><em>The Author</em>, Vol. 13 Issue 05 (February 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-02-01-The-Author-13-5 | | | | | 109–132 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-02-01">1903-02-01</a> | | | | | | | 5 | | | 19030201 | Che Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
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It will be sold to the members of the Society<br />
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THe investments of the Pension Fund at<br />
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mittee has been very successful.<br />
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The list of subscriptions and donations promised<br />
and given is set forth below. Further subscrip-<br />
tions and donations will be acknowledged as they<br />
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oo<br />
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&<br />
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”<br />
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So<br />
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ok<br />
mba OOF oe<br />
oS co<br />
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<br />
110<br />
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<br />
”<br />
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oe)<br />
”<br />
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2.<br />
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OR OF © or<br />
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wpoanoournrnrnooH hn<br />
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MOANA OMNS<br />
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CLOUD OO CLOW Ot OL OU OU<br />
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Sir<br />
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<br />
><br />
<br />
<br />
<br />
THE AUTHOR. 11<br />
Jan. 6, Gribble, Francis. : 010 O FROM THE COMMITTEE.<br />
Jan. 13, Boddington, Miss Helen . 010 6 (eee<br />
Jan. 17, White, Mrs. Wollaston lot 0<br />
» Miller, Miss BE. T. . Oo 5 40 a first committee meeting of the year was<br />
Jan. 19, Kemp, Miss Geraldine 0-10 6 held at the offices of the Society on January<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rey. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
SPECIAL CONDITIONAL SUBSCRIPTIONS.<br />
<br />
Mr. Hamilton Drummond, who is a member of<br />
our Society, has offered a subscription of £10 for<br />
five years, if nine other members of the Society<br />
will promise the same contribution before 31st<br />
March, 1903.<br />
<br />
We sincerely hope that sufficient members of<br />
the Society will be found to come forward and<br />
meet Mr. Drummond’s generous offer, and that<br />
before the time expires we may be able to print in<br />
the columns of Zhe Author the full list of ten<br />
subscribers of the required amount.<br />
<br />
Subscriptions.<br />
Hawkins, A. Hope. : : -£10 0 0<br />
Barrie, J. M.. : : : - 102:0:.0<br />
Drummond, Hamilton ; : ~ 10. 0.0<br />
Wynne, Charles Whitworth : = 10.0 0<br />
Gilbert, W.S. . ‘ : : - £02 0 0<br />
—_+—+—<br />
<br />
Sir Walter Besant Memorial Fund.<br />
<br />
THE amount standing to the credit<br />
of this account in the Bank is......... £330 38 6<br />
<br />
There are a few promised subscriptions still<br />
outstanding. The total of these is, roughly,<br />
about £4. Thesubscriptions received from July 1st<br />
to the date of issue are given below :—<br />
<br />
Patterson, A. . : : : Sl 1 20<br />
Salwey, Reginald E. ; : j 010 0<br />
Gidley, Miss E. C. 010 0<br />
Nixon, Prof. J. E. 0 7 6<br />
Dill, Miss Bessie 0 5.0<br />
Moore, Henry Charles 0 5 0<br />
Kemp, Miss Geraldine 010 6<br />
Clarke, Miss B. 0 5 0<br />
<br />
12th. The Committee had the pleasure of<br />
electing thirty-one members. They consider this<br />
a very satisfactory and encouraging sign of the<br />
continuance of the Society’s prosperity. The names<br />
are set out on another page, except in cases where<br />
a member expresses any special reason to the<br />
contrary.<br />
<br />
Mr. Edward Rose and Mr. A. W. A Beckett<br />
have been re-elected to the Committee, and Sir<br />
Henry Bergne, K.C.M.G., C.B., has been elected<br />
to fill the place made vacant by the resignation of<br />
Mr. Henry Norman. Mr. Norman resigned from<br />
the Committee owing to pressure of work, and<br />
his inability to give his constant attention to the<br />
weighty affairs of the Society. He has, however,<br />
consented to give whatever aid he can in his<br />
position as a member of Parliament, and still<br />
retains his position on the Council. If the Copy-<br />
right Law should again come before the House of<br />
Commons, the Committee will be glad to avail<br />
themselves of his valuable assistance.<br />
<br />
Sir Henry Bergne, as all members of the Society<br />
know, was the representative of England at the<br />
Berne Convention, and again at the Paris Con-<br />
vention of 1896. He is one of the chief authorities<br />
on copyright in England. It is impossible to<br />
over-estimate the help he will be able to render to<br />
the Committee.<br />
<br />
It was decided, at the suggestion of Mr. Frampton<br />
and the architects of St. Paul’s Cathedral, that the<br />
Besant medallion should be set up in bronze, and<br />
not in marble as at first suggested.<br />
<br />
Three cases were under discussion at the<br />
meeting.<br />
<br />
After going carefully through the papers and<br />
with the advice of the solicitors of the Society, it<br />
was decided to take up one, on behalf of the<br />
member, should the matter come to an issue.<br />
<br />
The Committee regretted that they could not<br />
give their support to the other two.<br />
<br />
—_1+—<— —_<br />
<br />
Elections, January 12th, 1903.<br />
<br />
The following members and associates were<br />
elected on January 12th, 1903.<br />
<br />
Bedford, Miss Jessie Red House, South-<br />
bourne, Hants.<br />
<br />
Silkstone Vicarage,<br />
Barnsley.<br />
<br />
Maynard Lodge, Upper-<br />
ton Road, Hast-<br />
bourne.<br />
<br />
Bellamy, Rev. R. L.<br />
<br />
Blunt, Norman<br />
112<br />
<br />
Browne, Tom.<br />
<br />
Bulkeley-Johnson,<br />
(*« Adoc ’’)<br />
<br />
“ Carlton Carlisle”? .<br />
<br />
Chartres, Anita Vivanti .<br />
<br />
Cobbett, Miss Alice M.<br />
<br />
Dealtry, Mrs.B. (‘‘ Clarice<br />
<br />
Danvers ””)<br />
<br />
Dewhurst,<br />
R.B.A.<br />
Fleet, J. Faithful .<br />
<br />
Gaye, Wilfrid.<br />
Geere, H. Valentine<br />
<br />
Hailett, Col. W. Hughes<br />
<br />
(«W. H. H.”)<br />
<br />
Howatson, Miss Nettie .<br />
<br />
Hutchins, Miss L.<br />
Jesse, W.<br />
<br />
Kingsley, Miss<br />
<br />
Lucas, St. John W. L.<br />
Mackenzie, H.<br />
<br />
Milecete, Helen (Mrs.)<br />
Montgomery, K. L.<br />
<br />
Perrin, A.<br />
<br />
Roe, Mrs.<br />
(“ George Wemyss ”)<br />
<br />
Sherrington, Charles 8.<br />
<br />
“ Stephen Langton ”’<br />
Tonier, Theodore<br />
<br />
White, Caroline (Mrs.) .<br />
<br />
Miss<br />
<br />
Wynford,<br />
<br />
Richard<br />
<br />
THE AUTHOR.<br />
<br />
“ Wollatton,’ Hardy<br />
Road, Blackheath,<br />
S.E.<br />
<br />
1, St. George’s Ter-<br />
race, Brighton.<br />
<br />
c/o T. Cook and Sons,<br />
Ludgate Circus.<br />
<br />
Hansler House, Lewes,<br />
Sussex.<br />
<br />
56, Bedford Court<br />
Mansions, W.<br />
<br />
Chelmscott, Leighton<br />
Buzzard.<br />
<br />
79, Eaton Rise, EHal-<br />
ing, W.<br />
<br />
122, Hill Lane, South-<br />
ampton.<br />
<br />
2, St. Leonards Road,<br />
Ealing, W.<br />
<br />
The Cottage, Fala,<br />
Carnwath, Lanark-<br />
shire.<br />
<br />
48, Holland Street,<br />
Kensington, W.<br />
<br />
La Martiniére College,<br />
Lucknow, India.<br />
<br />
Keys, Eversley, Winch-<br />
field.<br />
<br />
25, Langham Mansions,<br />
<br />
Earls Court Square,<br />
S.W.<br />
<br />
1, Henrietta Place,<br />
Dalkey, Co. Dublin.<br />
<br />
5, Hereford Square,<br />
S.W.<br />
<br />
Crane House, Twicken-<br />
ham.<br />
<br />
16, Grove Park, Liver-<br />
pool.<br />
<br />
65, May Square, Kew,<br />
Victoria, Melbourne,<br />
Australia.<br />
<br />
Bedford Lodge, Whyte-<br />
leafe, Surrey.<br />
<br />
One member alone does not desire publication.<br />
<br />
$$ —_—_<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
——<br />
<br />
R. OSCAR BROWNING has written im-<br />
<br />
pressions of the visit he paid to Lord<br />
<br />
Curzon in India, in the form of “ Letters<br />
<br />
from India,” which are now appearing in King<br />
<br />
and Country. Mr. Browning is also engaged on<br />
<br />
a history of the youth of Napoleon I., from his<br />
<br />
birth to the siege of Toulon, a very interesting<br />
and little known period of his life.<br />
<br />
Mr. Arthur W. Marchmont’s next book, “ By<br />
Snare of Love,” is to be serialised in the Hnglish<br />
Tilustrated Magazine, and is to start in the April<br />
number. Arrangements are in course for its serial<br />
appearance in the United States simultaneously.<br />
It will be published in volume form on this side by<br />
Messrs. Ward, Lock & Co. when the serial has run<br />
its course, and in America by a firm who have<br />
issued several of Mr. Marchmont’s previous works<br />
there. “ By Snare of Love” is a novel of adventure,<br />
the scene being laid in Turkey.<br />
<br />
Mr. Thomas Cobb’s new 6s. novel, “The Intri-<br />
guer,” is to be published this month by Mr.<br />
Eveleigh Nash. Another novel of his, “The<br />
Composite Lady,” will be issued sometime in July<br />
by Messrs. Chapman and Hall. Besides placing<br />
eight or ten short stories with various magazines,<br />
Mr. Cobb has just finished a story for Methuen’s<br />
Children’s Series. It is called “The Lost Ball.”<br />
<br />
Messrs. Methuen have brought out a fresh<br />
Indian story by Mrs. F. Penny, called “ A Mixed<br />
Marriage.” It deals with the love affairs of a<br />
Mohammedan noble and an English lady ; showing<br />
that tragedies as well as comedies take place behind<br />
the jealously guarded purdah of the harém, and<br />
that the course of true love does not run any<br />
smoother in the East than in the West.<br />
<br />
“The Little Colonel,” by Mina Doyle (Mrs. C.<br />
W. Young), authoress of “ On Parole,” etc., is just<br />
out. The characters in “The Little Colonel” are<br />
interesting, and most of them are lovable. For<br />
many readers the chief interest of the story will<br />
probably centre in the picture of Rottingdean—<br />
called Cliffdean in the book.<br />
<br />
Messrs. Macmillan have recently issued a trans-<br />
lation from the French of M. Ostrogorski’s work,<br />
“Democracy and the Organisation of Political<br />
Parties.” ‘To the translation by Mr. Frederick<br />
Clarke a preface is prefixed by the Right Hon.<br />
James Bryce, which emphasises the importance<br />
and unique character of this study of the modern<br />
party system—the organisation of political forces<br />
which exists apart from recognised political<br />
institutions.<br />
<br />
Mr. John Davidson’s new comedy, “ The Knight<br />
of the Maypole,” consists of four acts in prose and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 113<br />
<br />
in verse. Ina prefatory note Mr. Davidson says :<br />
“This play was written in 1900, and after various<br />
adventures is now published—twenty-five years<br />
having come and gone since in ‘An Unhistorical<br />
Pastoral’ I first wrote of the Maypole.”<br />
<br />
We quote the following verses from Mr. Rowland<br />
Hill’s “Songs in Solitude and Photographs in<br />
Verse,” recently issued by Messrs. Simpkin<br />
Marshall :—<br />
<br />
THE LIBRARIAN.<br />
“The volumes ranged about his room<br />
Retain the mighty thoughts of man<br />
<br />
Compressed as in a little tomb :<br />
He clasps a life-work in his span.<br />
<br />
“One wall holds many nations’ brains :<br />
The poets grouped fill up a shelf :<br />
A folio Shakespeare’s soul contains :<br />
The Bible takes an inch itself.<br />
<br />
‘He gropes among illustrious minds<br />
On great deeds brooding of the dead :<br />
Then lonely lifts aside the blinds,<br />
And views the vast stars overhead.”<br />
<br />
In the Hampstead Annual just published (2s. 6d.<br />
nett), there is a delightful, personal, and critical<br />
paper by Mr. Sidney Colvin on “ Robert Louis<br />
Stevenson at Hampstead.” In June, 1874, Steven-<br />
son and Mr. Colvin occupied jointly for awhile a<br />
set of lodgings in Abernethy House at the corner<br />
of Mount Vernon and Holly Place. “Stevenson,”<br />
Mr. Colvin tells us, ‘was then in his twenty-fourth<br />
year, in the full glow—a glow that mounted some-<br />
times near fever heat—of his brilliant and unquiet<br />
youth.” It was at this time R. L. S. was elected<br />
to the Savile Club.<br />
<br />
Mr. Colvin’s time and strength are almost<br />
wholly taken up with official work ; but we are<br />
glad to know, that sooner or later, he means to<br />
give us the book on Stevenson—critical and<br />
personal-—-which he has had in his mind, and<br />
partly on the stocks, for a long time. Certainly it<br />
will be an illuminating book.<br />
<br />
We learn that it is proposed to publish further<br />
translations of the works of Friedrich Nietzsche<br />
as soon as possible. An edition in eleven<br />
volumes—exclusive of the posthumous works—<br />
was projected in 1895 by Messrs. Henry in England<br />
in connection with the Macmillan Company in<br />
America, and arrangements were made for the<br />
translation of the volumes under the editorship of<br />
A. Tille, Ph.D. Only three volumes were issued<br />
however, and the MSS. of five unpublished<br />
volumes—now very carefully revised—are in the<br />
translator’s hands.<br />
<br />
Of Nietzsche’s works still to be published<br />
<br />
(Fisher Unwin), Miss Helen Zimmern is the<br />
able translator of two, viz.:; “ Beyond Good and<br />
<br />
Evil: Prelude to a Philosophy of the Future ;’<br />
and “Human all too Human: A Book for Free<br />
Spirits,” Vol. I. Those who order copies before-<br />
hand will receive them when published at two-<br />
thirds of the nett price, which is 8s. 6d. for the<br />
larger volumes and 7s. for the smaller ones.<br />
Such previous orders should be sent to (1) Miss<br />
Helen Zimmern, Palazzo Acciajuoli, Lung Arno,<br />
Florence; or to (2) William A. Haussmann,<br />
Ph.D., 3,712, Sydenham Street, Philadelphia; or<br />
to (3) Thomas Common, 112, George Street,<br />
Edinburgh.<br />
<br />
There was a painfully interesting article in the<br />
Daily Chronicle of January 17th trom the expert<br />
pen of Mr. Arthur Morrison, entitled “ Winter<br />
and Want: East London in the North-East Wind.”<br />
It was at the office of the Rev. Peter Thompson<br />
(242a, Cable Street, E.), who is administering the<br />
Hast-End Relief Fund, that Mr. Morrison began<br />
his walk, through regions intimately known<br />
to him of old: regions he has so convincingly<br />
described in his “ Tales of Mean Streets ” :—<br />
<br />
“ Those dull little rows of decent houses, every window<br />
making its best show to the world, with its mended curtain,<br />
its poor little wool mat, its barren flower-pot in faded pink<br />
paper. I have watched the tragedy—the slow tragedy, the<br />
tragedy of no stirring action—played out, and now playing<br />
out, behind many of those quiet little windows—played<br />
sometimes to an end too bitter for printed words... . A<br />
general impression is best of multitudes of desperate little<br />
homes, bared of their moveables, and cold in the grate ; each<br />
with a thin-clad father and mother—or perhaps only one<br />
of them—striving to the last to fend away the hour<br />
when nothing shall be left for the mouths of sick and<br />
hungry children; and meanwhile to keep themselves<br />
<br />
‘independent.’ ”<br />
<br />
Mr. E. A. Reynolds-Ball, F.R.G.S., has recently<br />
published a capital little book (E. Marlborough &<br />
Co.), called “ Practical Hints for Travellers in the<br />
Near East.” This companion to the Guide Books<br />
contains just the sort of information the average<br />
traveller needs to know. The Medical Hints<br />
section has been read and approved by a London<br />
medical man of high standing. Mr. Ball’s, “ Cairo<br />
of To-day,” is in a third edition. This, and his<br />
“ Jerusalem,” are issued by A. and C. Black, at<br />
2s. 6d.<br />
<br />
The annual annotated edition of the “Statutes<br />
of Practical Utility,” which is brought out by Mr.<br />
J. M. Lely in continuation of “ Chitty’s Statutes ”<br />
(Sweet and Maxwell, Limited ; Stevens & Sons,<br />
Limited), will appear this year early this month,<br />
containing, amongst other important statutes, the<br />
Education Act, the Licensing Act, and the Cre-<br />
mation Act. There is an “ Additional Note” on<br />
the Education Act, and that Act and the Licens-<br />
ing Act are followed by Board of Education and<br />
Home Office Circulars and Forms respectively.<br />
<br />
<br />
112<br />
<br />
Browne, Tom.<br />
<br />
Bulkeley-Johnson,<br />
(*« Adoc ’’)<br />
“ Carlton Carlisle”.<br />
<br />
Chartres, Anita Vivanti .<br />
<br />
Cobbett, Miss Alice M.<br />
<br />
Dealtry, Mrs.B. (‘ Clarice<br />
<br />
Danvers ’’)<br />
<br />
Dewhurst,<br />
R.B.A.<br />
Fleet, J. Faithful .<br />
<br />
Gaye, Wilfrid .<br />
Geere, H. Valentine<br />
<br />
Hallett, Col. W. Hughes<br />
<br />
(°W. 1. BH.)<br />
Howatson, Miss Nettie<br />
Hutchins, Miss L. .<br />
Jesse, W.<br />
<br />
Kingsley, Miss<br />
Lucas, St. John W. L.<br />
Mackenzie, H.<br />
<br />
Milecete, Helen (Mrs.)<br />
Montgomery, K. L.<br />
<br />
Perrin, A.<br />
<br />
Roe, Mrs.<br />
(“ George Wemyss ”)<br />
<br />
Sherrington, Charles 8.<br />
<br />
“ Stephen Langton ”’<br />
Tonier, Theodore<br />
<br />
White, Caroline (Mrs.) .<br />
<br />
Miss<br />
<br />
Wynford,<br />
<br />
Richard<br />
<br />
THE AUTHOR.<br />
<br />
“ Wollatton,” Hardy<br />
Road, Blackheath,<br />
S.E.<br />
<br />
1, St. George’s Ter-<br />
race, Brighton.<br />
<br />
c/o T. Cook and Sons,<br />
Ludgate Circus.<br />
<br />
Hansler House, Lewes,<br />
Sussex.<br />
<br />
56, Bedford<br />
Mansions, W.<br />
<br />
Chelmscott, Leighton<br />
Buzzard.<br />
<br />
79, Eaton Rise, EHal-<br />
ing, W.<br />
<br />
Court<br />
<br />
122, Hill Lane, South-<br />
ampton.<br />
<br />
2, St. Leonards Road,<br />
Ealing, W.<br />
<br />
The Cottage, Fala,<br />
Carnwath, Lanark-<br />
shire.<br />
<br />
48, Holland Street,<br />
Kensington, W.<br />
<br />
La Martiniére College,<br />
Lucknow, India.<br />
<br />
Keys, Eversley, Winch-<br />
field.<br />
<br />
25, Langham Mansions,<br />
<br />
Earls Court Square,<br />
S.W.<br />
<br />
1, Henrietta Place,<br />
Dalkey, Co. Dublin.<br />
<br />
5, Hereford Square,<br />
S.W.<br />
<br />
Crane House, Twicken-<br />
ham.<br />
<br />
16, Grove Park, Liver-<br />
pool.<br />
<br />
65, May Square, Kew,<br />
Victoria, Melbourne,<br />
Australia.<br />
<br />
Bedford Lodge, Whyte-<br />
leafe, Surrey.<br />
<br />
One member alone does not desire publication.<br />
<br />
——— eS<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—1—<>—+<br />
<br />
R. OSCAR BROWNING has written im-<br />
pressions of the visit he paid to Lord<br />
Curzon in India, in the form of “ Letters<br />
from India,” which are now appearing in King<br />
and Country. Mr. Browning is also engaged on<br />
a history of the youth of Napoleon I., from his —<br />
birth to the siege of Toulon, a very interesting<br />
and little known period of his life.<br />
<br />
Mr. Arthur W. Marchmont’s next book, “By —<br />
Snare of Love,” is to be serialised in the Hnglish<br />
Illustrated Magazine, and is to start in the April<br />
number. Arrangements are in course for its serial<br />
appearance in the United States simultaneously.<br />
It will be published in volume form on this side by<br />
Messrs. Ward, Lock & Co. when the serial has run<br />
its course, and in America by a firm who have<br />
issued several of Mr. Marchmont’s previous works<br />
there. ‘“ By Snare of Love” is a novel of adventure,<br />
the scene being laid in Turkey.<br />
<br />
Mr. Thomas Cobb’s new 6s. novel, “The Intri-<br />
guer,” is to be published this month by Mr.<br />
Eveleigh Nash. Another novel of his, “The<br />
Composite Lady,” will be issued sometime in July<br />
by Messrs. Chapman and Hall. Besides placing<br />
eight or ten short stories with various magazines, —<br />
Mr. Cobb has just finished a story for Methuen’s<br />
Children’s Series. It is called ‘The Lost Ball.”<br />
<br />
Messrs. Methuen have brought out a fresh<br />
Indian story by Mrs. F. Penny, called “ A Mixed<br />
Marriage.” It deals with the love affairs of a<br />
Mohammedan noble and an English lady ; showing<br />
that tragedies as well as comedies take place behind<br />
the jealously guarded purdah of the harém, and<br />
that the course of true love does not run any<br />
smoother in the East than in the West.<br />
<br />
“The Little Colonel,’ by Mina Doyle (Mrs. C.<br />
W. Young), authoress of “ On Parole,” etc., is just<br />
out. The characters in “The Little Colonel” are<br />
interesting, and most of them are lovable. For<br />
many readers the chief interest of the story will<br />
probably centre in the picture of Rottingdean— —<br />
called Cliffdean in the book.<br />
<br />
Messrs. Macmillan have recently issued a trans-<br />
lation from the French of M. Ostrogorski’s work,<br />
“Democracy and the Organisation of Political<br />
Parties.” To the translation by Mr. Frederick<br />
Clarke a preface is prefixed by the Right Hon.<br />
James Bryce, which emphasises the importance<br />
and unique character of this study of the modern<br />
party system—the organisation of political forees<br />
which exists apart from recognised political<br />
institutions.<br />
<br />
Mr. John Davidson’s new comedy, ‘‘ The Knight —<br />
of the Maypole,” consists of four acts in prose and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 113<br />
<br />
in verse. In a prefatory note Mr. Davidson says :<br />
“This play was written in 1900, and after various<br />
adventures is now published—twenty-five years<br />
having come and gone since in ‘An Unhistorical<br />
Pastoral ’ I first wrote of the Maypole.”<br />
<br />
We quote the following verses from Mr. Rowland<br />
Hill’s “Songs in Solitude and Photographs in<br />
Verse,” recently issued by Messrs. Simpkin<br />
Marshall :—<br />
<br />
THE LIBRARIAN.<br />
“The volumes ranged about his room<br />
Retain the mighty thoughts of man<br />
<br />
Compressed as in a little tomb :<br />
He clasps a life-work in his span.<br />
<br />
“ One wall holds many nations’ brains :<br />
The poets grouped fill up a shelf :<br />
A folio Shakespeare’s soul contains :<br />
The Bible takes an inch itself.<br />
<br />
“He gropes among illustrious minds<br />
On great deeds brooding of the dead :<br />
Then lonely lifts aside the blinds,<br />
And views the vast stars overhead.”<br />
<br />
In the Hampstead Annual just published (2s. 6d.<br />
nett), there is a delightful, personal, and critical<br />
paper by Mr. Sidney Colvin on “ Robert Louis<br />
Stevenson at Hampstead.” In June, 1874, Steven-<br />
son and Mr. Colvin occupied jointly for awhile a<br />
set of lodgings in Abernethy House at the corner<br />
of Mount Vernon and Holly Place. ‘“ Stevenson,”<br />
Mr. Colvin tells us, *‘ was then in his twenty-fourth<br />
year, in the full glow—a glow that mounted some-<br />
times near fever heat—of his brilliant and unquiet<br />
youth.” It was at this time R. L. 8. was elected<br />
to the Savile Club.<br />
<br />
Mr. Colvin’s time and strength are almost<br />
wholly taken up with official work ; but we are<br />
glad to know, that sooner or later, he means to<br />
give us the book on Stevenson—critical and<br />
personal—_which he has had in his mind, and<br />
partly on the stocks, for a long time. Certainly it<br />
will be an illuminating book.<br />
<br />
We learn that it is proposed to publish further<br />
translations of the works of Friedrich Nietzsche<br />
as soon as possible. An edition in eleven<br />
volumes—exclusive of the posthumous works—<br />
was projected in 1895 by Messrs. Henry in England<br />
in connection with the Macmillan Company in<br />
America, and arrangements were made for the<br />
translation of the volumes under the editorship of<br />
A. Tille, Ph.D. Only three volumes were issued<br />
however, and the MSS. of five unpublished<br />
volumes—now very carefully revised—are in the<br />
translator’s hands.<br />
<br />
Of Nietzsche’s works still to be published<br />
(Fisher Unwin), Miss Helen Zimmern is the<br />
able translator of two, viz.: “ Beyond Good and<br />
<br />
Evil: Prelude to a Philosophy of the Future ;’<br />
and “Human all too Human: A Book for Free<br />
Spirits,” Vol. I. Those who order copies before-<br />
hand will receive them when published at two-<br />
thirds of the nett price, which is 8s. 6d. for the<br />
larger volumes and 7s. for the smaller ones.<br />
Such previous orders should be sent to (1) Miss<br />
Helen Zimmern, Palazzo Acciajuoli, Lung Arno,<br />
Florence; or to (2) William A. Haussmann,<br />
Ph.D., 3,712, Sydenham Street, Philadelphia; or<br />
to (3) Thomas Common, 112, George Street,<br />
Edinburgh.<br />
<br />
There was a painfully interesting article in the<br />
Daily Chronicle of January 17th trom the expert<br />
pen of Mr. Arthur Morrison, entitled “ Winter<br />
and Want: Hast London in the North-East Wind.”<br />
It was at the office of the Rev. Peter Thompson<br />
(242a, Cable Street, E.), who is administering the<br />
East-End Relief Fund, that Mr. Morrison began<br />
his walk, through regions intimately known<br />
to him of old: regions he has so convincingly<br />
described in his “ Tales of Mean Streets ” :—<br />
<br />
“Those dull little rows of decent houses, every window<br />
making its best show to the world, with its mended curtain,<br />
its poor little wool mat, its barren flower-pot in faded pink<br />
paper. I have watched the tragedy—the slow tragedy, the<br />
tragedy of no stirring action—played out, and now playing<br />
out, behind many of those quiet little windows—played<br />
sometimes to an end too bitter for printed words... .. A<br />
general impression is best of multitudes of desperate little<br />
homes, bared of their moveables, and cold in the grate ; each<br />
with a thin-clad father and mother—or perhaps only one<br />
of them—striving to the last to fend away the hour<br />
when nothing shall be left for the mouths of sick and<br />
hungry children; and meanwhile to keep themselves<br />
‘independent.’ ”<br />
<br />
Mr. E. A. Reynolds-Ball, F.R.G.S., has recently<br />
published a capital little book (E. Marlborough &<br />
Co.), called “ Practical Hints for Travellers in the<br />
Near East.” This companion to the Guide Books<br />
contains just the sort of information the average<br />
traveller needs to know. The Medical Hints<br />
section has been read and approved by a London<br />
medical man of high standing. Mr. Ball’s, “ Cairo<br />
of To-day,” is in a third edition. This, and his<br />
“ Jerusalem,” are issued by A. and C. Black, at<br />
2s. 6d.<br />
<br />
The annual annotated edition of the “ Statutes<br />
of Practical Utility,’ which is brought out by Mr.<br />
J. M. Lely in continuation of “ Chitty’s Statutes ”<br />
(Sweet and Maxwell, Limited ; Stevens & Sons,<br />
Limited), will appear this year early this month,<br />
containing, amongst other important statutes, the<br />
Education Act, the Licensing Act, and the Cre-<br />
mation Act. There is an “ Additional Note” on<br />
the Education Act, and that Act and the Licens-<br />
ing Act are followed by Board of Education and<br />
Home Office Circulars and Forms respectively.<br />
<br />
<br />
114<br />
<br />
Mr. Cecil Clarke, author of “An Artist’s Fate,”<br />
“Tove’s Loyalty,” etc. etc, has commenced<br />
another novel on somewhat romantic lines, but in<br />
consequence of other claims upon his time, it<br />
cannot be finished yet awhile. Mr. Clarke is a<br />
regular contributor to The Philanthropist, and<br />
reprints of his contributions are frequently<br />
ordered.<br />
<br />
“ Alsatian Tales,” by Madame Jean Delaire,<br />
illustrated by Alfred Touchemolin (Sands & Co.),<br />
is a volume of short stories or sketches. There<br />
are four of them: “Mademoiselle Beaux Yeux,”<br />
a schoolroom tragedy; “The Deserter,” a<br />
frontier incident; “ Pro Patria,” an episode ;<br />
and “Vive la France,” a reminiscence. They<br />
are strongly French in sympathy, breathing a<br />
fervid patriotism.<br />
<br />
“A Romance of the Nursery,” by Mrs. L.<br />
Allen Harker, is a charming story about children.<br />
here are some good illustrations by Katherine<br />
M. Roberts. It is published by Mr. John Lane.<br />
<br />
Though, unfortunately, rather late in the day,<br />
we are glad to acknowledge a South African<br />
Christmas Annual called “Silver Leaves” (1s.),<br />
edited by Mr. W. H. Stokes, a member of this<br />
Society. The illustrations are very good indeed,<br />
the complete panorama of Cape Town being<br />
especially interesting. “Silver Leaves” is a small<br />
volume of South African views well worth buying.<br />
We wish Mr. Stokes’ Annual a long and hardy<br />
life.<br />
<br />
John Oliver Hobbes’ “School for Saints” has<br />
just been issued in a cheap sixpenny edition by<br />
Mr. T. Fisher Unwin.<br />
<br />
We understand that Sir Charles Wyndham<br />
hopes to open his new theatre in St. Martin’s<br />
Laneaboutthe middle of this month. “ Rosemary”<br />
is the play chosen for the first performance, and<br />
the receipts are to be devoted to charity.<br />
<br />
A new operatic and dramatic society, to be<br />
called “The Londoners,” is being formed. It<br />
is to produce comic operas and musical comedies<br />
from time to time at some London theatre for<br />
quite short periods. The proceeds will go to<br />
charities,<br />
<br />
It seems that “Iris” has been doing very well<br />
financially in America.<br />
<br />
If Mrs. Patrick Campbell can secure a New<br />
York theatre she will probably produce a series<br />
of Shakespearian and Sardou plays under her own<br />
management.<br />
<br />
THE AUTHOR.<br />
<br />
PARIS NOTES.<br />
<br />
— 1<br />
<br />
2 1 Profonde” is the title of M. Paul<br />
Bourget’s new novel. In the first chapter<br />
the author explains his title, and with his<br />
<br />
usual analytic method proceeds to discuss the<br />
<br />
meaning of the proverb “Still waters run deep,”<br />
as rendered by the English, the French and the<br />
<br />
Italians, and, strangely enough, it is the English<br />
<br />
version which the French author adopts for the<br />
<br />
title of his book.<br />
<br />
“ Chez les Anglais,” we are told, “l’esprit réaliste<br />
saccompagne de la plus solitaire, de la plus<br />
méditative réverie—l’Anglo-Saxon est durement<br />
brutal quand il est brutal, étrangement songeur<br />
quand il est songeur.”<br />
<br />
After this introduction one might expect some<br />
further reference to the English in the novel, but<br />
nothing could be more absolutely un-English than<br />
the whole story from beginning toend. The eternal<br />
theme once more, of which even Parisians are at<br />
last getting weary! There is nothing very original<br />
even in the plot itself, with its inevitable accom-<br />
paniments in the way of clandestine rendezvous,<br />
anonymous letters, and the discovery by one of the<br />
principal characters of the fact that he is not the<br />
son of the man he has been taught to call father.<br />
In all this there is nothing very new, so that the<br />
charm of the book is due simply to the skill of the<br />
analyst.<br />
<br />
“a Princesse Errante,” by Léon de Tinseau, is<br />
a very readable novel. The subject as it happens<br />
is quite apropos, for it is the romantic history of a<br />
Crown Prince and the tribulations of his daughter,<br />
the wandering princess. The book is full of incident,<br />
and the description of life in the various countries<br />
mentioned is most curious and interesting.<br />
<br />
The second volume of Barbey d’Aurevilly’s<br />
literary criticisms, ‘‘ Le Roman Contemporain,” has<br />
just been published, and will no doubt be read by<br />
all who appreciate the great novelist’s own works<br />
of fiction.<br />
<br />
As a critic Barbey d’Aurevilly was by no means<br />
merciful. His ideals were high, and the modern<br />
realistic and materialistic schools did not appeal<br />
to him.<br />
<br />
His judgment of Zola’s work is scathing.<br />
<br />
“ Zola,” he says, “n’a point d’idéal dans la téte<br />
et, comme son siécle, il aime les choses basses eb ne<br />
peut s’empécher d’aller a elles. Tout ce qui répugne<br />
le fascine. . . .<br />
<br />
“ Quand de pareilles choses se lisent et ont du<br />
succes, il n’y a plus de critique a faire. Il y a une<br />
<br />
page de moeurs et d’histoire a écrire sur la société<br />
qui les lit.” Later on he says: “Ily a toujours<br />
dans tout grand artiste une hauteur originelle et<br />
une pureté de génie qui dédaigne de toucher a ces<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
=<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 115<br />
<br />
choses honteuses dans lesquelles l’auteur de ]’Assom-<br />
moir ne craint pas de plonger sa main. . . . Ces<br />
réalistes qui s’accroupissent ou se trainent sur le<br />
ventre pour ramasser les moindres poussiéres, trou-<br />
vent Dieu et lime des réalités trop menues pour<br />
daigner les voir et s’en occuper ; et ils ne se doutent<br />
pas que l’absence de Dieu et de l'ime dans une<br />
ceuvre humaine fait un vide par lequel, quand on<br />
en aurait, s’en va le génie,— et méme le talent!”<br />
<br />
Among the other authors whose works are criti-<br />
cised in this volume are Octave Feuillet, Flaubert,<br />
Daudet, Fabre, Richepin, Catulle Mendés, Huys-<br />
mans and the de Goncourts.<br />
<br />
Very far-seeing was d’Aurevilly, for after criti-<br />
cising Huysmans’ “ A Rebours,” he says that he is<br />
tempted to say to the author, as he did to Baudelaire:<br />
« Aprés ce livre il ne vous reste plus, logiquement,<br />
que la bouche du pistolet ou les pieds de la croix.”<br />
Both Baudelaire and Huysmans chose the latter.<br />
<br />
Then, too, d’Aurevilly saw more clearly than the<br />
author of “ Renée Mauperin” that this novel, which<br />
the de Goncourts intended to be strictly realistic,<br />
was “un livre d’imagination exquis.” Renée herself<br />
says d’Aurevilly was ‘‘an absolutely imaginary<br />
creation,” although in the preface the author says<br />
he has endeavoured to “peindre la jeune fille<br />
moderne avec le moins d’imagination possible.”<br />
<br />
The first part of Paul Friedmann’s book, “ Anne<br />
Boleyn,” bas just been translated into French, and<br />
most interesting it is, not only as a character study<br />
of Henry VIII., Catherine of Aragon and Anne<br />
Boleyn, but also on account of the picture which<br />
the historian gives us of London in the first half<br />
of the sixteenth century. The population of the<br />
capital of Great Britain at that time was 90,000,<br />
whilst Paris had 400,000 inhabitants. The houses<br />
in London were no higher than two storeys, and<br />
were surrounded with gardens. The commerce was<br />
almost entirely monopolised by foreigners.<br />
<br />
The King’s revenue was a sixth of that of the<br />
King of France, and a tenth of the Sultan’s. The<br />
hypocrisy and the untruths of Henry VIII. in his<br />
dealings with the Pope and the clergy are specially<br />
dwelt on by the historian, who declares that<br />
Macchiavelli himself would have been disgusted with<br />
such a liar and impostor. He speaks, too, of the<br />
courage of the nation in refusing to acknowledge<br />
Anne Boleyn as Queen, and we are told that when<br />
in Church prayers were offered up for her as the<br />
new sovereign, the congregation left the building in<br />
a tumult.<br />
<br />
The ‘‘ Journal du Dr. Prosper Meniére” should<br />
be read by all authors, for never has there been a<br />
more enthusiastic and sincere admirer of literary<br />
men and their work than this doctor of the Second<br />
Empire.<br />
<br />
Prosper Meniére was born in 1799, and during<br />
the year of the famous July Revolution he must<br />
<br />
have alleviated the sufferings of hundreds of his<br />
wounded countrymen.<br />
<br />
Later on he was appointed medical attendant to<br />
the Duchess of Berry, when she was in the fortress<br />
of Blaye under the guard of General Bugeaud.<br />
<br />
He knew personally a great many of the celebri-<br />
ties of his times, and he tells us in his memoirs<br />
of the Chancelier Pasquier, who had seen eleven<br />
changes of government. He was born during the<br />
reign of Louis XV., and had then seen Louis XVI.,<br />
the Convention, the Directoire, Napoleon L.,<br />
Louis XVIII., Charles X., Louis Philippe, the<br />
Republic of *48, the Presidence, and then the<br />
Empire. Nine out of the eleven changes of govern-<br />
ment had been brought about by a revolution.<br />
Dr. Meniére might have told us many interesting<br />
details about the political celebrities he knew, but<br />
with a few rare exceptions, he preferred jotting<br />
down notes about his acquaintances in the literary<br />
world. Jules Janin, Lamartine, Gautier, Jules<br />
Sandeau, Scribe, de Girardin, M. 'Thiers, and a host<br />
of others he mentions, and in many cases tells us<br />
some anecdote or speech of theirs which had<br />
interested him. Very amusing is his account of<br />
Alexandre Dumas describing the Battle of Waterloo<br />
before certain generals who happened to have been<br />
on the field themselves, and who ventured to correct<br />
some of the statements the novelist was making.<br />
“What you say is quite new to us,” they declared,<br />
“and we were present at Waterloo.” ‘Oh, you<br />
could not have seen this, then,” said Dumas, con-<br />
tinuing his description so graphically, that at the<br />
end the generals began to think he must be right<br />
after all.<br />
<br />
For all who delight in legends, “Le Folk Lore<br />
de la Beauce et du Perche,” by M. Félix Chapiteau,<br />
will be found most captivating.<br />
<br />
Among recent illustrated editions are two series<br />
of books which are marvels of art. The one is<br />
entitled ‘ Les Grands Artistes,” and is published<br />
under the direction of M. Roger Marx, Inspecteur<br />
au Ministere des Beaux Arts. Hach number con-<br />
tains 128 pages and 24 engravings. The volumes<br />
already published are Raphaél, Albert Diirer, Wat-<br />
teau, and Léonard di Vinci. ‘The other series is<br />
entitled “ Les Villes d’Art Célébres,” and of these<br />
Venise, Paris, Bruges et Ypres, Gand et Tournai,<br />
have appeared.<br />
<br />
There are 100 to 140 engravings in each volume.<br />
The text is by men who are considered authorities<br />
on the subject they undertake, and the idea of the<br />
latter series is ‘to connect the present life of<br />
each city with its historic past, and give us the<br />
opportunity of knowing its artistic riches.”<br />
<br />
A very fine édition de luxe of “La Dame de<br />
Monsoreau,” by Alexandre Dumas, has just been<br />
brought out.<br />
<br />
There are 250 wood-cuts by J. Huyot and<br />
<br />
<br />
116<br />
<br />
Maurice Leloir. The price of the two volumes is<br />
£2, and with a special binding, £3.<br />
<br />
Comte Robert de Montesquiou has arrived in<br />
America, and was entertained almost immediately<br />
by Miss Elisabeth Marbury, who has done so much<br />
for French literature in the United States. It is<br />
as a missionary of literature that M. de Montes-<br />
quiou has undertaken this voyage, and he is to<br />
give some eight or ten lectures during his tour.<br />
Among the authors of whom he will speak are<br />
Marceline Desbordes Valmore, Barbey d’Aurevilly,<br />
Leconte de Lisle, Verlaine, and Ernest Hello.<br />
<br />
The Académie founded by the Goncourt brothers<br />
has held its first assembly. Its members are MM.<br />
Huysmans, Mirbeau, Rosny, Hennique, Paul Mar-<br />
gueritte, G. Geoffroy, all of whom were chosen by<br />
M; de Goncourt. The members elected since his<br />
death are MM. Léon Daudet, Elemir Bourges, and<br />
Lueien Descaves.<br />
<br />
The journal Gil Blas has made a fresh start<br />
with M. Périvier (formerly of the Figaro), and<br />
M. Ollendorff, the well-known publisher, as directors.<br />
<br />
The quantity of new pieces this winter is alarm-<br />
ing, and the critics have been occupied with first<br />
nights.<br />
<br />
“Théroigne de Méricourt” is certainly a success.<br />
The mise en scéne is excellent, as every detail is<br />
exact. The first act takes place in Vienna in 1791.<br />
Théroigne has been arrested for revolutionary<br />
proceedings, and is released by the emperor.<br />
<br />
The second act is at the Tuileries, and Louis XVI.<br />
appears. It is only a few hours before he leaves<br />
the palace with his family.<br />
<br />
The next two acts are also at the Tuileries. The<br />
king is a prisoner, and Théroigne incites the crowd<br />
to the murder of Francois Suleau. The Swiss<br />
guards are massacred and the palace invaded, when<br />
Captain Bonaparte appears.<br />
<br />
In the last act, Théroigne is imprisoned in a<br />
cage at the Salpétriere. Sieyés comes with two of<br />
the court ladies to visit the establishment, and<br />
Théroigne is brought out of her cage. In an<br />
eloquent monologue she evokes the grand days of<br />
the Revolution. She is supposed to have lost her<br />
reason, but she is quite lucid in her bitter re-<br />
proaches as she points to the spectres of the victims<br />
who have perished for their ideas. So gruesome<br />
is the scene that the Abbé Sieyes rushes away in<br />
terror as the curtain falls,<br />
<br />
Sarah Bernhardt is very fine in this ré/e, which<br />
suits her,admirably. The play itself is a fine piece<br />
of literature, but, as in most historical subjects, a<br />
certain liberty has been taken with facts.<br />
<br />
M. Pierre Decourcelle is one of the most prolific<br />
of writers. A long serial of his has not long ago<br />
finished in one of the daily papers, and another,<br />
‘* Les Deux Frangines,” has just commenced. His<br />
play, “Le Chien du Régiment,” is now having<br />
<br />
THE AUTHOR.<br />
<br />
great success at the Gaité. “La Meilleure Part,’<br />
in which he collaborated with Pierre de Coulevain,<br />
is soon to be put on at the Vaudeville by Madame<br />
Réjane, and now he is writing “ Werther” for<br />
Madame Sarah Bernhardt.<br />
<br />
“ Le Secret de Polichinelle”’ has taken very well<br />
at the Gymnase, but “ La Chatelaine,” by M.Capus,<br />
is certainly the piece that seems likely to have the<br />
longest run this winter.<br />
<br />
Auys HaLLARD.<br />
<br />
a<br />
<br />
<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
ee<br />
I,<br />
Publishers and Copyright.<br />
<br />
CORRESPONDENCE took place recently in<br />
the literary supplement of the 7imes, which<br />
illustrated well the attitude of unscrupulous<br />
<br />
publishers and proprietors of periodicals towards<br />
their occasional contributors, while it called<br />
attention to a particular variety of their methods.<br />
The method in question was thus described in<br />
the original letter, signed “ Author.”<br />
<br />
“Qn the backs of cheques certain publishers<br />
print a receipt form which the author is requested<br />
to sign, whereby he acknowledges the receipt of so<br />
much money in respect of ‘copyright’ sold to the<br />
publisher. On the face of the cheque is usually<br />
the announcement that the cheque will not be<br />
cashed unless the receipt at the back is signed.”<br />
On a subsequent date Mr. Herman Cohen, a<br />
barrister, discussed the purely legal questions<br />
involved, being of opinion that the document<br />
described not being an unconditional order to pay<br />
is not a cheque and need not be honoured by the<br />
banker, while he further considered that a<br />
cheque not being legal tender need not in any case<br />
be accepted as payment by the author. The<br />
secretary of the Society of Authors followed with<br />
some suggestions as to the practical aspects of the<br />
case, and pointed out that the way of dealing de-<br />
scribed is resorted to in the publication of books<br />
where an agreement has only been made for their<br />
production in consideration of a royalty, as well as<br />
in the more frequently occurring instances where a<br />
short story or article has been accepted by the<br />
editor of a newspaper or magazine.<br />
<br />
The law of the case in so far as it relates to<br />
the authors and their customers has been dealt with<br />
by Mr. Cohen. It is technical, not easy for laymen<br />
to follow, and not entirely free from doubt to<br />
lawyers. There can be no doubt, however, that<br />
the law will not compel an author to accept a pay-<br />
ment given conditionally on his entering into a<br />
<br />
<br />
<br />
<br />
Ae. Se et<br />
<br />
OW Sw Se DO. Ge re Bln<br />
<br />
oe ee Sy a ce OO OS ee<br />
<br />
|<br />
<br />
Gf<br />
<br />
a<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
fresh contract, differing from one which he has<br />
already made, and in respect of which money is<br />
already due to him. He would act unwisely, as<br />
Mr. Cohen points out, in deleting the obnoxious<br />
receipt, and trying to cash the cheque without it,<br />
but it is to his advantage that a cheque in some<br />
form should have been sent tohim. It is evidence<br />
that a sum is due to him, although not perhaps<br />
evidence that the sum on the cheque is owing,<br />
because the publisher will say (in a case where no<br />
sum has been agreed upon) “I made the cheque<br />
out according to my usuai rate when I buy the<br />
copyright,” and if he sends another cheque for the<br />
serial rights only, will send a smaller one.<br />
<br />
It is submitted, therefore, that the author, dis-<br />
satisfied with a cheque in the form described, can<br />
do little else than send it back with a request for<br />
another not so added to, saying courteously, but<br />
clearly, that he has not agreed to sell, and does not<br />
desire to sell, the copyright of his article. Inany<br />
correspondence which may follow he will be able to<br />
take up a strong position and to point out that ata<br />
hearing of the case, should legal proceedings arise,<br />
he will call for the production of the returned<br />
cheque as evidence. This will, however, probably<br />
mean a quarrel with that particular publisher or<br />
magazine proprietor, and the future exclusion of<br />
the author’s work by him; in other words, the<br />
narrowing of the author’s market.<br />
<br />
In this the strength of the buyer of the author’s<br />
wares lies. The supply is large enough for his<br />
purpose ; he, the buyer, has the money, and the<br />
author usually wants to sell.<br />
<br />
Mr. Thring, in the letter referred to, urged that<br />
the publisher or editor should, in making an offer,<br />
state whether he desires to purchase the copyright<br />
or not. No doubt he should, and this whether the<br />
subject has been mentioned already or not. But,<br />
on the other hand, it may be suggested that the<br />
author makes the first move as a rule by sub-<br />
mitting his work unsolicited, and that the person<br />
opening the negotiations is the party on whom it<br />
is incumbent to state what it is he desires. It is<br />
for authors and editors of experience to say<br />
whether the insertion of a printed slip or letter-<br />
heading with every manuscript sent in the manner<br />
indicated would be useful in obtaining a clear<br />
understanding, or would be liable to diminish the<br />
likelihood of acceptance. Such a heading might<br />
run as follows: “The article herewith is offered<br />
for publication in the magazine only, with-<br />
out transfer of copyright.” As a rule minor<br />
authors make no attempt such as this to protect<br />
themselves. In his ordinary dealings the author,<br />
not being one of established position, forwards to<br />
the editor of a magazine or newspaper, a manu-<br />
script of a short article or story with a covering<br />
letter which does not define the right that he<br />
<br />
<br />
<br />
117<br />
<br />
offers. The editor often accepts only by having the<br />
contribution printed, sometimes, but not always,<br />
forwarding a proof before publishing it.<br />
<br />
When payment is sent, if it is sent at all without<br />
being asked for, the condition of sale of copyright<br />
appears for the first time. It is submitted that in<br />
such a deal the transaction only amounts in fact<br />
to the offer and acceptance of the article for publi-<br />
cation in the ordinary way in the periodical to<br />
which it has been sent. In the case of more<br />
Important works a different course of dealing is<br />
followed, and the negotiations ought to raise the<br />
question of the disposal of copyright at an early<br />
stage, and usually doso. It is in the smaller trans-<br />
actions that the point discussed in the literary<br />
supplement of the Times arises, and they are often<br />
transactions so small that they hardly seem, at the<br />
time at all events, worth fighting over. In these<br />
the attitude of the author must depend on his<br />
inclination and power to fight for his rights. The<br />
publisher and editor are not likely to mend their<br />
ways for the asking, and the banker may with<br />
Justice say, that as far as he is concerned at all, his<br />
interests coincide with those of the man whose<br />
doubtless substantial account is entrusted to him.<br />
Cases of the kind indicated involve, to a large<br />
extent, questions of fact rather than of law, but<br />
perhaps some day a good typical instance involving<br />
the practices alluded to above may be taken up and<br />
fought by the Society of Authors. Such a case<br />
might help to define the law on the subject, and<br />
also to indicate the kind of view likely to be<br />
adopted by juries as to the questions of fact. The<br />
conclusions arrived at, both as to law and fact,<br />
could hardly fail to be useful to authors.<br />
<br />
HE. A. A.<br />
<br />
<br />
<br />
ee<br />
<br />
IL.<br />
American Publishers and the Nett System.<br />
<br />
[From Zhe American Author. ]<br />
a<br />
<br />
E give below a complete list of the members<br />
<br />
of the American Publishers’ Association.<br />
<br />
This list includes all publishers whose<br />
<br />
names are generally known to the book trade<br />
and to the reading public.<br />
<br />
It is now more than two years since the American<br />
Publishers’ Association was organised. During that<br />
time it has practically reorganised the general<br />
trade of publishing and selling books. Under the<br />
nett-price system new copyrighted books are no<br />
longer used to advertise bargain counters for dry<br />
goods stores. It was found by experience that the<br />
great majority of new copyrighted books were<br />
118<br />
<br />
being killed by this means before they were fairly<br />
on the market, and before they had an opportunity<br />
to test public favour. In this manner the property<br />
of both authors and publishers was being de-<br />
stroyed in order to build up the business of dry<br />
goods stores. All authors have ample reason for<br />
congratulation that this beneficent measure has<br />
been put into operation and is being rigidly<br />
enforced.<br />
<br />
The essential principles upon which the reform<br />
of the American book trade is established are<br />
practically the same as those adopted in Germany<br />
in 1887, which have restored the German book<br />
trade to a basis satisfactory to all concerned. The<br />
same principles have been adopted by the book<br />
trade in Austria, Belgium, England, France and<br />
Switzerland with excellent results.<br />
<br />
What has been described as the major premise upon<br />
which the reform of the American book trade is<br />
founded, isan agreement upon the part of all of the<br />
leading booksellers of the country, not to buy, not to<br />
put in stock, nor to offer for sale, the books of any<br />
publisher who declines to co-operate in the reform<br />
movement by joining the American Publishers’<br />
Association; and, on the other hand, the publishers<br />
agree not to sell their books to any dealer who fails<br />
to maintain the established nett prices.<br />
<br />
It is understood that since October 1st all mem-<br />
bers of the American Booksellers’ Association, com-<br />
prising all of the leading booksellers of the country,<br />
have discontinued handling the books of all pub-<br />
lishers still remaining outside of the American<br />
Publishers’ Association. This fact should not be<br />
lost sight of by authors seeking to arrange for the<br />
publication of their manuscripts, if they desire to<br />
give their books any possibility of success.<br />
<br />
List or MEMBERS OF THE AMERICAN PUBLISHERS’<br />
ASSOCIATION.<br />
<br />
Henry AltemusCo., Philadelphia, Pa. ; American<br />
Baptist Publication Society, Philadelphia, Pa. ;<br />
American News Co., New York, N. Y. ; D. Apple-<br />
ton and Co., New York, N. Y.; A. C. Armstrong,<br />
New York, N. Y.; Arnold and Co., Philadelphia,<br />
Pa.; Baker and Taylor Co., New York, N.Y.;<br />
A. S. Barnes and Co., New York, N. Y.; Drexel<br />
Biddle, Philadelphia, Pa. ; The Bowen-Merrill Co.,<br />
Indianapolis, Ind. ; Albert Brandt, Trenton, N. J.;<br />
Brentano’s, New York, N. Y.; John S. Brooks and<br />
Co., Boston, Mass.; The A. L. Burt Co., New<br />
York, N. Y. ; The Century Co., New York, N. Y.;<br />
C. M. Clark Publishing Co., Boston, Mass. ; The<br />
Robert Clarke Co., Cincinnati, O.; H. T. Coates<br />
and Co., Philadelphia, Pa. ; Thomas Y. Crowell<br />
and Co., New York, N. Y.; G. W. Dillingham<br />
Co., New York, N. Y.; Dodd, Mead and Oo., New<br />
York, N. Y.; Doubleday, Page and Co., New York,<br />
N. Y.; E. P. Dutton and Co., New York, N. Y. ;<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Dana Estes and Co., Boston, Mass. ; The Federal<br />
Book Co. New York, N. Y.; Funk and Wagnalls<br />
Co., New York, N. Y.; Charles E. Goodspeed,<br />
Boston, Mass. ; Harper and Brothers, New York,<br />
N. Y.; Herbert Publishing Co., Washington,<br />
D.C. ; A. J. Holman and Co., Philadelphia, Pa. ;<br />
Henry Holt and Co., New York, N. Y.; Home<br />
Publishing Co., New York, N. Y.; Houghton,<br />
Mifflin and Co., Boston, Mass. ; Geo. W. Jacobs<br />
and Oo., Philadelphia, Pa.; Jamieson-Higgins<br />
Co., Chicago, Ill. ; John Lane, New York, N. Y.;<br />
Lee and Shepard, Boston, Mass. ; J. B. Lippincott<br />
Co., Philadelphia, Pa.; Little, Brown and Co.,<br />
Boston, Mass.; Longmans, Green and Co., New<br />
York, N. Y.; The Lothrop Publishing Co., Boston,<br />
Mass.; McClure, Phillips and Co., New York,<br />
N. Y.; A. CO. McClurg, Chicago, Ill.; The Mac-<br />
millan Co., New York, N. Y. ; National Publishing<br />
Co., Philadelphia, Pa. ; Thos. Nelson and Son,<br />
New York, N. Y.; New Amsterdam Book Co.,<br />
New York, N. Y.; Open Court Publishing Co.,<br />
Chicago, Ill.; Outlook Co., New York, N. ¥.;<br />
Oxford University Press, New York, N. Y.;<br />
L. C. Page and Co., Boston, Mass. ; Penn Publish-<br />
ing Co., Philadelphia, Pa.; James Pott and Co.,<br />
New York, N.Y.; Presbyterian Board of Publica-<br />
tion and Sabbath School Work, Philadelphia, Pa. ;<br />
G. P. Putnam’s Sons, New York, N. Y.; Fleming<br />
H. Revell Co., Chicago, New York and Toronto ;<br />
R. H. Russell, New York, N. Y.; Charles Scrib-<br />
ner’s Sons, New York, N. Y.; Small, Maynard and<br />
Co., Boston, Mass. ; Frederick A. Stokes Co., New<br />
York, N. Y.; H. 8. Stone and Co., Chicago, Il. ;<br />
J. F. Taylor and Co., New York, N. Y.: HOB:<br />
Turner and Co., Boston, Mass. ; United Brethren,<br />
Publishing House, Dayton, 0. ; D. Van Nostrand<br />
Co., New York, N. Y. ; Vir Publishing Co., Phila-<br />
delphia, Pa. ; Frederick Warne and Oo., New<br />
York, N. Y.; A. Wessels Co., New York, N. Y.;<br />
Thomas Whittaker, New York. N. Y.; W. A. Wilde<br />
Co., Boston, Mass.; John Wiley and Sons, New<br />
York, N. Y. ; John C. Winston Co., Philadelphia,<br />
Pa.; E. and J. B. Young and Co., New York,<br />
N. Y.; Clinton S. Zimmerman, New York, N. Y.<br />
<br />
—_—_—_—_——_+—>—_+___—_<br />
<br />
RESUME OF BOOKS PUBLISHED IN<br />
THE PAST YEAR.<br />
<br />
t+ —<br />
<br />
(Reprinted from Zhe Publishers’ Circular, by kind<br />
permission of the Editor.)<br />
<br />
PY HE total number of books recorded in 1902<br />
T is slightly above that of 1900, nearly two<br />
<br />
hundred below 1899 and 1898, more than<br />
five hundred below 1897, just eight hundred above<br />
1896, and a thousand above 1901 ; but about five<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
hundred of that one thousand were “ Miscellaneous”<br />
—chiefly pamphlets at a few pence each—and about<br />
two hundred and fifty were sixpenny fiction. If<br />
up in number, the books of 1902 are down in<br />
value compared with those of 1901. The number<br />
under “ Miscellaneous” is almost the same as in<br />
1898. In Fiction the number is almost the same<br />
as in 1898, slightly above 1900 and 1896, but<br />
below 1897 and 1899. In six other subjects the<br />
increase is not large ; in the case of Theology it is<br />
partly due to the issue of pious pamphlets and<br />
of sermons, and in that of Politics and Trade to<br />
publication of political skits and economical tracts.<br />
In History and Biography the numbers were almost<br />
<br />
119<br />
<br />
the same in 1901 and 1902—five hundred and<br />
thirty-one, five hundred and thirty-seven ; in<br />
Medicine precisely the same, two hundred and<br />
thirty-seven, which is lower than in 1900. Law<br />
books and Educational publications in 1902 show<br />
a falling off, the number being lower than in either<br />
of the previous six years. In Travel it is almost<br />
the same as in 1896, 1897, 1899, 1901, forty-four<br />
lower than in 1900. Belles-Lettres show almost<br />
the same number as in 1897, much less than in<br />
1900 and 1901. The number of Year Books is<br />
almost the same as in 1897 and 1900. In the<br />
Drama and Poetry the number is higher than in<br />
1901, lower than in the five previous years.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
| | |<br />
| | | loge 8 a<br />
: B po iS So-a°<br />
Subjects. BS e 5 | 43 | a x 2 = lees.<br />
3 2 ee : 3 Ze g | 3 5 & |238.38<br />
Se eee Ee Pe ee Ee ees<br />
ee<br />
se (| a 44 Psp 39 | ve 59 28 26 31 30 | ee 19 68 | 567<br />
1. Theology, Sermons, Biblical ... a7 9 6 q Bo 7 | 1 10 10 Si<br />
| 648<br />
2, Educational. Classical, and \| @ 56 OB e471 33 lo 38 |< 304) 82) 41 29 | 50 | 50 | 6b | 504<br />
Philological... ... -- J) 211 7 8 1 6 5 31. 4 7 > 6 5 | 68<br />
| 572<br />
8, Juvenile Works and Tales, )| q 52 | 105 | 96 | 134 | 142 | 65} 58 | 126 | 132 | 807 | 301 | 225 1743<br />
ies) Tales, and other j HG} G0 | be | 6b | 84 | bf] by | bl | 41 | 91 | 91 | 46 | 72%<br />
iction ie. oe ive 2470<br />
a 6 12 9 17 9 3 3 5 4 2 9 88<br />
4. Law, Jurisprudence, Xc. $ { b 3 3 8 5 4 4 2 3 ge 1 6 71 46<br />
— 134<br />
Sei and Social Econoiny,) 2 26) 42) 88) 44} 65) 28 | 95) 30) 88 30 | 44} 49 | £63<br />
a 8 | | | ye,<br />
— 5<br />
6. Arts, Science, and Illustrated )| 4% 31 22| 36| 43| 45 | 38] 25} 28| 27/ 33 | 40| 52 | 420<br />
Works ee ac vey ee 2 2 3 a 3 2 4 3 8 1 T | 44<br />
464<br />
7, Voyages, Travels, and Geo- )| @ 8) 11; 10 8} 27] 13) 22 14 9 7 | 13} 20 162<br />
graphical Research ... oo 2 1 3 3 3 t 9 3 3 2 1 8s 200<br />
: : a 30 41 41 35 56 38 29 17 31 33 55 74 | 480<br />
8. History, Biography, &c. i i bd: 3 q 9 3 7 3 6 2 1 4 4 8 | 57<br />
537<br />
(| @ 25 14 24 22 16 17 15 16 14 39 28 42 | 272<br />
9. Poetry and the Drama “116 6 6 Sie 1s 7 4 5 5 5 i 9 6 | 76<br />
—— 348<br />
10, Year-Books and Serials in }| ¢ 66 | 21 7 7 B18, 2) 20) 2h) 53 | 96 | 75) wee<br />
Vv ae Cee el me oe lee | ee ee<br />
olumes ) 408<br />
. Joe 7) og] 22) 2] Tee} 1 | 6) 14} 20 | 168<br />
11. Medicine, Surgery, &c. oe 1b 5 q Q| 13 8 A: 4 3} 10 9 8 | 1) 84<br />
—— 237<br />
12, Belles-Lettres, Essays, Mono- || @ 19 7} 19 81) M ? Bite Bhs ee _ oe<br />
gape he ca ae de? 2 4 4 2 : ae I 2 ‘ O71<br />
13. Miscellaneous, includin 426) 301 28 | 24) 81 24) 30] 27 32 35 | 389 31 352<br />
Pamphlets, not Sermons = } bi) 14) 26) 10) Ba | 4) MY AB arp dy 18 | Ae<br />
poses — - 499<br />
492 | 516 | 543 | 606 | 702 | 445 | 439 | 467 | 491 | 876 | 910 | 894 an<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a New Books; b New Editions.<br />
THE AUTHOR.<br />
<br />
The Analytical Table is divided into 13 Classes; also New Books and New Editions.<br />
<br />
<br />
<br />
<br />
<br />
Divisions.<br />
Theology, Sermons, Biblical, &c.<br />
Educational, Classical, and Philological<br />
<br />
Novels, Tales, and Juvenile Works<br />
<br />
Law, Jurisprudence, &c. Se — eae <n<br />
Political and Social Economy, Trade and Commerce<br />
Arts, Sciences, and Illustrated Works ‘<br />
Voyages, Travels, and Geographical Research<br />
History, Biography, &c. 3 a<br />
<br />
Poetry and the Drama ... ru, ee<br />
<br />
Year-Books and Serials in Volumes ...<br />
<br />
Medicine, Surgery, &e. ... ers ne<br />
Belles-Lettres, Essays, Monographs, &c. Bae noe<br />
Miscellaneous, including Pamphlets, not Sermons ...<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
1901. | 1902.<br />
New Books. New Editions. New Books. New Editions,<br />
ee eee |<br />
441 78 | 567 81<br />
541 qT. 504 68<br />
1,513 479 1,743 127<br />
109 37 88 46<br />
351 104 463 130<br />
310 28 420 44<br />
174 | 30 162 38<br />
438 98 480 57<br />
202 60 | 272 76<br />
844 408 _<br />
169 68 153 84<br />
293 32 227 : 44<br />
70 8 352 147<br />
4,955 1,089 5,839 1,542<br />
4,955 5,839<br />
6,044 | 7,381<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
ee<br />
HE question of the Distribution of Books<br />
1 is one that deserves much more attention<br />
than is usually given to it. It is compara-<br />
tively easy for a publisher to produce a book ; it is<br />
very much more difficult to secure its distribution.<br />
For the former a certain amount of taste and<br />
experience of printing, paper, and boarding is<br />
necessary ; for the latter much more is needed.<br />
Sir Walter Besant frequently insisted that a book<br />
is not really published till it finds its way to the<br />
bookseller’s counter, and this truth cannot be too<br />
often repeated. ‘The problem that faces every<br />
publisher is how to get his books brought before<br />
the direct notice of the public.<br />
<br />
The usual method adopted by publishers for<br />
giving publicity to their books is the following :—<br />
An edition of a given quantity of copies is printed.<br />
This may vary from a few hundreds in the case of<br />
an edition de luxe, or expensive art or technical<br />
book, or an historical work, to many thousands in<br />
the case of a popular novel. Of this first edition<br />
a certain number of copies are boarded. In the<br />
case of a popular novel the whole edition may be<br />
boarded at once; in the case of a work on history,<br />
of which say one thousand copies are printed,<br />
perhaps 400 copies may be boarded to begin with.<br />
When the book is boarded copies are sent to news-<br />
papers for review ; and the book is “ subscribed,”<br />
2.e., it is shown to all the booksellers in London<br />
who buy such quantities as they think they can use.<br />
<br />
In the “ provinces,” 7.¢., in all places outside<br />
London, books can rarely be shown to the book-<br />
sellers on the day of publication, as the commercial<br />
travellers who take them round visit the various<br />
towns only twice a year as a rule. Sometimes,<br />
especially in the case of popular novels, books are<br />
ordered in advance of publication. The public<br />
and the booksellers in the “ provinces” have to<br />
<br />
trust for their information about new books to the<br />
publisher’s advertisements. Where and how much<br />
to advertise is the problem of publication. In<br />
many cases many hundreds of pounds are spent in<br />
advertising an individual book, and it is impossible<br />
to tell how far this expense is profitable.<br />
<br />
Such is the method adopted almost universally<br />
for bringing books before the notice of the public.<br />
Reviews and advertisements, and, in some cases,<br />
circulars, are all that the public can depend on for<br />
information as to books. The booksellers buy or<br />
do not buy according as they think there is likely to<br />
be or not to be a demand for the books shown to<br />
them by the publishers, and the publishers in<br />
almost all cases rest satisfied that with advertise-<br />
ments and copies sent for review their responsibility<br />
to the public ceases.<br />
<br />
In the case of novels by popular writers they are<br />
probably quiteright. Thepublicwanttoread these,<br />
and they are content to order them without seeing<br />
them. But it is quite different with books which can-<br />
not have more than a limited sale. The bookseller<br />
often cannot risk the purchase of these. The public<br />
will not buy them withoutseeing them. Ifthe books<br />
do not therefore reach the booksellers’ counters they<br />
do not get a fair chance. It is with regard to these<br />
books that a modified form of “sale or return”<br />
might, I think, be adopted with great advantage,<br />
alike to publisher, bookseller, and the public.<br />
<br />
The plan of sending out books “on sale or return”<br />
has so far not been popular in this country with<br />
either publishers or booksellers. But times and<br />
conditions are changing. Before the introduction<br />
of the “ nett ” system the bookseller made little or<br />
no profit off those books which had only a limited<br />
sale, as he was expected to give off them the same<br />
discount as he gave off popular novels which he<br />
bought in quantities on much better terms. The<br />
adoption of the system of “sale or return,” so<br />
frequently advocated in The Author, had therefore<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
no attraction for him. But the introduction and<br />
rapid development of the “nett” system has placed<br />
‘sale or return” on quite a different footing. On<br />
“nett ’’ books the bookseller can make a profit on in-<br />
dividual copies, and it may in many cases be of great<br />
value to him to have books sent “ on sale or return.”<br />
<br />
Before going further it is necessary to point out<br />
that it would be impracticable to make this plan<br />
compulsory on either publisher or bookseller.<br />
The reasons for such restriction are obvious.<br />
On the side of the publisher if he were to be<br />
compelled to send books “on sale or return”<br />
to any bookseller who asked for them, he might<br />
be forced to print and board far more copies of<br />
a book than was advisable; while if the book-<br />
seller were to be compelled to receive “on sale or<br />
return” all the books that the publisher wished<br />
to send him, his shelves would very soon overflow.<br />
But with the reservation that publishers and book-<br />
sellers would, therefore, both have to be allowed to<br />
refuse to send or to accept books “onsale or return,”<br />
the system might, I think, well be allowed a fair trial.<br />
<br />
Let us now look at its advantages and disadvan-<br />
tages from the points of view of (1) the publisher,<br />
(2) the bookseller, (3) the public.<br />
<br />
(1) The disadvantages to the publisher are three-<br />
fold: (a) He does not know at once what number<br />
of copies he sells outright ; (b) the system would<br />
involve a slightly more elaborate bookkeeping ;<br />
(c) he might receive back some copies with the<br />
boards soiled. But the advantages would greatly<br />
outweigh the disadvantages. The publisher would<br />
be entitled to charge a slightly higher price for books<br />
sent “on sale or return” than for those a bookseller<br />
bought outright, and this would probably recoup<br />
him for the cost of his extra bookkeeping. The<br />
risk of copies coming back damaged need not be<br />
considered seriously. For if a publisher boarded,<br />
say, 400 copies of a book, and sold 200 outright<br />
—and this is no uncommon experience—it is a<br />
matter of little moment whether the other 200 are<br />
damaged or not if they have eventually to go into<br />
his stores. On the other hand, if these 200 copies<br />
are shown on booksellers’ counters, the chances are<br />
that a considerable proportion of them will be sold.<br />
All booksellers know how often the sale of a book<br />
is lost because it is not at hand or cannot be seen.<br />
Moreover, the publisher would be saved much<br />
expense in advertising. He advertises and inserts<br />
extracts from reviews in his advertisements to let<br />
the public know of the books and their contents.<br />
Much of this advertising would be unnecessary if<br />
the public knew that in every large town one book-<br />
seller at least would be sure to have in stock, or<br />
could get on sight, all really good books. The<br />
judicious use of “sale or return,” by which book-<br />
sellers would become agents for the publishers,<br />
should be to the publishers of very great value.<br />
<br />
121<br />
<br />
(2) That this system would be of great advan-<br />
tage to the bookseller is obvious. He would be<br />
saved much bad stock—which is as bad for the<br />
publisher as for the bookseller—as the latter is<br />
cautious with the books of those publishers whose<br />
books become bad stock, and he would frequently<br />
be able to oblige his customers by letting them see<br />
books in which they are interested.<br />
<br />
(8) Lastly, the system would be of great value<br />
to the public. At present the public may fairly<br />
complain that in many cases they cannot see a<br />
book before purchasing it. The booksellers cannot<br />
be blamed for this. It is unreasonable to ask them<br />
to buy a particular book on the chance of an<br />
individual customer wishing, after seeing it, to<br />
purchase. But surely it would be wise for the<br />
publisher in such cases to be willing to submit<br />
his publication for inspection through the book-<br />
sellers. The bookseller or his customer would<br />
pay the carriage, and in the event of the book<br />
not being kept, it would be returned free of cost.<br />
Of course, the publisher might have to refuse if<br />
his stock of copies of the book in question were<br />
small, but if he had plenty of copies he would<br />
be consulting his own interest in meeting the<br />
convenience of the public.<br />
<br />
The “nett” system has done much to improve<br />
the conditions of bookselling. I believe the adop-<br />
tion of the system of “sale or return” in some<br />
such way as I have indicated would improve those<br />
conditions still more. It would be no small thing<br />
for the spread of literature if in every town there<br />
was a bookseller’s shop where practically all good<br />
books might be seen. The cry of the “decay of<br />
bookselling” would cease to be heard in the land.<br />
<br />
Rosert MacLeHoss.<br />
—_———__1+—}—<br />
<br />
A DICKENS’ FELLOWSHIP DINNER.<br />
<br />
[Printed with the kind permission of The Sunday Times. |<br />
<br />
<br />
<br />
Se<br />
T is probable that when he wrote “The<br />
| Christmas Carol” Dickens did not dream of<br />
the practical spirit in which his precepts<br />
would be carried out by the Fellowship which has<br />
identified itself with his name. Indeed, when the<br />
novelist penned the moving story of the miserly<br />
spirit turned philanthropist, the idea of a Fellow-<br />
ship had not yet taken shape in any man’s mind.<br />
It was only last October that the Fellowship came<br />
into concrete existence, and to-day it has members<br />
wherever the English language is spoken and<br />
English literature is read. This is a proof, if proof<br />
there need be, that the humanitarian spirit which<br />
moved one of the greatest masters of fiction of<br />
recent times still animates his fellow-countrymen<br />
in whatever part of the globe they may find<br />
<br />
<br />
122<br />
<br />
themselves. The day of the Dinner was a red-letter<br />
one in the history of the Fellowship. It was<br />
a day of merry-making, of feasting, and of song,<br />
upon which the spirit of Dickens’ work cast a<br />
benign and happy influence. For in the practical<br />
spirit of the world-famous Carol, the Dickens’<br />
Fellowship entertained a thousand of London's<br />
poor children to dinner and an entertainment<br />
at the Alexandra Trust, City Road. Funds had<br />
come in from members of the Fellowship and<br />
their friends sufficient in amount to entertain<br />
3,000 little ones ; and as it was impossible, owing<br />
to the exigenciesof building space, to entertain them<br />
all at the same time in the same place, the other<br />
2,000 will take their turn later. The invitations<br />
to the feast were distributed with a catholicity of<br />
spirit as broad as that which pervades Dickens’<br />
every volume. It was enough that the little guest<br />
was a child of poor parents, no matter what their<br />
party or creed, to enable it to be bidden to a<br />
festive board laden with Christmas fare and distri-<br />
buted by an army of willing workers without stint.<br />
In their anxiety to seat themselves at the tables the<br />
little ones fell over each other in climbing the<br />
stairs, in some instances sadly disarranging the<br />
best attire. But they quickly picked themselves<br />
up and passed in a continuous stream into the<br />
rooms on the first and second floors marshalled by<br />
many willing helpers. When all had found seats, a<br />
ménu was served, in which the principal items<br />
were roast beef and roast mutton, with two<br />
vegetables, and plum pudding ; and then, when<br />
the small guests had eaten to satiety, they were<br />
handed each a bag of sweets and an orange, and<br />
finally a bon-bon, the gift of Mr. Hall Caine.<br />
Then came the second half of the entertainment,<br />
for which the first half had prepared them. The<br />
children screamed with laughter, and were moved<br />
to tears by many of the readings, recitations, and<br />
songs contributed by a number of ladies and<br />
gentlemen, who gave their services gratuitously.<br />
The I.D.K. Minstrels presented a programme with<br />
more than a dozen good things in it, and as the<br />
shadows gathered, and evening grew into night,<br />
the little guests were dismissed to their homes in<br />
the neighbourhood, smiling and happy, to experi-<br />
ence anew in their childish dreams the incidents of<br />
a day which they will not soon forget.<br />
<br />
———_ ++<br />
<br />
CORRESPONDENCE,<br />
<br />
<1 —<br />
NETT OR NET?<br />
To the Editor of THE AUTHOR.<br />
<br />
S1r,—It is pleasant to note how The Author con-<br />
sistently upholds in its columns the first-named<br />
mode of spelling this word. Why are publishers,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
for the most part, equally persistent in their<br />
adherence to the latter method ? I have had more<br />
than one friendly bout with them upon the subject,<br />
and still travel along sanguine lines in the hope of<br />
a conversion to my way of thinking. For it cer-<br />
tainly does seem to me, as it may to other writers,<br />
that uniformity is very desirable over so important<br />
an indicator. I plump, as does this organ of ours,<br />
for the employment of “nett” as opposed to the<br />
less distinctive “net,” and am inclined to believe<br />
that the adoption would meet with fuller accept-<br />
ance from the literary world in general. There is<br />
much value in a ‘‘t,” say I,<br />
Oup Birp.<br />
Authors’ Club, 8.W.<br />
<br />
<br />
<br />
—<>—+ —<br />
To the Editor of THe AUTHOR.<br />
<br />
Sin,—Publishers complain of the absence of<br />
first-class authors, and they admit, as far as my<br />
acquaintance with them goes, that a large amount<br />
of the books published have no permanent value.<br />
<br />
But is not some of all this dearth caused by the<br />
publishers themselves ?<br />
<br />
I know a gentleman, a good writer, but not<br />
very well known, who devoted ten years to writing<br />
a really clever book, and well spoken of. The<br />
publisher he came in contact with (a London<br />
publisher) would publish the book on commission—<br />
cost about £90; but mark, the profit to author<br />
would be £17.<br />
<br />
Is such an agreement and profit likely to induce<br />
people of ability to write? I think not.<br />
<br />
Publisher said there would be some extra profit<br />
for advance proof copies sold in America.<br />
<br />
Yours,<br />
“ SENEX.””<br />
oe<br />
<br />
To the Editor of THe AUTHOR.<br />
<br />
Srr,—I lately published a volume of poems<br />
which called forth some twenty notices, from which<br />
I give some extracts :—<br />
<br />
“The title of this volume<br />
<br />
<br />
<br />
indicates accurately<br />
enough ” —Scotsman.<br />
“Thought predominates<br />
<br />
over fancy.”—Sceotsman.<br />
<br />
“Has the power of clearly<br />
expressing his views.”—<br />
Yorkshire Herald,<br />
<br />
“ Well worth reading,” re-<br />
ferring to the book as a<br />
whole.—ZJrish Times.<br />
<br />
“The title gives no clue to<br />
<br />
the contents.”—Church<br />
of England Pulpit.<br />
<br />
“The author is the servant<br />
of hisrhymes and metres.”<br />
—Sheffield Telegraph.<br />
<br />
“Never succeeds in pro-<br />
ducing clear impressions.”<br />
—Daily News.<br />
<br />
“ Regretfully we lay aside”<br />
the volume with dis-<br />
appointment.— Birming-<br />
ham Post.<br />
<br />
“ Every white will have its black,<br />
And every sweet its sour.”<br />
<br />
But of what use are the critics to the public<br />
<br />
or to<br />
<br />
Yours faithfully, ,<br />
<br />
LANK ?<br />
<br />
<br />
<br />
<br />
GENERAL MEMORANDA.<br />
<br />
—_ -—~<—+ —<br />
ERE are a few standing rules to be observed in an<br />
q agreement. There are four methods of dealing<br />
<br />
with literary property :—<br />
: I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
i Il. A Profit-Sharing Agreement (a bad form of<br />
198 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 />
5 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 />
a ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “ office expenses,”<br />
it unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
ol rights.<br />
) (5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
A As well bind yourself for the future to any one solicitor or<br />
sob doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
| proposed royalty means to both sides. It is now possible<br />
101 for an author to ascertain approximately and very nearly<br />
sf} thetruth. From time to time the very important figures<br />
connected with royalties are published in Zhe Author.<br />
Readers can also work out the figures themselves from the<br />
“ Cost of Production.”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
<) (2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
wh<br />
<br />
<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
ig above mentioned.<br />
: Such combinations are generally disastrous to the author.<br />
: Never sign any agreement without competent advice from<br />
i! the Secretary of the Society.<br />
ey Stamp all agreements with the Inland Revenue stamp.<br />
i Avoid agreements by letter if possible.<br />
7 The main points which the Society has always demanded<br />
<br />
“from the outset are :—<br />
ya C1.) That both sides shall know what an agreement<br />
s ‘means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
<br />
<br />
—~<++<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
2 ge<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
123<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gvoss receipts<br />
<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (%.¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning. pS<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTIIORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
<<<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
— + —<br />
<br />
Li VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member,<br />
<br />
<br />
124<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) Io enforce payments due according to<br />
agreements,<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
————__ ~~ +<br />
<br />
THE READING BRANCH.<br />
<br />
t+<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
MSS, includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
1<br />
<br />
NOTICES.<br />
—<br />
<br />
\HE Editor of Zhe Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s, 6d. subscription for the year.<br />
<br />
THE AUTHOR.<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, 8.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish,<br />
<br />
eh 9<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EDITOR on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
><br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—<br />
<br />
()* the 29th November, 1902, the Danish<br />
Lower House passed, by a unanimous vote<br />
of the sixty members present (fifty members<br />
<br />
were absent), the new law for the codification of<br />
the Danish Law of Copyright, as a preliminary<br />
step towards the entrance of Denmark into the<br />
Berne Union. This action of the Danish Parlia-<br />
ment is highly significative. In 1894 a contrary<br />
decision was carried by a vote of forty-seven against<br />
forty ; and in 1897 a majority of seven votes (forty-<br />
eight against forty-one) resolved upon a course of<br />
restrictive measures certain to render entrance<br />
into the Berne Convention impossible.<br />
<br />
et<br />
<br />
A Hungarian author has done us the honour<br />
of calling at the office.<br />
<br />
Amongst other questions that came under dis-<br />
cussion he pointed out that a great many of the<br />
Hungarian newspapers and magazines pirate the<br />
works of English authors in translated form ;<br />
and he promised, on his return to his native land,<br />
to forward a list of stories with the names of the<br />
authors and the papers that were pirating them.<br />
He asked the secretary if it would be possible to<br />
do anything to stop these cases of infringement,<br />
and frankly confessed that he did not desire this<br />
so much for the benefit that might accrue to the<br />
English author, as for the benefit to the young<br />
Hungarian. Any action taken would give to<br />
native authors a chance of some adequate reward<br />
<br />
<br />
<br />
<br />
it<br />
il<br />
<br />
HW<br />
|<br />
Q<br />
<br />
><br />
<br />
cdl > peng? poten,<br />
<br />
a)<br />
+<br />
J<br />
)<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
in return for their labour, and to Hungarian<br />
literature a chance of expansion.<br />
<br />
Not many months ago a deputation of Hungarians<br />
waited on the authorities and urged on the Govern-<br />
ment the necessity of joining the Berne Convention.<br />
One important reason was put forward. Thepiracy<br />
of French and English authors fostered in the<br />
Hungarian youth the sentiments and feelings of<br />
foreigners and failed to inspire them with a<br />
patriotic feeling and a love of their country.<br />
<br />
The whole of this movement points to the fact<br />
often reiterated in these pages, that the wider<br />
the protection given to authors of any individual<br />
country for their works throughout the world,<br />
under the Berne Convention or separate treaty,<br />
the wider and fuller will be the literature of that<br />
country. It may be as well to remark once<br />
more that any deviation on the part of an English<br />
colony from this standpoint, in order to obtain<br />
some supposed benefit to its own authors, or to<br />
foster its own literature, must meet with failure.<br />
The mere fact that publication throughout the<br />
British Empire carries with it, not only copyright<br />
throughout the British Empire, but copyright<br />
under the Berne Convention in all the civilised<br />
countries of Europe, and, with certain limitations,<br />
in the United States of America also, is a sure<br />
guarantee that the best assistance that it is possible<br />
to grant to authors is being given to the colony<br />
that adheres to the Imperial copyright Acts.<br />
<br />
We quote the following from the S/. James’<br />
Gazette :—<br />
<br />
“The next is to be a Habitual Writers Act. It is de-<br />
signed for the prevention of bad and hurried books. Any<br />
author against whom three publications can be proved in<br />
one year will be placed on the black list, and for a period<br />
of three years publishers will be forbidden to serve him.<br />
Any author who attempts to write a novel while in charge<br />
of babies or young children will, on conviction, be made<br />
todo so. So we are incredibly informed.”<br />
<br />
Ink Drunkards! According to some—we print<br />
a short essay on the subject—this is already a<br />
reality. It may be, therefore, that one day the<br />
jester of the St. James’ will find his prophecy<br />
realised.<br />
<br />
One question, however, may arise under the<br />
Licensing Act affecting copyright. We under-<br />
stand that the police intend to send a series of<br />
photographs of habitual drunkards to the owners<br />
of public-houses and others. The danger of giving<br />
away the copyright in a photograph is constantly<br />
recurring, and has been alluded to in the pages of<br />
The Author.<br />
<br />
It is not impossible that the following events<br />
might happen :—<br />
<br />
A man writes a book entitled “The Confessions<br />
<br />
125<br />
<br />
ofa Habitual Drunkard.” The book has a successful<br />
sale. Immediately one or two of the editors of<br />
reviews are seized with a desire to publish the<br />
photograph of the author, yet owing to the modesty<br />
of the writer fail to obtain one. All they have got<br />
to do is to enter the nearest public-house. Here no<br />
doubt they could procure a copy for nothing.<br />
<br />
To whom would the copyright in the likeness<br />
taken for the purpose of the Act belong? Would<br />
it belong to the police authorities, or would it be<br />
public property ? If to the police authorities,<br />
could they restrain publication ? Is it possible<br />
that the author could claim damages ?<br />
<br />
The probability of such a complicated question<br />
arising seems to be remote. The point is academic.<br />
<br />
_ The following brief extract from a long parody<br />
in the “Outlook,” puts forward in no indistinct.<br />
manner the opinion of some modern critic.<br />
<br />
He writeth best who writeth least<br />
<br />
Of trumped-up loathsomeness ;<br />
<br />
Who trusteth man is more than beast,<br />
And doth this faith confess.<br />
<br />
He writeth best who writeth most<br />
Of high and wholesome things,<br />
<br />
Not making man’s clay feet a boast,<br />
But his soaring, heavenly wings.<br />
<br />
It is the custom of many authors to carry note-<br />
books with them, in which to jot down their own<br />
ideas and,—rumour reports,—the ideas of other<br />
people. We trust that no member of the society<br />
has ever met with the following experience :—<br />
<br />
“+A lady went into a stationer’s shop and inquired<br />
of the obsequious assistant for a notebook. ‘ 1 want<br />
something I can carry in my pocket to jot down<br />
ideas.’ The assistant, with extraordinary lack of<br />
judgment, replied, ‘Oh! you want something very<br />
small.” Unfortunately he did not explain whether<br />
his remark applied to the size of the lady’s pocket<br />
or of her brain.”<br />
<br />
—__—_—__—_—_+——_e__.<br />
<br />
A LITERARY ACADEMY.<br />
<br />
—+ +<br />
<br />
I.<br />
OBSERVE that the project of Mr. Herbert<br />
Trench which began “Academy,” with all<br />
the implications of that title, is now changing<br />
its nature to a “Guild.” This is more hopeful.<br />
It is to be a self-constituted guild, electing the<br />
academy—which is really quite a new thing in<br />
academies altogether. I sympathise deeply with<br />
all the noble prelusions of Mr. Herbert Trench ; I<br />
feel, perhaps even more deeply than he does, the:<br />
<br />
<br />
126<br />
<br />
need of a common chamber of literature in which<br />
men of all professions may meet ; but I think it<br />
will only be by toil and extraordinary good fortune<br />
that this guild of his can be made any better<br />
than the abandoned idea of an Academy by Royal<br />
Charter. Suppose, in order to get to something<br />
definite, we take his assertions about the con-<br />
temporary prospects of letters as true, and ask<br />
him to go on from his “ brave beginning ” of Messrs.<br />
Shorthouse, Bury, Housman, and so forth, to give<br />
us a really definite scheme for his guild. There<br />
are some enormous difficulties. How will he pre-<br />
vent the impostor swamping his guild from the<br />
outset if he leaves the door wide open? If he<br />
does not, what will it be but a clique—Mr. Trench<br />
and party? I submit it is these practical diffi-<br />
culties that trouble me. The enormous good the<br />
guild might do if only it could be invented I do<br />
not for one moment dispute. But Mr. Trench<br />
has not by any means invented it yet. His<br />
waving rhetoric, his generous bunting, must not<br />
hide from us that elementary defect.<br />
<br />
If I might offer a suggestion, it would be that<br />
Mr. Trench should give us a list, or conspire with<br />
a few others to give us a list, of his possible guild.<br />
He might write to this authoritative person or<br />
that for the suggestion of a name or so. Suppose<br />
he were to begin with two hundred or three hun-<br />
dred names, appending by way of justification the<br />
name of at least one diploma work to each name<br />
(for example, I will confess I did not know what<br />
Professor Bury had written until I consulted a<br />
work of reference). That list could be printed<br />
close in small type in a page or so of The Author.<br />
Then we could criticise omissions and inclusions,<br />
mote the excessive representation of any type or<br />
school, and get a clearer conception—and help<br />
Mr. Trench perhaps to a clearer conception—of<br />
his desirable, but I fear quite impracticable, project.<br />
<br />
H. G. WELLS.<br />
<br />
—<br />
<br />
Il.<br />
<br />
Ir an Academy of Letters did no more than<br />
‘publish an official magazine, uninfluenced by ad-<br />
vertisement, in which only books of a certain<br />
-standard were reviewed, it would justify its exist-<br />
ence. I suppose Londoners can have no conception.<br />
of the darkness in which provincial lovers of<br />
literature dwell. We never see a good book either<br />
in our public libraries or bookshops, and we have no<br />
guide in which to place confidence. In my country<br />
town there are three or four libraries, and from<br />
these into my home every week come at least six or<br />
seven novels of a general badness unspeakable.<br />
Half of them go back unread even by the devourer<br />
of light fiction, for whom they are brought. I<br />
don’t believe any one on earth could read them.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
But there is little else to be had ; and although [<br />
hear the continual plaint, “I can’t get anything fit _<br />
to read” from all sorts and conditions of men, yet<br />
the stream flows on, giving no satisfaction to any-<br />
body. Iam convinced that if a stamp were put<br />
upon works of merit, the average man and woman<br />
of no great literary taste, but of sterling common<br />
sense, would be thankful for such a chance of<br />
deliverance from the time-wasting toils of the<br />
twaddlemonger. As things are, they have to<br />
swallow the mess that is put before them and<br />
make the best of it. :<br />
<br />
The shocking muddle we are now in—our<br />
libraries choked with rubbish, our publisherg’<br />
shelves groaning with books that no bookseller<br />
will show—calls for a radical change. Of the<br />
thousands of books printed, only a comparative<br />
few ever sell, and it is a wonder any publisher can<br />
be induced to issue one by an unknown author, in<br />
face of the fact that no bookseller will stock it,<br />
How can he? No shop is large enough to ho<br />
even a tenth of the spring and autumn output in<br />
novels alone. Poor bookseller! He is bewildered<br />
with advertisements and reviews. Poor publisher !<br />
He never knows what the public will ery after or<br />
reject. Poor author! There is one chance in @<br />
thousand that his book will reach the public at all.<br />
Something must be done. Can an Academy of<br />
Letters do it ?<br />
<br />
We nurse a fainting belief that the best will<br />
survive, and that if we try strenuously to produce<br />
works of art, our aspirations and our efforts wil<br />
be recognised sooner or later. At present recog<br />
nition certainly seems to come by accident rathe<br />
than by any inevitable law, but this is because 0<br />
the muddle we are in. An Academy of Letters<br />
might sift the grain from the chaff; and if i<br />
could not make artistic merit popular, which is<br />
perhaps, too much to expect, it could keep aliv<br />
the flame that is fed by sympathy and apprecia<br />
tion, for the lack of which many a soul-starved<br />
genius has been driven to desperate deeds 0<br />
mediocrity. To lose the faith is to let ideals sink<br />
and how shall a man continue to believe in art<br />
when all his world flouts it ?<br />
<br />
Mary L. PENDERED.<br />
<br />
<br />
<br />
<br />
<br />
—-— 4 ——<br />
<br />
Til.<br />
<br />
WHEN so many celebrities are writing in you<br />
pages on the subject of a proposed Academ,<br />
Letters, perhaps it may amuse your readers to hear<br />
what an absolute nonentity has to say about it.<br />
My impression, on reading the various letters<br />
from the great and published, appearing from time<br />
to time in Zhe Author, has been, and is, that it.<br />
all, to quote a type of author, “ very beautiful.<br />
<br />
<br />
og<br />
? d<br />
ig<br />
oh<br />
od<br />
Se<br />
<br />
otf<br />
<br />
de<br />
<br />
a9<br />
<br />
Ue<br />
p<br />
<br />
ak<br />
HOLE<br />
dg<br />
<br />
But its beauty on a close inspection strikes one as<br />
a trifle disingenuous in some cases.<br />
<br />
With all the talk, and there is much, about<br />
benefiting us honest strivers, hardly a word of<br />
honours to be conferred, of knighthoods—perchance<br />
peerages—for presidents, of social advantages to<br />
be reaped by every member. It is almost too<br />
beautiful to be true,<br />
<br />
Mr. Trench indeed recognises the possibility of<br />
such blessings, for he writes : “It behoves greatly,<br />
therefore, that for the State’s own sake, some<br />
honest endeavour is made to distinguish and reward<br />
those who practise this art (literature) with signal<br />
excellence.”<br />
<br />
Now, when, in the name of goodness, was<br />
distinction and reward from the highly-placed,<br />
aught but tortoise dropped on the head of genius ?<br />
Hardy talent may withstand the blow, but delicate<br />
genius is inevitably cracked thereby.<br />
<br />
In the same way competition, which an organ-<br />
ised system of rewards and distinctions would<br />
inevitably beget, is death to genius, though it is<br />
the breath of life to mediocrity.<br />
<br />
By the way, what is genius? Thus much |<br />
know of it: that there is nothing more individual<br />
under the sun; nothing that so objects to<br />
restrictions of any kind. Now, who is going to<br />
assure us that this, perhaps, forthcoming Academy<br />
will not set up a standard of its own? Genius<br />
would assuredly shy at any hard and fast desider-<br />
atum of style, say, anything at all resembling a<br />
chalked blackboard ; and, unless I misunderstand<br />
Mr. Trench, it is principally for genius that his<br />
Academy is designed.<br />
<br />
Think of the Newdigate and Seatonian prize<br />
compositions, and wonder whether productions as<br />
ungainly may not some day be crowned by an<br />
English Academy of Letters. In order that the<br />
rarest order of genius may have a chance of<br />
<br />
_ growth, I believe that the Bohemian character of<br />
<br />
our brotherhood should be preserved, rather than<br />
abandoned for an organisation, however august,<br />
however much patronised and decorated by<br />
Royalty.<br />
<br />
And are women to be taken into glory if they<br />
deserve it? Mr. Trench has not, that | can find,<br />
committed himself on this point, perchance for fear<br />
of alienating so large a section of our society.<br />
But he has hazarded a statement calculated to<br />
rouse another, and, I think, a large section. His<br />
suggestion of a “ Guild of Literature” is nice and<br />
soothing after that awe-inspiring vision of a Royal<br />
Academy full of immortals, like an omnibus on a<br />
rainy day, until we get to the end. And then—<br />
<br />
i and then: “ Recruited from the intellectual refuse<br />
<br />
<br />
<br />
of Europe”! How polite to the numerous clerical<br />
members of the Society of Authors. What exquisite<br />
good taste! But better follows.<br />
<br />
THE AUTHOR.<br />
<br />
127<br />
<br />
Of the churches, he says: ‘‘The brains are out,<br />
the man must die.” A haunting metaphor, and<br />
an ominous. A man whose brains are out is very<br />
near dead. Poor churches !<br />
<br />
And “this new Society of the Spirit—this new<br />
Guild of Literature” is, he as good as tells us,<br />
going to supersede all the churches that ever were.<br />
He declares his hostility to Christianity, an unwise<br />
step at the very outset, if he really wishes to found<br />
a representative Academy of Letters in a Christian<br />
land. “We must look to art and science (!) to<br />
bear on the torches relinquished by religion.”<br />
Truly Mr. Trench is laying about him with a<br />
vengeance, smoky torch in hand, And all this<br />
about an unformed Academy, which we nonenti-<br />
ties, being far removed from the chance of entering<br />
it and reaping any of the benefits there to be con-<br />
ferred, should regard as a very doubtful blessing<br />
indeed—possibly a nuisance. That, in place of<br />
Religion (the capital is Mr. Trench’s). What a<br />
comfort for us sinners on our deathbeds!<br />
<br />
MARMADUKE PICKTHALL.<br />
<br />
—_——_+—_<>__—___—_-_<br />
<br />
THE NEW BRITISH ACADEMY.<br />
<br />
——1—<—+ ——-<br />
<br />
HE British Academy for the Promotion of<br />
Historical, Philosophical, and Philological<br />
Studies has at length come into being.<br />
<br />
The story of its evolution, and the practical<br />
reason for its existence may be stated shortly as<br />
follows.<br />
<br />
At a meeting of the chief European and<br />
American Academies held at Wiesbaden in October,<br />
1899, a scheme was drawn up for the organisation<br />
of an International Association of the principal<br />
scientific and literary academies in the world.<br />
This association was to be divided into two sec-<br />
tions:—Natural Science, and Literary Science,<br />
the term “literary”? being used to indicate<br />
sciences of language, history, philosophy, and<br />
antiquities, and other subjects, the study of which<br />
was based on scientific principles.<br />
<br />
The Royal Society was, of course, a fitting repre-<br />
sentative of Natural science ; but certain of those<br />
who were present considering that no existing<br />
institution was competent to stand for the section<br />
dealing with historical,philosophical, and philological<br />
studies, deemed it a matter of vital importance that<br />
the United Kingdom should be effectively and<br />
honourably represented at any future International<br />
Congress. This view the delegates of other nations<br />
strongly supported. ‘The United Kingdom they<br />
said should take immediate steps to secure corporate<br />
representation. Accordingly, measures were adopted<br />
to procure a charter of incorporation for a British<br />
<br />
<br />
<br />
<br />
<br />
<br />
ie<br />
<br />
Academy to promote the study of the subjects set<br />
out above.<br />
<br />
The draft charter which was submitted to His<br />
Majesty states succinctly the purposes for which the<br />
Academy has been called into existence, and the<br />
powersthattheydemand. The Academy isto consist<br />
of a President, Council, and Fellows ; the President<br />
and Council being elected by the Fellows from<br />
among their own number. The government of<br />
the Academy is to rest in the Council and in the<br />
Fellows assembled in general meeting, the Academy<br />
having power to elect honorary members should it<br />
deem fit to do so, and to hold land in perpetual<br />
succession, not exceeding in the whole the annual<br />
value of £2,000. As there was noserious opposition,<br />
His Majesty granted the charter.<br />
<br />
The list will be of interest to members, as they<br />
will see among the names a great many of those<br />
who belong to the Society.<br />
<br />
This, then, is the beginning of the Academy.<br />
Its future lies in the womb of time. Will it bea<br />
practical Academy, aiding and stimulating study<br />
by honouring those who adorn the ranks of his-<br />
torians and philosophers, by encouraging those who<br />
are at the beginning of their career, or will it be<br />
merely ornamental, crowning a life of hard and<br />
strenuous work with anempty honour? It remains<br />
to be seen whether, to use a terribly trite phrase,<br />
it “fills a want.” At present, we understand, the<br />
executive are engaged in settling bye-laws and<br />
other details.<br />
<br />
A few days ago the French Academy of Political<br />
and Modern Sciences gave formal welcome to this<br />
the youngest member of the academic family.<br />
Lord Reay, as president, responded in an appropriate<br />
speech.<br />
<br />
President—The Right Hon. The Lord Reay.<br />
<br />
Council.<br />
<br />
Sir W. R. Anson, Bart. Sir R. C. Jebb.<br />
The Right Hon. James The Rev. Prof. Mayor.<br />
<br />
Bryce. Dr. J. A. H. Murray,<br />
Prof. I. Bywater. Prof. H. F. Pelham.<br />
Prof. T. W. Rhys The Rev. Prof. W. W.<br />
<br />
Davids. Skeat.<br />
<br />
The Rev. Prof. 8S. R. Sir E. Maunde Thomp-<br />
<br />
Driver. son.<br />
<br />
The Rev. Principal Dr. A. W. Ward.<br />
<br />
Fairbairn. Prof. James Ward.<br />
<br />
Sir C. P. Ibert.<br />
List of Fellows.<br />
<br />
Sir W. R. Anson, Bart. The Right Hon. James<br />
M.P. Bryce, M.P.<br />
<br />
The Right. Hon. A. J. Prof. J. B. Bury.<br />
Balfour, M.P. Prof. S. H. Butcher.<br />
<br />
THE AUTHOR.<br />
<br />
Prof. Ingram Bywater.<br />
<br />
Dr. Edward Caird.<br />
<br />
Prof. E. B. Cowell.<br />
<br />
The Rev. William Cun-<br />
ningham, D.D.<br />
<br />
Prof. T.W. Rhys Davids.<br />
<br />
Prof. A. V. Dicey, K.C.<br />
<br />
The Right Hon. Vis-<br />
count Dillon.<br />
<br />
The Rev. Prof. S. R.<br />
Driver, D.D.<br />
<br />
Prof. Robinson Ellis.<br />
<br />
Dr. A. J. Evans.<br />
<br />
The Rev. Principal A. M.<br />
Fairbairn, D.D.<br />
<br />
The Rev. Prof. Robert<br />
Flint, D.D.<br />
<br />
Dr. J. G. Frazer.<br />
<br />
Mr. Israel Gollancz.<br />
<br />
Dr. Thomas Hodgkin.<br />
<br />
Mr. 8. H. Hodgson.<br />
<br />
Prof.T.E. Holland, K.C.<br />
<br />
Sir C. P. Ibert, K.C.S.1.<br />
<br />
Sir R. C. Jebb, M.P.<br />
<br />
The Right. Hon. W.<br />
BE. H. Lecky, M.P.<br />
<br />
Prof. F. W. Maitland.<br />
<br />
Prof. Alfred Marshall.<br />
<br />
Sir H. C. Maxwell-Lyte,<br />
K.C.B.<br />
<br />
The Rev. Prof. J. E. B.<br />
Mayor.<br />
<br />
Dr. D. B. Monro.<br />
<br />
Secretary—Mr. Israel Gollancz.<br />
<br />
——_——___—_-<br />
<br />
OF BOOKBINDING.<br />
<br />
San Aine ane<br />
<br />
a recent disturbance in the bookbinding<br />
trade has, among other things, aroused<br />
some mild discussion as to the importance<br />
<br />
The Right Hon. John<br />
Morley, M.P. 2<br />
<br />
Dr. J. A. H. Murray.<br />
<br />
Prof. H. F. Pelham.<br />
<br />
Sir Frederick Pollock,<br />
Bart.<br />
<br />
Prof. W. M. Ramsay.<br />
<br />
The Right Hon. The<br />
Lord Reay, G.C.S.1.,<br />
G.C.L.E.<br />
<br />
Prof. John Rhys.<br />
<br />
The Right Hon. The<br />
Earl of Rosebery,<br />
K.G., K.T.<br />
<br />
The Rev. Prof. George<br />
Salmon, D.D.<br />
<br />
The Rev. Prof. William<br />
Sanday, D.D.<br />
<br />
The Rey. Prof. W. W.<br />
Skeat.<br />
<br />
Sir Leslie Stephen,<br />
K.C.B.<br />
Dr. Whitbey Stokes,<br />
<br />
C.S.1., C.1.E.<br />
<br />
The Rev. Prof. H. B.<br />
Swete, D.D.<br />
<br />
Sir E. Maunde Thomp-<br />
son, K.C.B.<br />
<br />
The Rey. H. F. Tozer.<br />
<br />
Prof. R. ¥. Tyrrell.<br />
<br />
Dr. A. W. Ward.<br />
<br />
Prof. James Ward.<br />
<br />
<br />
<br />
of the cover in the scheme of things that go to the<br />
making of abook. At one time it seemed possible<br />
that the autumn of 1902 might be memorable as<br />
the one in which books appeared wrapped in sere<br />
and yellow leaves; and the possibility of a pheno-<br />
menon go rare in this country could not fail to<br />
provoke debate as to its effect upon the trade.<br />
<br />
It should be premised that these notes are<br />
directed to case-work—to the binding of ordinary<br />
editions, and not to extra or library binding, which<br />
involves different and more elaborate treatment,<br />
and which may be brought into the domain of art<br />
by the caprice of individual taste, and the resources<br />
of a deep purse. It was only the ordinary editions<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ant<br />
<br />
<br />
<br />
THE AUTHOR. 129<br />
<br />
of which publication was lately jeopardised, and it<br />
is with the outside eovering of such books only<br />
that these random remarks are concerned.<br />
<br />
For my own part, I am willing to admit that to<br />
me the outside of a book is a matter of relatively<br />
small concern. Binding is to a book what dress is<br />
to a man, and I agree with Lord Chesterfield in<br />
thinking that dress is one of the various ingredients<br />
that contribute to the art of pleasing, and, there-<br />
fore, an object of some attention; for we cannot<br />
help forming some opinion of a man’s sense and<br />
character from his dress. I would, consequently,<br />
clothe my books as I would clothe my children,<br />
sensibly, but artistically withal ; but were I a<br />
millionaire, I would do no more. Their garments<br />
should be sufficiently distinctive to contribute<br />
something to the formation of that first impression<br />
upon which so much depends. They should be<br />
accurately clean for their own sakes; they should<br />
be of good workmanship, and able to withstand<br />
ordinary use at the hands of a man who loves his<br />
books and recognises his obligation to them ; and<br />
generally they should be unobtrusive, and an<br />
unnoticeable part of the book’s own entity.<br />
<br />
I have never been able to accustom myself to<br />
regard the cover in which a book leaves the pub-<br />
lisher as a merely temporary vestment. From this<br />
it follows that the yellow paper wrapper of the<br />
ordinary French book is an abomination in my<br />
eyes, although its frankly ephemeral nature is,<br />
perhaps, more honest than the ill-adjusted boards<br />
of many of our home products. The few French<br />
books which I possess cannot stand erect upon<br />
their shelves, but droop against the sides of the<br />
bookcase as if conscious that their moral character<br />
could not bear investigation, although they are in<br />
reality as innocent of evil as the sturdy Hcclesi-<br />
astical Polity which presents broad shoulders from<br />
the shelf above. They accumulate dirt, get dog-<br />
eared, split down the back, and fall to pieces at the<br />
first reading. If they hold together sufficiently<br />
long to reach the binder round the corner, it is<br />
well. The cheapest boards are preferable to the<br />
paper wrapper, and I almost think I would rather<br />
possess no books than paper-covered ones.<br />
<br />
Still, the French publisher makes no protesta-<br />
tions. My grievance with English publishers i;<br />
that, while professing to regard case- work as<br />
merely temporary, and consequently tolerating bad<br />
work from the binders whom they employ, they<br />
are, in fact, aware that the profession they make is<br />
not quite ingenuous. The public look for decent<br />
workmanship in the binding of the average novel,<br />
and, in England, they do not get it. It would be<br />
invidious to give specific instances, but the general<br />
assertion put forward by Mr. Putnam, for one, in<br />
his suggestive manual of suggestions, ‘‘ Authors<br />
and Publishers,” is well founded. ‘That assertion<br />
<br />
is that in America “it is the intention to produce<br />
case-work so strongly and effectively put together<br />
that the books may open well, and at the same<br />
time be so firmly bound as to stand all proper<br />
usage, and to remain as permanent coverings to<br />
the volumes ; whereas, abroad, it has never been<br />
considered necessary to treat edition work as any-<br />
thing more than a temporary covering for the<br />
book. Hence, abroad, the cloth-bound books are<br />
lacking in substantial sewing and in general<br />
strength of structure.” As regards that indict-<br />
ment, I think a true bill must be found ; and if<br />
the verdict be adverse, it is surely a matter for<br />
self-reproach.<br />
<br />
If a book is worth producing at all, it is worth<br />
producing well; and there must be something<br />
wrong somewhere for the difference in merit to be so<br />
marked as it is in this matter of binding between<br />
English and American books. A novel of my own<br />
was lately issued in both countries at approxi-<br />
mately the same published price. In England I<br />
was permitted to have a voice in the selection of<br />
the cover, and chose an ordinary cloth, plainly<br />
lettered, which, I thought, would be serviceable<br />
and unostentatious, and in every way appropriate.<br />
In America the matter was left entirely to the<br />
publisher’s discretion. I duly received presenta-<br />
tion copies from both houses, both, be it remarked,<br />
well-known and old-established firms of repute.<br />
The English volume would fall to pieces at the<br />
sniff of the first reviewer. The book is badly<br />
sewn, the sheets gape, the edges are unevenly<br />
trimmed, and all the mechanical details have been<br />
carried out in a slovenly fashion. The American<br />
volume opens freely, is perfectly folded and cased<br />
in, the cover is embellished with a peculiarly<br />
appropriate design of minute proportions, the<br />
lettering is plain and unmistakeable, and the<br />
volume will last longer than I shall. I can find<br />
no good reason for this difference between the two<br />
editions of a book, which I have singled out as an<br />
instance only because it happens to be my own.<br />
<br />
There seems to be a curious uncertainty of<br />
opinion among publishers as to the effect of the<br />
binding of a book upon its sales. I have known<br />
fifteen guineas to be paid for the design for the<br />
cover of a novel, published at three shillings and<br />
sixpence, and the design comprised nothing but<br />
some lettering, not particularly original in form.<br />
The novel was really literary, and its sale was<br />
counted by tens. I know another novel, not<br />
literary at all, of which the sale, counted by<br />
thousands, is attributed by the publishers entirely<br />
to the picture on the cover, the design for which<br />
cost a guinea. I am at a loss to understand the<br />
motive which prompted the publisher to spend<br />
fifteen guineas in the one case and one guinea In<br />
the other, and I am at a loss to understand why he<br />
130<br />
<br />
attributes the sale in the one case to the binding,<br />
and does not attribute the failure to sell in the<br />
other case to the same cause. :<br />
In this matter of florid decoration our English<br />
novels are also inferior to the American, and the<br />
fact can only be due to an idea that picture<br />
designs excite curiosity and promote sales. There<br />
is certainly no other justification for many of them.<br />
And yet such ornamentation may have a contrary<br />
effect ; one case has certainly occurred lately<br />
where the bookstall sale of a book was prohibited<br />
because the proprietors objected to the design upon<br />
its cover as meretricious, or in some way “im-<br />
proper,” and refused to stock the work ; yet this<br />
particular design was good art. —<br />
From these considerations arises a question of<br />
some importance to authors. Ifa publisher insists<br />
for commercial reasons upon having a picture cover,<br />
should not the author have some defined right to<br />
yeto any design to which he may take exception as<br />
being, say, in bad taste, or as conveying a false<br />
impression of the tone and scope of the book? It<br />
is not enough to suggest that this is a matter which<br />
may be left to mutual amicable arrangement, nor<br />
to reply that anything may be made a condition of<br />
the contract. A very usual and proper clause in<br />
agreements provides that all details of production<br />
and publication of a work shall be left to the<br />
publisher’s sole discretion, and even when the<br />
<br />
agreement is a royalty one it is possible that the<br />
author might have a legitimate grievance against<br />
<br />
the publisher in this connection. In the case ofa<br />
sale of copyright, whether for a term of years or<br />
absolutely, the author would, of course, have even<br />
less locus standi, the publisher being entitled to do<br />
what he pleases to sell his own property, even to<br />
the extent of printing it in white letters on purple<br />
paper, if he thinks such a line would appeal to a<br />
large public. Ifa modest and refined gentlewoman<br />
sold the copyright of her novel entitled, say, “ My<br />
Uncle,” would she, or would she not have cause<br />
for complaint if the publisher issued it with a cover<br />
emblazoned with the golden Balls of Lombardy.<br />
<br />
And the question opens up the still wider one<br />
of illustrations generally. ‘To say that the author<br />
shall have a legal right to dictate to the artist<br />
would be to drive the already worried publisher to<br />
distraction ; but on the other hand it would be<br />
manifestly hard upon a sensitive delicate-minded<br />
woman if her novels were issued by a comimercial-<br />
minded publisher adorned with pictures intended<br />
to appeal to the coarse imagination of peuple of<br />
the baser sort. Is it necessary to provide against<br />
such a contingency in all agreements, and, if so,<br />
how is to be done ? That the difficulty may arise,<br />
and even become acute, I do from my own<br />
experience know.<br />
<br />
V. E. M.<br />
<br />
THE AUTHOR.<br />
<br />
LONDON IN THE EIGHTEENTH CENTURY.*<br />
<br />
te<br />
<br />
HERE is a passage in Montaigne’s “ Essays ”<br />
fe which comes almost instinctively to mind<br />
as one opens this handsome, and alas !<br />
posthumous, quarto. “ Nous sommes nayz pour<br />
ayir,” says he in the Nineteenth Chapter of his<br />
First Book. “Je veux qu’on agisse, et quon<br />
alonge les offices de la vie, tant qu'on peult; et<br />
que la mort me treuve plantant mes choulx, mais<br />
nonchalant Welle, et encores plus de mon tardin<br />
imparfaict.” No one had learned that lofty lesson<br />
of doing more thoroughly than the author of<br />
“London in the Eighteenth Century.” It was<br />
more than thirty years ago that he first began to<br />
make notes for a vast “Survey,” which was to<br />
accomplish for the metropolis in the nineteenth<br />
century what John Stow had accomplished for it in<br />
the sixteenth, and tell its story from period to period.<br />
The task would have been a life work for an idle<br />
man ; it was a labour of Hercules for one whose<br />
sleepless energy and warm human sympathies,<br />
dissipated in many ways, left him barely breathing<br />
space; and it is no wonder, perhaps, that the<br />
“garden ” remains “ imperfect.” But, fortunately,<br />
there are different forms of imperfection. ‘There<br />
is the imperfection which is frankly truncated or<br />
fragmentary; and there is the imperfection which<br />
consists merely in the absence of other parts of<br />
the plan, each part being complete in itself. This<br />
is the case with the book which Sir Walter Besant<br />
has left behind him. It is an isolated portion of<br />
his contemplated ‘‘ Survey,” but inasmuch as it.<br />
comprises and includes a full and detailed account.<br />
of “ London in the Eighteenth Century,” it can<br />
afford to stand alone. “It represents,’ says<br />
Lady Besant in her Preface, “the continuous<br />
labour of over five years, and the active research of<br />
half a life-time. He [Sir Walter] was wont to:<br />
refer to it as his magnum opus, and it was the<br />
work by which he himself most desired to be<br />
remembered by posterity.”<br />
<br />
That his desire will be realised, there can be:<br />
little doubt. Other histories of London in the<br />
Eighteenth Century there may be, but it is not<br />
probable that any other historian is likely to<br />
approach the task with the same combination of<br />
qualities, the same faculty for extracting local<br />
colouring from obscure sources, the same feeling<br />
for the picturesque and graphic, the same passion<br />
for minute investigation, and the same enthusiasm:<br />
for the Past. To give an adequate idea of such<br />
a book would be difficult ; to turn its pages is to-<br />
tread the Eighteenth Century once more. In one<br />
picture you shall see the mouth of the old Fleet<br />
river; in another, Covent Garden, with its piazzas ;<br />
<br />
* By Sir Walter Besant (Adam and Charles Black, 1902).<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
ai in another, the Foundling Hospital, with its wide<br />
so) forecourt; in another, St. Bartholomew’s. With<br />
the aid of Gay’s “ Trivia,”, one of the chapters<br />
makes the tour of the ill-paved, cobbled streets ;<br />
another is devoted to that curious and rare<br />
pamphlet on “ Low Life” which suggested Sala’s<br />
“Twice Round the Clock.” There is an excel-<br />
lent dissertation on Dissenters ; there is another<br />
as good upon Superstitions, not omitting the Cock<br />
Lane Ghost. But those portions over which the<br />
» reader will probably linger longest are the sections<br />
headed “Manners and Customs,” and ‘‘ Society<br />
and Amusements,” the importance of which is<br />
admitted by Lady Besant when she says, in her<br />
Preface, that the “book may be regarded as a<br />
social picture of London in the Highteenth<br />
Century, rather than as a detailed history.”<br />
Certainly, it is these sections that most markedly<br />
exhibit the curious recondite reading which<br />
has gone to fill the full-packed pages. Shops<br />
and Coffee-houses, Costume and Diet, Wigs and<br />
Barbers, Clubs and Night-cellars, Gazebos and<br />
Country-boxes (among which we are delighted to<br />
find that typical one from the ‘ Connoisseur ”’)<br />
Crafts, Weddings, Funerals, Servants, have all<br />
their due chronicle and illustration, while a<br />
specially careful chapter is given to the “ Position<br />
of Women.” The section on “ Society and Amuse-<br />
ments” is not less interesting. Drums and<br />
Assemblies, the Parks, the Wells, the Spas,<br />
Ranelagh and Vauxhall, Drury Lane and Covent<br />
Garden, the Cock Pit, the Prize-ring, the Gambling-<br />
hells, and the Fairs have each full and adequate<br />
treatment. But, to make an end of mere enumera-<br />
tion, we shall take leave to transcribe, as a specimen<br />
of the more vivid passages, the following, which<br />
almost reads like an expansion of Hogarth’s clever<br />
little print, copied at page 524, of “ A Country-Inn<br />
Yard” :<br />
<br />
“Upon one who considers the tavern of the time there<br />
presently falls a reminiscence of the past when we were all<br />
living in the eighteenth century. We are standing in a<br />
courtyard of a tavern in Leadenhall ; our carriage—for we<br />
drove into town this morning from the country—is drawn<br />
up in the open court, where are also the waggons, now un-<br />
loaded, which rumbled in from Edinburgh this morning.<br />
Three girls, come up from service all the way from York,<br />
which is ten days’ journey, are waiting for their new<br />
masters to call for them ; an old lady, whose smile is meant<br />
to be benevolent, is whispering to one of the girls—the<br />
prettiest one—that she can offer her a place of much<br />
higher wages and much less work ; there is a great yoho-<br />
ing and whistling from the stable which one can see—and<br />
smell—through the gate on the other side of the court ;<br />
messengers and porters are bringing parcels for another<br />
waggon now receiving its load ; at intervals the housemaids<br />
running about the galleries above lean over the rails and<br />
exchange a little light satire with the grooms below ;<br />
gentlemen graye of aspect walk into the tavern and call<br />
for a bottle and a privateroom. You can see them through<br />
the open window ; they exchange papers, they talk in low<br />
tones, they make notes, they drink but without merri-<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
131<br />
<br />
ment. There are twenty or thirty of these rooms; they<br />
are all occupied by merchants who are more private here<br />
than on ’Change. At four o’clock;a company of gentlemen,<br />
headed by a rosy-cheeked divine, all of them sleek and<br />
some of them even obese, enter the inn with a kind of pro-<br />
cession. They are met by the landlord, who bows obse-<br />
quiously. * Gentlemen,” he says, ‘“‘ youare welcome. John,<br />
show his Reverence and the Vestry to the Anchor. Gentle-<br />
men, you shall be served immediately.” Itisa parish feast.<br />
People from the country arrive, some in postchaises, some<br />
by stage-coach. There is a bride with her bridegroom and<br />
her bridesmaid, blushing sweetly. Shesees London for the<br />
first time : it will be the last time, yet it will remain the<br />
dream of her life. Outside there is the bawling of the<br />
street-criers, the grinding and the rumbling of the carts.<br />
Here, in the tavern yard, there is the atmosphere of comfort<br />
and of rest. One perceives, after a hundred years, the<br />
fragrance of the kitchen ; one hears the drawing of corks ;<br />
one listens to the gobbling of the select vestry ; one hears<br />
the laughter of the country visitors. The servants run about;<br />
the landlord gives his orders; when the night falls, the<br />
passengers for the eight o’clock stage arrive, and the great<br />
coach, piled high with luggage, rumbles out through the<br />
archway into the street.”<br />
<br />
It would require a paragraph of equal length<br />
to indicate the sources from which this little<br />
picture has been so patiently built up, and there<br />
are many others as effective in their happy ming-<br />
ling of erudition and imagination. It should be<br />
added that the book is excellently illustrated by<br />
facsimiles of old views, old prints, and old carica-<br />
tures. Hogarth is naturally very prominent in<br />
Sir Walter’s pages, but many of the plates are<br />
drawn from sources which are rarer and less<br />
familiar. It may be safely affirmed—and here<br />
we close our brief and _ all-too-perfunctory<br />
notice—that there is no existing English book on<br />
the Eighteenth Century, social and topographical,<br />
which can in any way compete with Sir Walter<br />
Besant’s “ magnum opus.”<br />
<br />
Austin Dosson.<br />
<br />
———————EE<br />
<br />
INK DRUNKARDS.<br />
<br />
R. F. MARION CRAWFORD, in his<br />
novel, ‘“ The Three Fates,” deals graphic-<br />
ally with those unfortunate individuals<br />
<br />
“who have looked upon the ink when it was<br />
black and cannot be warned from it, and whose<br />
nostrils have smelled the printer’s sacrifice.”<br />
<br />
Just as there are men and women shattered<br />
bodily and mentally by an eternal craving for<br />
alcohol and the ceaseless effort to appease it ; just<br />
as there are self-immolating victims to narcotics,<br />
such as opium, chloral or morphine ; 80 there are<br />
beings who are rendered objects of pity to their<br />
friends and of despair to themselves by an in-<br />
satiable desire to write.<br />
<br />
“For one man who succeeds in literature,”<br />
<br />
<br />
132<br />
<br />
<br />
<br />
affirms Mr. Crawford, “a thousand fail.” He is<br />
one of the fortunate competitors who has been suc-<br />
cessful. Nevertheless, his knowledge of the ter-<br />
rible difficulties obstructing the path of a literary<br />
beginner appears to be deep and well-founded.<br />
Publishers do not greedily accept the work of un-<br />
known writers; being business men and not<br />
philanthropists, their desire is to deal with<br />
authors already established favourites with the<br />
reading public, whose books are consequently sure<br />
to be well received. Speculative risk attends<br />
upon the productions of a tyro without regard to<br />
their merit. It is not astonishing, therefore, that<br />
writers who have not made a name for themselves<br />
are accorded but a cold welcome by the trade.<br />
There isa rumour that Thackeray’s Vanity Fair<br />
was rejected by no fewer than thirty-eight publish-<br />
ers! Charlotte Bronté and her less famous<br />
sisters, Robert Louis Stevenson, and a host of very<br />
important witnesses, have testified, again and<br />
again, to the conservative predilections of Pater-<br />
noster Row. A renowned American author,<br />
whose writings had always been eagerly accepted,<br />
once made the experiment of offering a manu-<br />
script, anonymously, to several leading publishers.<br />
Each of them declined it with thanks !<br />
<br />
Yet in spite of disappointment after disappoint-<br />
ment, in the face of perpetual rebuffs, there are<br />
men and women powerless to resist the intoxica-<br />
tion imparted by ink-soaking.<br />
<br />
Write, write write! Until eyes are heavy, the<br />
brain is weary, and the head swims; until worn-<br />
out nature strikes by refusing to endure the strain<br />
imposed upon it—such is the curse of ink-<br />
drunkards.<br />
<br />
Though there is little or no pecuniary profit in<br />
their slavery, these luckless creatures will still pur-<br />
sue it. Though health is lost, and hope almost<br />
abandoned, ink-drunkards will yet, like Sisyphus,<br />
attempt the impossible.<br />
<br />
“We all hear of the miserable end of the poor<br />
wretch who has subsisted for years upon stimu-<br />
lants or narcotics, and whose death is held up as a<br />
warning to youth ; but who ever knows or speaks<br />
of the countless deaths due solely to the over-use<br />
of pen, ink and paper?” Mr. Crawford is right in<br />
asking this question.<br />
<br />
Why do we pretend ignorance of a disease<br />
which is, as he says, more fatal than dipsomania ?<br />
<br />
That such a disease exists can be readily proved<br />
by an investigation into some of the ‘secluded<br />
haunts of Fleet Street.<br />
<br />
“Who counts the suicides brought about by<br />
failure, the cases of men starving because they<br />
would rather write bad English than do good<br />
work of any other sort ?” asks Mr. Crawford.<br />
<br />
Further than this, there are men who have been<br />
University scholars unable to earn their bread by<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
their pens. It will be remembered that in hi<br />
early days Dr. Johnson, on occasion, walked the<br />
streets of London all night because he could nof<br />
afford a bed. Coleridge, even at a time when he<br />
had attained celebrity as a scholar, a poet, and an<br />
essayist, was in the saddest state of destitution<br />
For all the recognition his brilliant genius re<br />
ceived during his brief lifetime, Keats might well<br />
have deemed his name “ writ in water.”<br />
<br />
Literature, like marriage, is something of g<br />
lottery, and its prizes do not always fall to those<br />
most worthy to wear them ; but for such ag are<br />
intellectually unfitted to participate in the draw<br />
ing, it isan Inferno. When we hear of successfy<br />
authors who have reached positions of comfort<br />
and even of affluence, we are apt to forget the<br />
thousands of hack writers whose lives are one<br />
continued struggle for the bare means of subsist<br />
ence.<br />
<br />
Sir Walter Besant, the zealous founder of the<br />
Society of Authors, has earned a measure of<br />
gratitude from all who claim brotherhood with<br />
<br />
efforts to protect and encourage the profession of<br />
Letters can be described as universal<br />
predominant. The blind, the maimed, and the<br />
halt, who, figuratively speaking, encumber the out-<br />
skirts of the literary country, could hardly be re-<br />
lieved bythe exertions of a benevolent Hercules.<br />
<br />
Mr. Crawford has done a service, therefore, by<br />
calling attention to a class which he realistically<br />
dubs “ink-drunkards.”<br />
<br />
Poverty, despair, heartsickness, and a spirit of<br />
restlessness ever present with the poor victim, are<br />
such rewards as fall to the lot of a large proportion<br />
of these possessed toilers..<br />
<br />
“‘ Let a writer work until his brain reels and his<br />
fingers can no longer hold the pen, he will never-<br />
theless find it impossible to rest without<br />
imagining he is being idle. He cannot escape<br />
from the devil that drives him, because he is him-<br />
self the driver and the driven, the fiend and his<br />
victim, the torturer and the tortured.”<br />
<br />
Authors who have passed through what is<br />
called “the mill” can corroborate Mr. Crawford’s<br />
remarks, even though determination, strength of<br />
constitution, and perhaps good fortune, may<br />
eventually have combined to pull them safely<br />
through the Slough of Despond, and to have in<br />
some degree toned down the remembrance of it;<br />
but it is to the less robust, physically and mentally,<br />
that Mr. Crawford more particularly addresses him-<br />
self, to the weaker ones whose qualifications may be<br />
summed up in three letters—nil !<br />
<br />
Like opium to an opium-eater, drink to a<br />
drunkard, gold to a miser, is the pen to an ink<br />
drunkard ; yet there is nothing tangible in th<br />
fascination to which he falls an abject slave! | https://historysoa.com/files/original/5/480/1903-02-01-The-Author-13-5.pdf | publications, The Author |
481 | https://historysoa.com/items/show/481 | The Author, Vol. 13 Issue 06 (March 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+06+%28March+1903%29"><em>The Author</em>, Vol. 13 Issue 06 (March 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-03-01-The-Author-13-6 | | | | | 133–160 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-03-01">1903-03-01</a> | | | | | | | 6 | | | 19030301 | Che Muthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XITI.—No. 6.<br />
<br />
<br />
<br />
Marcu 1st, 1903.<br />
<br />
[PRrIcE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE TELEPHONE.<br />
<br />
<br />
<br />
t<br />
<br />
The Telephone connection has now been estab-<br />
lei lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
Se<br />
<br />
NOTICES.<br />
<br />
— 1+<br />
<br />
c OR the opinions expressed in papers that are<br />
4 signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
epgraphs must be taken as expressing the opinion<br />
tof the Committee unless such is especially stated<br />
<br />
' 0 to be the case.<br />
<br />
THE Editor begs to inform members of the<br />
u# Authors’ Society and other readers of 7he Author<br />
‘that the cases which are from time to time quoted<br />
fin The Author are cases that have come before the<br />
‘oi notice or to the knowledge of the Secretary of the<br />
‘902 Society, and that those members of the Society<br />
djwho desire to have the names of the publishers<br />
19: concerned can obtain them on application.<br />
<br />
a<br />
<br />
List of Members.<br />
<br />
Tue List of Members of the Society of Authors<br />
‘can now be obtained at the offices of the Society,<br />
~ at the price of 6d. net.<br />
_ It will be sold to the members of the Society<br />
ing py<br />
<br />
—_+-—~<— +<br />
<br />
The Pension Fund of the Society.<br />
<br />
_ THE investments of the Pension Fund at<br />
eee present standing in the names of the Trustees are<br />
2 as follows.<br />
_ This is a statement of the actual stock ;<br />
¢ Vou, XIII.<br />
<br />
the<br />
<br />
<br />
<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
MES BD ois beni iecrtnees an ctaes £816 5 6<br />
docs: sodns:... 404 10 0<br />
Victorian Government 3 % Con-<br />
<br />
solidated Inscribed Stock............ 291 19 11<br />
War loan 3. ee. 201. 9 3<br />
<br />
otal ee. £1,714 4 §<br />
<br />
SPECIAL APPEAL.<br />
<br />
Tur Appeal sent out by the Chairman of the<br />
Society at the request of the Pension Fund Com-<br />
mittee has been very successful.<br />
<br />
The total amount of subscriptions and donations<br />
up to Dec. 1st is:—Subscriptions, £46 8s. 6d.;<br />
donations, £116 14s. 6d. Further additions to<br />
either list are set out below.<br />
<br />
Subscriplions.<br />
<br />
Dec. 1, Finnemore, Mrs. . 50 0. 0<br />
Dec. 3, Caulfield, Miss Sophia 010 0<br />
Dec. 5, Hecht, Mrs. . 010 6<br />
re Hamilton, Mrs. G. W. 0 6<br />
» Brinton, Selwyn OF a) 0<br />
Dec. 9, Dill, Miss Bessie : 7 0 5 0<br />
Dec. 18, Sutherland, Her Grace the<br />
Duchess of : 2.2 0<br />
Dec. 19, Toplis, Miss Grace . 0 5 0<br />
Dec. 22, Anonymous 010 0<br />
Dec. 29, Seton-Karr, H. W. 0 5:0<br />
a Pike Clement, E. 0 5 0<br />
1903.<br />
Jan. 1, Pickthall, Marmaduke 010 6<br />
» Deane, Rev. A.C. . 010 0<br />
Jan. 4, Anonymous 0 5 0<br />
» Heath, Miss Ida 0 5 0<br />
» Russell, G. H. : 1 ft 6<br />
Jan. 16, White, Mrs. Caroline 0 5b 0<br />
,, Bedford, Miss Jessie 0 5 0<br />
Jan. 19, Shiers-Mason, Mrs. 0 5 0<br />
Jan. 20, Cobbett, Miss Alice : 0 5 0<br />
Jan. 30, Minniken, Miss Bertha M. M. 10 0<br />
Jan. 31, Whishaw, Fred : . 010 0<br />
134<br />
<br />
Feb. 8, Reynolds, Mrs. Fred 720 5 0<br />
Feb. 11, Lincoln, C. . : ; +0. 5 0<br />
Feb. 16, Hardy, J. Herbert . 0 5 0<br />
» Haggard, Major Arthur . 0 5 0<br />
Feb. 23, Finnemore, John . 0 5 0<br />
Donations.<br />
Dec. 1, Sanderson, Sir J. Burdon 5 0 0<br />
», Smith, G. C. Moore 1.0 0<br />
Dec. 2, ‘'revor-Battye, Aubyn Lt 0<br />
» Marks, Mrs. . : 010 0<br />
Dec. 9, Moore, Henry Charles 0 5 0<br />
Dec. 11, Lutzow, Count 2 0 0<br />
» “Leicester Romayne ” 0 5 0<br />
» Hellier, H. George. 11.0<br />
Dec. 12, Croft, Miss Lily 05 0<br />
», Panting, J. Harwood. 010 O<br />
» Tattersall, Miss Louisa . 0 5 0<br />
Dec. 19, Egbert, Henry 0 5 0<br />
Dec. 23, Muirhead, James F. - 010 0<br />
Dec. 28, A.S. . : : 751 12 0<br />
» Bateman Stringer . : - 010 O<br />
Dec. 31, Cholmondely, Miss Mary -10 0 0<br />
<br />
1903.<br />
Jan. 38, Wheelright, Miss EH. :<br />
» Middlemass, Miss Jean . :<br />
Jan. 6, Avebury, The Right Hon.<br />
The Lord . ; : :<br />
» Gribble, Francis. :<br />
Jan. 13, Boddington, Miss Helen .<br />
Jan. 17, White, Mrs. Wollaston .<br />
» Miller, Miss E. T. .<br />
Jan. 19, Kemp, Miss Geraldine<br />
Jan. 20, Sheldon, Mrs. French<br />
Jan. 29, Roe, Mrs. Harcourt<br />
Feb. 9, Sherwood, Mrs. . :<br />
Feb. 16, Hocking, The Rev. Silas<br />
Feb. 18, Boulding, J. W. .<br />
|; Ord, Hubert H. .<br />
Feb. 20, Price, Miss Eleanor<br />
» Carlile, Rev. J. C..<br />
Feb. 24, Dixon, Mrs.<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rev. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
SPECIAL CONDITIONAL SUBSCRIPTIONS.<br />
<br />
Mr. Hamilton Drummond, who is a member of<br />
our Society, has offered a subscription of £10 for<br />
<br />
THE AUTHOR.<br />
<br />
qaocoorcooocorcon oo<br />
or<br />
SOceaco Sa Coon oOo S So on<br />
<br />
<br />
<br />
five years, if nine other members of the Society<br />
will promise the same contribution before 31gt —<br />
March, 1903.<br />
<br />
We sincerely hope that sufficient members of<br />
the Society will be found to come forward and<br />
meet Mr. Drummond’s generous offer, and that<br />
before the time expires we may be able to print in<br />
the columns of Zhe Author the full list of ten<br />
subscribers of the required amount.<br />
<br />
ecooeceo<br />
<br />
Subscriptions.<br />
Hawkins, A. Hope £10 0<br />
Barrie, J. M. . : ; : - 10 0<br />
Drummond, Hamilton : : ; 10 0<br />
Wynne, Charles Whitworth : - 10 90<br />
Gilbert, W.8. . . : : - 10-0<br />
Sturges, Julian . ; : ; « 10 90<br />
ee<br />
Sir Walter Besant Memorial Fund.<br />
THE amount standing to the credit -<br />
of this account in the Bank is......... £330 3 6<br />
<br />
There are a few promised subscriptions still —<br />
outstanding. The total of these is, roughly,<br />
about £4. The subscriptions received from July 1st —<br />
to the date of issue are given below :—<br />
<br />
Patterson, A. . i . ‘ . £1 19<br />
Salwey, Reginald EH. 010 0<br />
Gidley, Miss E. C. 010 0<br />
Nixon, Prof. J. E. 0 7.6<br />
Dill, Miss Bessie 0. 5 @<br />
Moore, Henry Charles 0 5 0<br />
Kemp, Miss Geraldine 010 6<br />
Clarke, Miss B. 0 5 0<br />
<br />
—_—_——— 2 —_____—<br />
<br />
FROM THE COMMITTEE.<br />
<br />
——~>— 2+<br />
<br />
HE second Committee Meeting of the year was<br />
held on Monday, the 2nd day of February,<br />
at 39, Old Queen Street, Storey’s Gate.<br />
<br />
Mr. Douglas Freshfield was unanimously elected<br />
Chairman for 1903. ‘There is no need to recall to.<br />
the members of the Society Mr. Freshfield’s literary —<br />
attainments.<br />
<br />
He was elected a member of the Committee and<br />
a member of the Council of the Society in January,<br />
1897. He has been a constant attendant at the<br />
meetings from the date of his election, and has —<br />
been a strong supporter of the Pension Fund and<br />
other objects of the Society. At the present time<br />
he acts as one of the Pension Fund Trustees.<br />
<br />
A warm vote of thanks to the retiring Chairman<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
- ey — was proposed by Mr. Sydney Grundy and seconded<br />
yi by Mr. Lely. Mr. Grundy, in a few words, thanked<br />
i) Mr. Hawkins for his constant and untiring labours<br />
on behalf of the Society, and for the zeal and patience<br />
which he had shown in conducting the many difficult<br />
cases and negotiations. The vote was passed with<br />
enthusiasm and unanimity. The members of the<br />
Society, we are sure, will cordially endorse the<br />
oe action of the Committee.<br />
<br />
The General Meeting of the Society was fixed<br />
<br />
oe! for Thursday the 5th of March. Members of the<br />
o0@ Society will already have received the formal<br />
vom notice.<br />
He Eleven members were elected, making the elections<br />
for the current year 42.<br />
There were three cases before the Committee in<br />
«ty which members’ interests were involved.<br />
<br />
On the first case—a dispute with regard to a<br />
dj theatrical agreement—the Committee decided to<br />
si take counsel’s opinion on behalf of the member.<br />
<br />
The second case was one in which the publisher<br />
sd had refused to carry out his contract. With the<br />
<br />
09 consent of the member it was decided to commence<br />
<br />
98 action in the matter.<br />
<br />
‘ The third case the Committee adjourned to a<br />
<br />
sisl later meeting, in order that they might have fuller<br />
1178 evidence before them.<br />
<br />
if There was also a dispute between two members<br />
<br />
io of the Society. The Committee hope that the<br />
<br />
)19 Chairman, acting as an unofficial arbitrator, may<br />
<br />
<br />
<br />
‘sod be able to arrange the matter amicably.<br />
— +<br />
Record of Cases.<br />
lg Stnce the beginning of the year the Secretary<br />
ced has dealt with twenty-five cases. Of these sixteen<br />
<br />
# have come to a termination.<br />
: Six of the latter were for the return of MSS. In<br />
i five cases the MSS. were duly returned to the<br />
us authors concerned. In the sixth the author had<br />
@ no evidence that the MS. had ever reached the<br />
‘0 office, and the editor, although willing to give<br />
every assistance in his power, could find no<br />
2%) trace of its arrival.<br />
_ Two cases were for the settlement and arrange-<br />
_ ment of difficulties under contracts. These were<br />
negotiated successfully. There were four cases of<br />
_ accounts, and on demand they were promptly<br />
rendered. One involved a rather complicated issue,<br />
as the author had been in the habit of supplying<br />
“copy” to a paper, and the amount of copy<br />
supplied was in dispute. In this case also the<br />
matter was satisfactorily settled. The remaining<br />
four cases were money demands. In three of<br />
these cheques have been sent, and the fourth is<br />
in the hands of the Society’s solicitors.<br />
<br />
There are nine cases as yet unsettled. In twoof<br />
<br />
<br />
<br />
135<br />
<br />
these for money due cash has been promised. If<br />
it is not paid no doubt a summons will have to be<br />
issued to enforce the members’ just rights, or the<br />
name of the paper will have to be exposed. It is<br />
hoped that the other matters will be satisfactorily<br />
closed before the next issue of 7’he Author.<br />
<br />
———+—__<br />
Elections, February, 1908.<br />
<br />
Addison, A. C. 13, Skirbeck Road, Bos-<br />
ton, Lincs.<br />
Blyth, James<br />
Gidley, A. J. C. (Jean<br />
Courtenay)<br />
Davies, Nathaniel Owen<br />
<br />
1, St. Mark’s Hill, Sur-<br />
biton, Surrey.<br />
<br />
73, Alford Street, Roath,<br />
Cardiff.<br />
<br />
13, Dennington Park<br />
Road, Hampstead,<br />
N.W.<br />
<br />
Fletcher, Miss Ciceley .<br />
<br />
Hudson, Herbert.<br />
Kennedy, Mrs. William<br />
E. (Aubrey Lee)<br />
<br />
Sharam Rectory, Manor<br />
Cunningham, R.8.0.,<br />
co. Donegal.<br />
<br />
12, Embankment Gar-<br />
dens, Chelsea, S.W.<br />
<br />
Goring-on-Thames.<br />
<br />
Westfield Old Hall,<br />
East Dereham.<br />
<br />
Maud, Miss C. E..<br />
<br />
Pitt, PW. . :<br />
Savory, Miss Isabe<br />
<br />
Vaughan, The Right Archbishop’s House,<br />
Rey. Monsignor John Westminster, 8.W.<br />
S<br />
<br />
> —___—_<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
—— + —<br />
Obituary Notices.<br />
<br />
HOSE who engage in journalistic work know<br />
that every newspaper office has a series of<br />
obituary notices ready to hand, written<br />
<br />
sometimes many years before the deaths of the<br />
illustrious individuals to whom they refer. When<br />
at last death comes, no matter how suddenly, the<br />
editor is prepared. The notices are brought up<br />
to date and published.<br />
<br />
From the author’s or journalist’s point of view<br />
one interesting fact should be noted.<br />
<br />
The editors of one or two papers—those by no<br />
means the least in the land—have endeavoured to<br />
establish a system of not paying for these biographies<br />
until the person about whom they are written pays<br />
the debt due to Nature. Should it chance to occur,<br />
therefore, that a journalist has undertaken to write<br />
the life of a person plagued with the curse of<br />
longevity, it may not infrequently happen that<br />
the writer dies before his study, and his personal<br />
136<br />
<br />
representatives, if they chance to be aware of the<br />
matter, are the only ones to benefit by his labour.<br />
<br />
It is evident that such a position is untenable<br />
from a strictly business point of view, unless<br />
packed by a contract in black and white, made<br />
and signed by the author prior to writing the<br />
article. In such circumstances the author is<br />
not an° object for pity, but for derision ; but the<br />
written contract on most occasions is wanting.<br />
Then, as often happens when the terms of a contract<br />
are wanting or indefinite, the editor endeavours to<br />
interpret the arrangement from his own point of<br />
view, and not from the point of view of equity<br />
or of the author. On one or two occasions authors<br />
have appealed to the Society to enforce their evident<br />
rights. The result has been in every way satis-<br />
factory. On one or two occasions authors them-<br />
selves, by taking a firm stand, have succeeded in<br />
obtaining the just reward for their labours when the<br />
work has been done ; but there are still many who<br />
lie quiet under this form of injustice, and prefer to<br />
bear the burden of their misery rather than to make<br />
an outcry. Sometimes because they are regularly<br />
employed by the editor of the paper, and do<br />
not wish to run the risk of losing their salary<br />
in order to obtain a few more pounds ; sometimes<br />
because the obituary notice may be unexpected<br />
work from a big paper, and they do not want to<br />
lose even the prospect of further work. Or, again,<br />
because they do not care whether they obtain the<br />
money or not. Whatever may be the reason that<br />
prompts the action, the editor’s point of view is,<br />
at any rate, impossible.<br />
<br />
Legally, the work must be paid for on delivery,<br />
if it is up to standard and satisfactory to the<br />
editor; unless an arrangement has been made with<br />
the author before he commences the work, that he<br />
is not to receive payment until the death of the<br />
subject.<br />
<br />
If any authors or journalists—it is common<br />
knowledge that there are such—have not been<br />
able to obtain their money under the above<br />
circumstances, and yet desire to do so, their<br />
best plan will be to put the matter before the<br />
Committee of the Society of Authors.<br />
<br />
— oe<br />
<br />
A Question of Title.<br />
<br />
Suit or “Le THeATRE,’ OF Paris, AGAINST<br />
“Tur THEATRE,’ oF New York, LOST BY<br />
Foreign PuBLIcATION.<br />
<br />
The Paris tribunal has just rendered judgment<br />
in the suit brought by the publishers of the French<br />
magazine Le Theatre against The Theatre, of New<br />
York. The result is a victory for the American<br />
publication, its French contemporary having failed<br />
<br />
THE AUTHOR.<br />
<br />
to obtain satisfaction in any single one of the<br />
charges contained in the complaint.<br />
<br />
The suit was brought some time ago by the<br />
Paris firm of Manzi, Joyant & Co., publishers of<br />
the French periodical known as Le Thédtre. It<br />
was charged by the complainants, among other<br />
things, that Zhe Theatre was a wilful imitation<br />
of the French periodical, and that its publication<br />
injured the sale of the French periodical, since<br />
many persons purchased Zhe T'heatre, mistaking it<br />
for the French magazine. Messrs. Meyer Brothers<br />
& Co., in their answer, denied that The Theatre<br />
had ever been misrepresented by them as being an<br />
American edition of Le Thédtre.<br />
<br />
They pointed out that The Theatre is printed in<br />
the English language, and deals almost exclusively<br />
with the American stage, whereas Le Thédire is<br />
printed in the French language, and deals almost<br />
exclusively with the French stage.<br />
<br />
——»——_<br />
<br />
The Retail Price of Books.<br />
<br />
Justice LEVENTRITT has declined to grant the<br />
application made to him on behalf of the plaintiff<br />
in the suit of Straus against the American Pub-<br />
lishers’ Association, for a temporary injunction<br />
restraining the defendant from interfering with<br />
the book-selling business of Macy & Co.<br />
<br />
The American Publishers’ Association is an<br />
organisation of publishers who have banded<br />
themselves together to maintain for one year the<br />
retail prices of copyright books, and within certain<br />
limits to govern the maximum discount to be<br />
allowed on certain other books.’ The association’s<br />
members bind themselves not to sell to any book<br />
dealer known to cut prices, or to any wholesaler<br />
who will sell to such a cut-price dealer.<br />
<br />
Plaintiff alleges that this agreement of the<br />
publishers is a combination in restraint of trade,<br />
and as such is in violation of the statutes of the<br />
State and of the Federal laws, and he asks for<br />
$100,000 damages, as well as for a permanent<br />
injunction forbidding the defendants from pur-<br />
suing the terms of their agreement against Macy<br />
& Co. The temporary injunction just denied was<br />
asked for in connection with this suit, which now<br />
take its place for trial in the regular order.<br />
<br />
The American Booksellers’ Association, an<br />
organisation of retailers reaching throughout the<br />
country in connection with the American Pub-<br />
lishers’ Association, is made a co-defendant in the<br />
suit.<br />
<br />
The plaintiff sets forth that bookselling is a part<br />
of the regular business of Macy & Co., who have<br />
developed it profitably by selling at a small per-<br />
centage of profit for cash only and not at all on<br />
credit, and alleges that publishers have habitually<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
fixed a list price for books which as a matter of<br />
fact only the uninitiated purchasers have been com-<br />
pelled to pay; and the statement is made that the<br />
defendant associations have interfered with the<br />
plaintiff’s business by discriminating against the<br />
plaintiff and forcing plaintiff to resort to secret<br />
and cumbrous methods to procure the books whose<br />
prices it is desired to protect.<br />
<br />
The defendants deny that their organisation is<br />
in restraint of trade or is in any sense in control<br />
of the fixing of prices. On the contrary they<br />
assert that there is the keenest competition<br />
<br />
among the various publishers in the association;<br />
<br />
that each publisher fixes for himself the retail<br />
price at which his copyright books shall be sold;<br />
that the association does not even attempt to fix<br />
<br />
the price which may be made at wholesale ; and<br />
<br />
that the association is merely the expression of the<br />
joint effort of the publishers to assist each other in<br />
establishing the retail prices at which their own<br />
books shall be sold.<br />
<br />
This right of protection has been upheld in the<br />
Appellate Division in a suit brought by a drug<br />
firm against the Wholesale Druggists’ Associa-<br />
tion, and Justice Leventritt, in denying the appli-<br />
cation for a temporary injunction, says that his<br />
own views of the legality of the defendants’ acts,<br />
as they find support in the very persuasive opinion<br />
of the Supreme Court of Georgia in the case of<br />
Brown against the Jacobs Pharmacy Company,<br />
must yield to the controlling law of this Depart-<br />
ment as expressed in the suit of J. D. Park &<br />
Sons against the National Wholesale Druggists’<br />
Association. He adds that there is no substantial<br />
distinction in principle between that case and<br />
<br />
dé this.<br />
<br />
The contest between the Publishers’ Association,<br />
which extends throughout the United States in its<br />
<br />
: operations, and Macy & Co. has gone on during the<br />
<br />
<br />
<br />
two years of the Association’s existence, and now<br />
<br />
: awaits the determination of the present suit. It<br />
<br />
is said on behalf of the Association that the pub-<br />
lishers are convinced that the Messrs. Straus are<br />
contending for a principle ; the rejoinder is made<br />
that so are the publishers.<br />
<br />
—+—~—+ ——<br />
<br />
A Hard Case.<br />
<br />
Atjthe February Sessions at the Old Bailey an<br />
author and journalist was put upon his trial upon<br />
the charge of having robbed his agents, or rather,<br />
a firm who seem to have described themselves as<br />
“The Clarke and Hyde Press Agency,” by obtain-<br />
ing from them certain payments under false<br />
pretences. We hasten to say that the gentleman<br />
In question was acquitted without his counsel,<br />
Mr. H. C. Biron, being called upon to address the<br />
<br />
137<br />
<br />
jury, and that there was no evidence that he had<br />
Gas otherwise than as a perfectly honourable<br />
The facts of the case exhibit a phase of<br />
literary agency that will be new to many of<br />
our readers, and will serve as a warning to them as<br />
to the dangers that may follow if they embark upon<br />
financial engagements without caution. The de-<br />
fendant is a contributor to magazines and popular<br />
publications upon general and popular subjects.<br />
He entered into an agreement with the prosecutors<br />
Charles John Lavington Clarke and Bernard John<br />
Hyde, under which he placed his own work, while<br />
it was agreed that whenever he had an article of his<br />
authorship accepted he should be paid by Clarke and<br />
Hyde at once the price that he had agreed to receive<br />
for the article upon its appearance in print, less a<br />
commission of 20 percent. He also agreed to hand<br />
over the full price upon receiving it from the editor<br />
or publisher, while he bound himself to take all<br />
possible steps to recover it, and further agreed to<br />
allow sums not recovered and paid over to Clarke<br />
and Hyde to be deducted from future payments<br />
due from them to him. In these circumstances it<br />
might have been thought that the firm of “agents”<br />
were sufficiently protected in their dealings, for<br />
the author bound himself to adhere to this agree-<br />
ment for all his work. It so happened, however,<br />
that after the agreement had been carried out<br />
without any hitch for some time the anthor drew<br />
payment from them in respect of literary matter<br />
which, though accepted in advance, had not been<br />
yet written, and in respect of an article with regard<br />
to which some misunderstanding apparently took<br />
place between the editor and himself—a misunder-<br />
standing easily explained. With regard to an<br />
article agreed for beforehand, there was some delay<br />
owing to a collaborator being ill, and with regard<br />
to other matters some difficulty or delay arose in<br />
the obtaining of photographs for illustrative pur-<br />
poses. In these circumstances the firm with whom<br />
he had agreed for advances of his payments, and<br />
who had made him advances on the strength of his<br />
statements that the articles were accepted, appear<br />
to have conceived the idea that he had robbed<br />
them and obtained the money under false’ pre-<br />
tences. Some statement by an editor or a pub-<br />
lisher may have been misunderstood by them ; we<br />
are not in a position to criticise their conduct fully.<br />
They did, however, in fact, instead of resorting to<br />
their obvious civil remedy or repaying themselves<br />
under their agreement, adopt criminal proceedings.<br />
The author was prosecuted criminally, he was<br />
actually indicted and tried at the Old Bailey, and<br />
was acquitted, as we have stated, without any<br />
blame for his conduct resting upon him.<br />
It is a strange story, a terribly sad one to<br />
those who appreciate the shock, the anxiety, the<br />
138<br />
<br />
sorrow and the loss, to the gentleman who through<br />
no fault of his own was involved in it, and to all<br />
personally connected with him. Those who read<br />
of it will see that at the bottom of the whole matter<br />
lies the practice of editors or proprietors of perio-<br />
dical literature to accept articles, to keep them<br />
for indefinite periods of time, and to pay for them<br />
only upon publication. The author may be a poor<br />
man wholly dependent upon his pen. If he be, he<br />
may be lured into entering upon such an agreement<br />
as we have described with persons who will treat<br />
him as the prosecutors treated the defendant.<br />
<br />
Their agreement was one sufficiently profitable<br />
to themselves for them to have lost nothing by<br />
forbearance, if in fact they considered themselves<br />
in any way wronged. Many articles accepted are<br />
published and paid for within three months, and<br />
the author in this instance agreed to abide by the<br />
prescribed terms for all his work. T'wenty per cent.<br />
in such cases of payment within three months would<br />
show a profit at the rate of not less than eighty<br />
per cent. per annum. In the same way articles<br />
paid for within six months would mean forty per<br />
cent. ; and even when work was only paid for<br />
after a delay of four years, the money-lenders (for<br />
a transaction such as this, in fact, is one of money<br />
lending) would realise five per cent. per annum<br />
interest, which most people are glad to be able to<br />
obtain with moderate security.<br />
<br />
It is the old story of the weak and the strong,<br />
the weak being the author in need of money, and<br />
without enough fame to constitute strength, and<br />
the strong the persons able to meet his pecuniary<br />
requirements. It will be seen that the weak for-<br />
feited twenty per cent. of his income as the penalty<br />
of his weakness. It must not be supposed that<br />
we condemn in all cases the withholding of money<br />
from contributors until the article has been sub-<br />
mitted to the public. To pay altogether unknown<br />
contributors in advance might open the door to<br />
frauds upon editors more widely than it is open<br />
already, for editors cannot be omniscient, and may<br />
-at any time be offered matter already published<br />
by some idle thief who has stolen it from an old<br />
magazine or newspaper. ‘The article, however,<br />
should be submitted to the public within a reason-<br />
able time from the date of acceptance, and not<br />
retained for one, two, or three yeurs, as is not<br />
unfrequently the case. With authors known to<br />
the editor there is no reason why the transaction<br />
should not be completed at once by payment.<br />
<br />
In existing circumstances, it is, ay a rule, advis-<br />
able that an author should make a definite contract<br />
that the money should be paid by a fixed date or<br />
on publication, whichever event may first occur.<br />
Many editors do their business on these lines<br />
already.<br />
<br />
be eg een og: See<br />
<br />
THE AUTHOR.<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—1—>—+—_<br />
<br />
N the important and very widely read interview<br />
with our President, Mr. George Meredith,<br />
published in a recent issue of the Manchester<br />
<br />
Guardian, he made a most interesting personal<br />
statement. ‘I suppose,’ he said, “I should<br />
regard myself as getting old—I am seventy-four.<br />
But I do not feel to be growing old either in heart<br />
or mind. [I still look on life with a young man’s<br />
eye. I have always hoped I should not grow old<br />
as some do—with a palsied intellect, living back-<br />
wards, regarding other people as anachronisms<br />
because they themselves have lived on into othe<br />
times and left their sympathies behind them with<br />
their years.”<br />
<br />
With regard to Imperial politics, Mr. Meredith<br />
asks, “ Do our people know what Imperial prin<br />
ciples are?” He considers that we have yet to be<br />
instructed in them. He goes on to say :—<br />
<br />
“We call ourselves Imperial, and we believe that we are<br />
allied to the Australians and Canadians, but apparently<br />
there is no parliamentary notion, or even any publi<br />
recognition of what forces and principles animate an<br />
move these colonial democracies. They are moying ahead<br />
of us in certain directions, and can we, if we are to main<br />
tain a close relation with them, remain as we are? I<br />
Australia, for instance, they have given the suffrage to<br />
women. Are we going to do the same here? I cannot see<br />
how we are to keep united in a great Imperial system<br />
unless there is a very close agreement between our separat<br />
political systems.”<br />
<br />
Mr. H. Rider Haggard’s “Rural England<br />
Being an account of Agricultural and Socia.<br />
Researches carried out in the Years 1901 and ~<br />
1902,” has been very widely reviewed. It i<br />
certainly a book to buy for one’s library. A<br />
writer in the Contemporary Review truly says 0<br />
jt: “ As a faithful and, within its limits, complet<br />
picture of rural England at the close of the nine<br />
teenth century, I think it will live for man<br />
generations to come.” Rural England is in two”<br />
volumes (36s. nett), and contains twenty-three<br />
agricultural maps and seventy-five illustrations —<br />
from photographs.<br />
<br />
Professor Edward Dowden is the able editor o<br />
the “ Cymbeline” in Messrs. Methuen’s edition o<br />
the “ Arden” Shakespeare, which is being issued —<br />
under the general editorship of Mr. W. J. Craig.<br />
“ Cymbeline” is nearly ready for publication.<br />
<br />
Lieut.-Colonel Newnham Davis has in hand<br />
book to be called “The Gourmet’s Guide to-<br />
Europe.” Mr. Algernon Bastard is collaborating —<br />
with him in this. It is to be published next<br />
month by Mr. Grant Richards, and it deals wit<br />
the cuisine of all the countries of Europe and th<br />
chief restaurants of the capitals, sea-ports, an<br />
“ show ” towns, where there is anything interestin<br />
from a gourmet’s point of view to be found.<br />
<br />
<br />
<br />
<br />
f _ This unique book is to be free from any suspicion<br />
xt te of the trail of the advertiser, as no advertisement<br />
uote of any kind will be allowed in it. There will be<br />
sods about 260 pages in the volume, and its price will<br />
2 8@ be either 3s. 6d. or 5s.<br />
<br />
ve —sMrrs. Hinkson (‘ Katharine Tynan”) has just<br />
‘oyee} issued through Mr. Eveleigh Nash a novel entitled<br />
1 A* “ A Red Red Rose.” In the autumn of this year<br />
evel! Messrs. Smith, Elder & Co. will publish another<br />
feyon novel of hers, “The Honourable Nollys.” Besides<br />
eyed: these Mrs. Hinkson has just completed another<br />
soyo8 novel, and is now busy finishing a book for girls.<br />
<br />
~~ Messrs. Blackie are publishing volume by<br />
~\lo9 volume the ‘‘Cabinet of Irish Literature,” the new<br />
ibe edition of which Mrs. Hinkson edited for them.<br />
ei She has been finishing the proofs of the fourth<br />
uploy volume.<br />
_ Mrs. Marie Connor-Leighton is at present writing<br />
* ow) two long serial stories which are appearing con-<br />
“ide currently in Answers. She is also writing a serial<br />
‘a0 for the London Magazine, which started in last<br />
08 month’s number, and is called “ Was She Worth<br />
iit?” and there will appear very shortly (Grant<br />
ci91 Richards) a story entitled, “In God’s Good<br />
‘afi Time,” by this prolific authoress.<br />
wf _ All work announced as by the author or authors<br />
»* Tof “Convict 99” and “Michael Dred” is now<br />
“di wholly Mrs. Connor-Leighton’s own. Indeed, all<br />
sd that she has written during the past five years,<br />
“mf amounting on an average to close upon nine<br />
“me hundred thousand words a year, is entirely her<br />
we Own.<br />
‘| ‘Mrs. Fred Reynolds’ latest novel, “The Man<br />
i with the Wooden Face,” will be published very<br />
9 soon by Messrs. Hutchinson & Co. The scene is<br />
18 laid in North Wales. The interest centres round<br />
* ai the figure of a music teacher, who passes her<br />
' “#8 first holiday, after many years’ drudgery, amongst<br />
» ie other paying guests, in a romantic country house<br />
in the beautiful valley of Llanartro. About<br />
iy si one of the guests, “The man with the wooden<br />
face,” there is a certain amount of mystery ; and,<br />
@) as is usually the case in idle holidays spent amongst<br />
~ mountains, woods, and babbling streams, the little<br />
% god Cupid plays a busy part.<br />
| Mrs. Albanesi’s novel, “ Love and Louisa,” is<br />
F running well through a second edition. It has<br />
! 8 been published by Lippincott & Co., in America,<br />
‘{ \m@ and is selling very well over there.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
_ Rita’s new novel, “ Souls,” will be published<br />
“shortly by Messrs. Hutchinson & Co. It is a<br />
408 stinging satire on certain follies and vices of one<br />
’ 4% of the many sets of present-day society.<br />
<br />
We have been asked to mention the fact that<br />
he article entitled “Ink Drunkards,” in our last<br />
<br />
THE AUTHOR.<br />
<br />
139<br />
<br />
issue, was written by Mr. L. Harlingford North.<br />
We have much pleasure in doing so, as the article<br />
has created some stir. There was a full leader<br />
devoted to it in the Morning Post.<br />
<br />
Mr. Richard Marsh’s new long novel, “The<br />
Magnetic Girl,” is to be issued immediately by<br />
Mr. John Long. The novel is an amusing one,<br />
and very readable.<br />
<br />
Mr. Bloundelle-Burton’s new story of to-day,<br />
“ \ Branded Name,” has finished its serial course,<br />
and will be published in volume form by Methuen<br />
& Co. on the 19th inst. -The mystery of the novel,<br />
although told in the form of fiction, has a solid<br />
foundation in fact, and will, to many persons in<br />
London society, recall some incidents in the lives<br />
of two well-known beautiful women which were<br />
much discussed some few years ago without<br />
becoming matter of public gossip.<br />
<br />
Miss Evelyn Sharp is to produce a series of<br />
readers for children. Of these there are to be<br />
three. The first, now ready, has no words longer<br />
than two syllables, and the stories and verses about<br />
children are all very short. In the second the<br />
words and the stories grow a little longer, and so<br />
in the third. Most of the stories are illustrated by<br />
pictures taken from photographs of real children.<br />
Messrs. Macmillan publish the series.<br />
<br />
“Little Entertainments,” by Barry Pain (1s.,<br />
Fisher Unwin), contains 134 pages of amusing<br />
reading. ‘The Collector” makes a special appeal<br />
to us. We quote the opening, and refer our readers<br />
to the little volume for the rest of it :—<br />
<br />
“The critics speak<br />
<br />
“Tt may be so,’ said the stranger.<br />
sut he is<br />
<br />
very highly of his Academy pictures this year.<br />
not an artist. The point is beyond doubt.”<br />
“Why ?”<br />
“ Because I know for a fact that he understands—really<br />
understands—rates and taxes.”<br />
<br />
We are sorry to say we have room for only one<br />
quotation from “John Bull’s Year Book” for<br />
1908 (1s., John Bull Press, 5, Henrietta Street,<br />
W.C.) :-—<br />
<br />
“Toe ART OF WRITING BOOKS.<br />
<br />
“ One could not advise the aspiring author to do what a<br />
certain publisher is reported to have done, namely, to<br />
secure a coyer and write a book to fit it. But it would<br />
certainly save trouble if one secured a really good title first<br />
and then wrote a book around it.<br />
<br />
“Two more observations in conclusion, which will not<br />
be believed by the worshipper before the shrine of the<br />
implacable Geddess of Letters, but which must be made<br />
nevertheless. The verses of unknown poets are never<br />
accepted for book publication, And there is such a limited<br />
market for books of short stories that the publisher will not<br />
issue them unless they are the products of genius. Young<br />
writers, therefore, should never commence with poems or<br />
short stories in approaching the book publisher. The<br />
better, nobler, and more satisfactory way is to refrain from<br />
writing altogether.”<br />
<br />
<br />
140<br />
<br />
Dr. Emil Reich’s “New Students’ Atlas of<br />
English History” is designed to aid the student<br />
in comprehending the leading historical facts and<br />
movements. It is specially intended as comple-<br />
mentary to Green’s “ History of the English People.”<br />
In each map only strictly relevant details are<br />
admitted. When the maps illustrate the progress<br />
of events, or campaigns, a brief chronological<br />
summary is given on the page facing the map.<br />
<br />
There are fifty-five maps in all. The first shows,<br />
by arrow-headed lines, the migrations of the German<br />
and Celtic peoples into and in Great Britain and<br />
Ireland ; while the last show British Africa (three<br />
maps), the British Empire as it is to-day ; and<br />
finally, by a geographical arrangement of statistics,<br />
the distribution of British genius for the various<br />
counties in the three kingdoms.<br />
<br />
The Rev. Charles Voysey has just issued through<br />
Messrs. Longmans a book called “ Religion for all<br />
Mankind: Based on Facts which are Never in<br />
Dispute.” The author tells us in his short preface<br />
that “ ‘The following pages are written for the help<br />
and comfort of all my fellow-men, and chiefly for<br />
those who have doubted and discarded the Christian<br />
religion, and in consequence have become Agnostics<br />
and Pessimists.” Mr. Voysey offers his book at a<br />
price (2s. 6d. nett) which will barely cover the<br />
expense of production, that it may be within reach<br />
of all, and at the same time give proof that the<br />
work has not been done with mercenary aims.<br />
<br />
Among the illustrated editions which Messrs.<br />
Macmillan are including in their Prize Library is<br />
Sir Walter Besant’s “ Life of Captain Cook.”<br />
<br />
We have received a little book entitled “ Arriére<br />
Pensées,” by Mr. W. P. Peters (Clark & Co., Paris).<br />
It is full of epigrammatic sayings and mottoes,<br />
some of which have a touch of humour in addition<br />
to the sting. We quote one or two examples :—<br />
<br />
“Many gather nuts, but few crack them.”<br />
<br />
“ Every dog has his day, and every cat her night.”<br />
<br />
“We may take the world as we find it, but we never<br />
leave it so.”<br />
<br />
Geraldine Kemp, the author of “ Ingram,” and<br />
an industrious writer of short stories, has contri-<br />
buted to a recent number of the “ British Realm”<br />
a lever de rideau which she calls “A Comedietta.”<br />
It is a bright, crisp piece of writing.<br />
<br />
Graham Hope’s new novel, “The Triumph of<br />
Count Ostermann,” is to be published by Messrs.<br />
Smith, Elder & Co. on the 9thinst. Peter the Great<br />
is one of the chief characters of the story, which<br />
begins in 1724.<br />
<br />
Among recently published novels written by<br />
members of the Society “The Little White Bird,”<br />
by Mr. J. M. Barrie; “Paul Kelver,” by Mr.<br />
Jerome K. Jerome; “The Four Feathers,” by<br />
<br />
THE AUTHOR.<br />
<br />
Mr. A. E. W. Mason ; and ‘‘ Fuel of Fire,” by Mi<br />
<br />
E. T. Fowler, are doing remarkably well, Mr<br />
Edward Kennard’s ‘‘ The Motor Maniac ” is sellin<br />
well also.<br />
<br />
Mr. George Cecil has just accepted the editor<br />
ship of the Piano Journal, a monthly paper<br />
which has been known to the musical public fo<br />
many years. It is an excellent little periodica<br />
chiefly intended for makers and dealers, and<br />
published by William Rider & Son, 164, Aldersga<br />
Street, H.C.<br />
<br />
Mr. W. 8. Walker (“Coo-ee”?) has published<br />
through Mr. John Long two interesting stories,<br />
They are entitled “ Zealandia’s Guerdon”’ and “ In<br />
the Blood.” The latter has sixteen illustrations<br />
by John Williamson. Both tales are very read-<br />
able; ‘Coo-ee” so evidently writes from &<br />
thorough personal knowledge of Australian char-<br />
acter and Bush life ; he shows, too, in ‘ Zealandia’s<br />
Guerdon” that New Zealand is familiar to him,<br />
<br />
Mr. W. Somerset Maugham’s new play “ A Man<br />
of Honour” is issued as a literary supplement to<br />
the March number of the Fortnightly Review. It<br />
was one of the two plays produced by the Stage<br />
Society at the opening of its fourth season.<br />
<br />
Sir A. Conan Doyle, Mr. W. Gillette, and Mr,<br />
Charles Frohman have now had the interim ~<br />
injunction made perpetual against Mr. H. S|<br />
Dacre restraining him from using the title<br />
“Sherlock Holmes” without printing after tha<br />
title “ Not the Lyceum Version.”<br />
<br />
We understand that Mr, Henry Arthur Jones —<br />
new three-act comedy of modern life will b<br />
produced at the Garrick on March 2nd. Mr.<br />
‘Arthur Bourchier, Miss Violet Vanbrugh, Mr, Sau<br />
Sothern, and Miss E. Arthur Jones will be amon<br />
those appearing in the caste.<br />
<br />
Mrs. Hodgson Burnett’s play ‘“ The Littl<br />
Princess” has made quite a hit at its matinee<br />
performances in New York.<br />
<br />
“Resurrection,” a dramatised version of Tolstoy<br />
great novel, by Henry Bataille and Michael Mortol<br />
was produced at His Majesty’s Theatre on the<br />
evening of February 13th. The play is admirably<br />
staged. There are some fifty dramatis person.<br />
The plot of the drama does not, of covrse, kee<br />
close in every detail to that of the nov.!. Mr.<br />
Tree takes the part of Prince Dimitry Ne aludoff,,<br />
and Miss Lena Ashwell is a charming and at th<br />
game time life-like Katusha. She hada deservedly<br />
enthusiastic reception. Mr. Oscar Ashe was<br />
able Simonson. Mr. Lionel Brough played admu<br />
ably the part of the merciful merchant in #l<br />
jury scene.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
r= “The Marriage of Kitty” reached its 200th<br />
seq performance on the evening of February 16th.<br />
- «90 Our readers will remember that this popular play<br />
<br />
esy was produced at the Duke of York’s Theatre on<br />
joo8 August 19th, 1902, and was transferred some<br />
» sa" weeks later to Wyndham’s Theatre to make room<br />
/ for Mr. J. M. Barrie’s “ The Admirable Crichton.”<br />
<br />
of We understand that Miss Hilda Spong is to play<br />
«9d the réle of the Duchess of Quinton in “The Bishop’s<br />
9volf Move ” when it is produced in New York.<br />
<br />
r The Feuilleton of the Narodni Listz, one of the<br />
joie chief journals of Prague in the Czech language,<br />
eey was lately devoted to the work of Mr. James Baker,<br />
‘ ody who has made the Bohemian folk, their land and<br />
| ei) its history essentially, his own subject amongst<br />
‘og English writers. The article that is by A. L,<br />
salel Jelen is headed “ Our English Friend.” It gives<br />
‘la 8 a sketch of the books and articles Mr. Baker has<br />
‘ivy written dealing with Bohemia and Bohemian life<br />
' bas and history. His two historical novels, ‘The<br />
ibis Cardinal’s Page” and “The Gleaming Dawn,”<br />
oe adj the scenes of which alternate between England and<br />
s.fo@ Bohemia in the fifteenth century, and “ Mark<br />
<br />
Jif Tillotson,” a modern novel, are about to appear<br />
“3 gi in the Bohemian tongue.”<br />
<br />
+><br />
<br />
PARIS NOTES.<br />
<br />
—+-—<>— +<br />
<br />
NE of the great events of the month of<br />
February in the French literary world was<br />
the publication of Zola’s posthumous novel<br />
<br />
“ Verité.”<br />
<br />
“f -'This book is the third volume of the series<br />
<br />
» entitled “ Quatre Evangiles.” The first two were<br />
<br />
> “Fécondité” and “Travail,” and the last volume<br />
<br />
~ of the series, “ Justice,” was not even commenced<br />
at the time of the author’s death.<br />
<br />
It requires a certain amount of courage to com-<br />
<br />
© mence this book, which is nearly seven hundred<br />
- and fifty pages long and very closely written. Had<br />
) the author been spared, he would undoubtedly have<br />
- eut it down considerably, as the descriptions are<br />
6! long, there is a certain amount of repetition, and<br />
i the story itself is greatly hampered by the excess<br />
© of detail.<br />
Of course it is evident from the first chapter<br />
#) that the author in planning this book was thinking<br />
+ of the Dreyfus case. The plot is quite different,<br />
© bnt the victim, the man who is wrongfully accused,<br />
is a Jew. When the sentence is pronounced, we<br />
have the description of the state of mind of the<br />
friend who has taken up the cause of the unfortu-<br />
nate man. It seems as though Zola must have<br />
noted down his own impressions during the Dreyfus<br />
trial and his desire for the truth.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
141<br />
<br />
He touches on the attitude of members of various<br />
classes of society. We have the bourgeois, the<br />
working-man, the wealthy Jewish banker, and the<br />
ruined aristocrat who has married the banker’s<br />
daughter, There are also priests, bigoted women,<br />
Government officials, and, indeed, representatives<br />
of most of the prominent types of modern French<br />
society.<br />
<br />
The chief idea of the book seems to be to prove<br />
how difficult it is for truth to come out victorious,<br />
fettered as it is by the ignorance and prejudices<br />
found in every rank of life. Zola attempts to<br />
prove that it is only by the education of the<br />
masses that any true progress can be made.<br />
<br />
At the close of the book we have the key-note.<br />
“Non! le bonheur n’avait jamais été dans l’ignor-<br />
ance il était dans la connaissance, qui allait<br />
changer l’affreux champ de la misére matérielle<br />
et morale en une vaste terre féconde, dont la<br />
culture, d’année en année, décuplerait les richesses.<br />
. . . Et, apres la Famille enfantée, aprés la Cité<br />
fondée, la Nation se trouvait constituce, du jour<br />
ou, par instruction intégrale de tous les citoyens,<br />
elle était devenue capable de vérité et de justice.”<br />
<br />
A most interesting book by Henri D’Alméras,<br />
entitled ‘Avant la Gloire,’ was published quite<br />
recently.<br />
<br />
It is the story of the literary career of many of<br />
the French modern writers in the days before they<br />
were known to the public, and the perusal of the<br />
two volumes might be encouraging to many literary<br />
aspirants. Among the authors mentioned are:<br />
Dumas fils, Goncourt, Daudet, Maupassant,<br />
Verlaine, Coppée, Sardou, Halévy, Anatole France,<br />
Bourget, Loti, Ohnet, Jules Verne, Margueritte,<br />
Charles Foley, and Brulat.<br />
<br />
Among historical works lately published is the<br />
fifth volume of M. Albert Sorel’s ‘‘ L’Europe et la<br />
Révolution.” ‘This volume is entitled ‘‘ Bonaparte<br />
et le Directoire.”<br />
<br />
Another historical work is by M. le Comte<br />
Fleury, “Les Fantémes et Silhouettes.”<br />
<br />
In this volume we have studies of the two<br />
Princesses de Condé, Lauzun and Madame de<br />
Stainville, du Barry, Marie Antoinette, Despreaux,<br />
the husband of La Guimard and Madame de<br />
Custine.<br />
<br />
“Le Paradis de Homme,” by Mare Andiol, is a<br />
most curious book. It is supposed to be a romance<br />
of the future, and the opening chapter is dated<br />
2003 and written from the New-Eden. Several<br />
books have already been published anticipating<br />
the time when the progress of science and socialism<br />
shall have worked wonders for mankind. M. Andiol,<br />
however, proves that even in this New-Eden the<br />
inhabitants do not find perfect happiness. And a<br />
wise old peasant woman declares: “It’s no use<br />
expecting from this earth what it does not give.”<br />
<br />
<br />
<br />
<br />
142<br />
<br />
As regards magazines and reviews, there have<br />
been several fresh ventures recently here in the<br />
way of Anglo-French publications.<br />
<br />
it is now about a year ago since Miss Nina<br />
Estabrook started an illustrated paper called Paris-<br />
World. It is a monthly review containing short<br />
articles and sketches on Parisian topics. The<br />
early numbers would appeal, perhaps, more to<br />
‘Americans than to an English public on account of<br />
the illustrated interviews and the “ writing up”<br />
of people whose fame is merely social. The last<br />
numbers of this paper are greatly improved, some<br />
of the illustrations are excellent, and if only<br />
certain pages could be replaced by a few literary<br />
articles the little magazine would do great credit<br />
to its editor. It has hitherto been chiefly cir-<br />
culated in Paris and America, but the idea now is<br />
to make it an organ of Parisian news for London<br />
and for the American and English colonies in all<br />
the European capitals.<br />
<br />
Another periodical which has appeared here<br />
within the last few weeks is The Weekly Critical<br />
Review, a sixpenny journal devoted to literature,<br />
music, and the fine arts. It is edited by M. Arthur<br />
Bles, and among its long list of contributors are<br />
names such as MM. Jules Claretie, Francois<br />
Coppée, Gustave Larroumet, Paul Bourget, Auguste<br />
Rodin, Jules Verne, Coquelin cadet, Huysmans, etc.<br />
<br />
It contains articles in English and French, and,<br />
judging by the way in which it is being taken up,<br />
it appears to have supplied a need. There are<br />
numbers of people who read French and English<br />
with equal facility, and for them it is most<br />
interesting to find a paper publishing the thoughts<br />
and ideas of literary men, artists and musicians<br />
either in English or French, as the case may be.<br />
There is no vulgarity whatever about this new<br />
review, and in these days this certainly is refreshing.<br />
<br />
There is a portrait of some celebrity given away<br />
with each number, but there are no other illus-<br />
trations.<br />
<br />
Still another periodical has commenced here in<br />
two languages, English and French, but in this<br />
case the articles are all translated and given in<br />
both languages.<br />
<br />
The International Theatre is the title of this new<br />
venture, and the only wonder is that dramatic<br />
authors and theatrical people generally should<br />
have existed so long without such a magazine. It<br />
is published monthly, and contains an account of<br />
theatrical events in all parts of the world. A<br />
monthly report in French and English is given of<br />
the plays produced in Paris, Vienna, London, Berlin,<br />
Rome, St. Petersburg, New York, etc. Through the<br />
medium of this paper authors can follow the career<br />
<br />
of their plays round the world.<br />
<br />
There seems no doubt whatever but that this<br />
review will have immense success, There are<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
excellent photos of artistes and dramatic authors<br />
of every country, and some most interesting articles<br />
written specially for the paper by celebrities in the<br />
theatrical world.<br />
<br />
The February number contains an interview with<br />
M. Sardou on the subject of the play ‘ Dante,”<br />
which he has written with M. Moreau for Sir<br />
Henry Irving. There is also an article on the<br />
“Dickens Theatre,” by John Hollingshead.<br />
<br />
The editor of the International Theatre is M.<br />
Gaston Mayer, son of the well-known impressario<br />
who has, for the last thirty years, managed the<br />
French plays in London. M. de Beer acts as<br />
manager of the new magazine, which is published<br />
in Paris.<br />
<br />
There seems to be great enterprise this year<br />
with regard to English publications in Paris. The<br />
new edition of English books brought out by Mr.<br />
Fisher Unwin for Continental circulation is a great<br />
boon to the English-speaking colony in European<br />
countries. Hitherto we have had to put up with<br />
the Tauchnitz edition, which is so badly bound in<br />
its paper cover that it comes to pieces in the hand.<br />
If only other English publishers would supply @<br />
similar edition to the “Unwin Library,” the<br />
Tauchnitz firm would have to improve their<br />
edition or retire. Mr. Calmann Levy supplies<br />
the “ Unwin Library” in Paris.<br />
<br />
There is to be a great treat for art-lovers at the<br />
beginning of April.<br />
<br />
The two hundred and forty-five original draw-<br />
ings by Maurice Leloir, for Alexandre Dumas’<br />
“ Dame de Monsoreau,” are to be sold, and there<br />
is to be a private exhibition of them in the Galerie<br />
des Artistes Modernes on the 2nd, 3rd, and 4th<br />
of April.<br />
<br />
There is an illustrated catalogue of the draw-<br />
ings, some of which are most quaint.<br />
<br />
‘At the theatres one of the excitements has been<br />
Madame Sarah Bernhardt’s new interpretation of<br />
Hermione in Racine’s “‘ Andromaque.” M. Saint-<br />
Saens wrote some music for it to give foree to the<br />
most exciting passages.<br />
<br />
The International Theatre has just given us a<br />
German play, “ Jeunesse,” by Max Halbe, trans-<br />
lated into French by Myriam Harry.<br />
<br />
M. Bour was excellent as the German student,<br />
and M. Bauer very fine as the idiot. There are<br />
two priests in the play, and this is probably why<br />
there was so much excitement about it when it<br />
was played in Germany. The fine acting carried<br />
it through well in Paris.<br />
<br />
« Bloradora” has been adapted from the English,<br />
and is now being played at the Bouffes Parisiens.<br />
<br />
Auys HALLARD.<br />
<br />
—_—_——_+-—>—+>—__—_<br />
<br />
<br />
THE AUTHOR.<br />
<br />
PUBLISHERS’ PROFITS AND AUTHORS’<br />
RETURNS.<br />
<br />
—+—> +<br />
A Comparison.<br />
<br />
N the January Author certain facts and figures,<br />
intimately connected with nett books and<br />
publisher's profits, were put forward for con-<br />
<br />
sideration.<br />
<br />
It is more than probable that an endeavour will<br />
be made to deny the figures, and to prove the<br />
deductions arrived at to be false. Mathematics<br />
have never been an exact science in the opinion of<br />
an adversary, and a syllogism never anything but<br />
a useless figure of speech.<br />
<br />
Another evident criticism of the article would<br />
state that the prices were based on the whole of the<br />
edition selling, and that only one book in thirty<br />
pays its way, or, as a music publisher asserts, 2 per<br />
cent. of the published songs succeed. But there is<br />
no need why the author should suffer in order that<br />
the publisher may be allowed to gamble. Or in<br />
other words, each book should stand by itself, and<br />
from the author’s point of view must always do so.<br />
<br />
To those who do not remember the figures set<br />
forth it is as well to repeat them.<br />
<br />
The cost of production of 1,050 copies of a book<br />
of 640 pages, with a fair amount included for<br />
advertising, costs £170.<br />
<br />
The book sells at 12s. 6d. nett.<br />
<br />
W = the amount per copy of the cost of pro-<br />
duction.<br />
<br />
X = the royalty per copy paid to the author.<br />
<br />
Y = theamountof the publisher’s profit percopy,<br />
<br />
Z the amount of bookseller’s profit per copy.<br />
<br />
W+X+Y+2Z= 12s. 6d. = 150d.<br />
<br />
In the former article, which contained the<br />
detailed particulars of figures and calculations, the<br />
equation worked out as follows—<br />
<br />
42°94 + 15 + 50°06 + 42 = 150.<br />
<br />
Or 3s. 6°94d. + 1s. 8d. + 4s. 2-06d. + 3. 6d. =<br />
<br />
12s. 6d.<br />
<br />
Take these figures! Consider them! Turn<br />
them about! Look at them under changing<br />
lights! They will afford food for thought.<br />
<br />
The publisher takes the lion’s share. It must<br />
be remembered that throughout the calculations<br />
care has been taken to state his profits at a low<br />
figure, the only advantage that has been given<br />
him—let us be quite fair—that the full edition of<br />
950 copies (not 1,050) has sold.<br />
<br />
The bookseller, who does little beyond purchasing<br />
the book at one price and selling it at another,<br />
Teceives not +’; of a penny less than the printer, the<br />
binder, etc. {who have done all the mechanical work,<br />
<br />
The author, whose expenditure of time, to say<br />
nothing of anything else, hag been the greatest,<br />
comes in nowhere.<br />
<br />
143<br />
<br />
The proportion of profits may be made more<br />
<br />
clear by stating them in percentages. Thug :—<br />
28°63 + 10 + 33°37 + 28 = 100.<br />
<br />
So that if 950 copies are sold, and the author<br />
Tecelves 10 per cent. royalty, the publisher obtains :<br />
1. The return of the amount he invested. 2.<br />
Sufficient to pay the author’s royalty. 3. Almost<br />
a cent. per cent. profit. If the sales take place<br />
within one year the result is eminently satisfactory.<br />
If within two years, he has made about 50 per<br />
cent. If within four years, 25 per cent.<br />
<br />
The publisher, anxious to join in the debate, at<br />
once leaps to his feet, and with much waving of<br />
arms, bursts into reply<br />
<br />
Firstly, that the figures of the cost of production<br />
are wrong.<br />
<br />
Secondly, that the whole edition has sold out—<br />
a fact almost unparalleled in the annals of<br />
publishing.<br />
<br />
Thirdly, that the author’s royalty is absurdly<br />
understated, as it is well known that authors now-<br />
a-days, etc., ete.<br />
<br />
In answer to the first joinder of issue, let the<br />
publisher produce his own figures. If he can show<br />
them to be reasonable market prices for printing,<br />
paper, and binding, there is nothing to fear.<br />
<br />
In answer to the second, let us consider the<br />
figures alittle further. How many copies must the<br />
publisher sell at 9s. to be able to pay for the cost of<br />
production and to leave 30d. profit on each copy,<br />
so that he may have an equal profit with the<br />
author, that is 15d. for himself and 15d. for the<br />
author—15d. being 10 per cent. on the published<br />
price of the book. 12s. 6d. = 150d.<br />
<br />
The sum is a very simple one :—<br />
<br />
30d. = 5 sixpences.<br />
9s. = 18 sixpences,<br />
£170 = 6,800 sixpences.<br />
Let X = the number of copies that must be sold.<br />
18 X = 68004+5 X.<br />
13 X = 6800.<br />
X= 523°07.<br />
<br />
The publisher, therefore, who sells 524 copies—<br />
surely not an unreasonable sale—receives a fraction<br />
over the amount received by the author.<br />
<br />
But it is of the utmost importance to remember<br />
that 10 per cent. on the published price has nothing<br />
to do with the percentage on the capital invested.<br />
The capital invested is £170.<br />
<br />
The sum which the publisher receives on each<br />
copy is 9s. From this he deducts 1s. 3d. for the<br />
author’s royalty, and 3s. 6°94d. represents the<br />
capital which he has invested. :<br />
<br />
The sum, therefore, which he receives for 524<br />
copies is, after deduction of the author’s royalty—<br />
<br />
524 x 7s. 9d. = 4,061s. = £208 1s. ; :<br />
or, after deducting £170, the cost of production,<br />
£33 1s.; and this is the publisher’s profit.<br />
<br />
<br />
<br />
<br />
144<br />
<br />
In order to express the amount as a percentage,<br />
the following statement must be considered :<br />
<br />
33°05<br />
170 : 100 2: 33°05: Se 1941.<br />
é<br />
<br />
The publisher’s profit, therefore, exceeds 19 per<br />
cent. of his invested capital when only 524 copies<br />
are sold in twelve months.<br />
<br />
Sometimes as many as 524 copies would sell on<br />
subscription — that is, when the book is being<br />
placed before the trade at the date of, or just prior<br />
to, publication. Then with, say, six months’ credit,<br />
the publisher would make 38 per cent. Take the<br />
darker side: 524 copies only sell in two years,<br />
even then the publisher makes 93 per cent.—a not<br />
unreasonable investment for his money.<br />
<br />
If the whole edition—that is, 950 copies—are<br />
sold within the twelve months, by a similar process<br />
of reasoning—it is unnecessary to work out the<br />
figures—the publisher gains £198 2s. 6d.<br />
<br />
That is, the publisher’s profit on his investment<br />
of £170, to express the same in the form of a<br />
percentage :<br />
<br />
170 : 100 +; 198125 ; 100 x TAS 729 — 316-55;<br />
or the publisher makes more than 1164 per cent.<br />
per annum on the capital he invests, supposing he<br />
sells the edition within the year. If the edition<br />
sells in two years, he makes 58% per cent. ; if in<br />
three years, over 38 per cent.<br />
<br />
Tn answer to the last statement, the author’s<br />
royalties are what a process of bargaining will<br />
make them ; for the well-known writers of fiction<br />
10 per cent. is absurdly low. The book is pub-<br />
lished at 6s., and all the figures have been placed<br />
before Members on many occasions.<br />
<br />
But when a book is published at 12s. 6d., it is<br />
not infrequently a volume of memoirs, a bio-<br />
graphy, or a book of travel, and is the property of<br />
the too confiding one-book man. He knows not<br />
the price of literary wares. He is ignorant of<br />
publishers’ methods ; or, perhaps, as the book is<br />
written in leisure moments, he is only too glad to<br />
get anything for it, and proceeds all unwittingly to<br />
undersell his brethren of the pen.<br />
<br />
The one-book man is the natural prey of the<br />
publisher, who reaps a golden harvest at the rate<br />
of 10 per cent. on all copies sold, or at even lower<br />
figures, such as 10 per cent. after the sale of 100,<br />
200, or even as high as 500 free of royalty.<br />
<br />
However, let us give the publisher the benefit<br />
of his third and last objection.<br />
<br />
The sum to be considered is that divided between<br />
the author and publisher :<br />
<br />
15 + 50°06= 65°06.<br />
The publisher receives for the book a sum of<br />
money which enables him to pay (1) the cost of<br />
<br />
THE AUTHOR.<br />
<br />
production, (2) the author’s royalty, (3) a profit to<br />
himself as a percentage on his capital.<br />
<br />
Now the following table will show that even if<br />
the publisher’s objection is sustained, and the<br />
whole edition sells within a year at the rate of<br />
30 per cent. to the author on the published price,<br />
he reaps 46°71 per cent. on his capital.<br />
<br />
Publisher’s inte-<br />
<br />
Author’s Author Publisher rest on capital in-<br />
<br />
royalty receives receives vested per cent.<br />
per cent. per copy. per copy. per annum,<br />
74d. 4s. 9°81d. 134°39<br />
10 1s, 3d. 4s. 2°06d. ... 116°55<br />
12 1s. 6d. ... Ss. 11:U6d. 1.) 10571<br />
15 1s. 10$d.... 38. 6°81d. 99°69<br />
20 25. 6d. ..,, 28. 11060... 81°64<br />
25 38: lad. ... 28. 3°81d. 64°76<br />
30 3s. 9d. ... 18. 8°06d. 46°71<br />
35 4s. 4¢d. ... 1s. 081d. 29°80<br />
40 5s. Od. Os. 506d. 11°78<br />
<br />
It is possible that a further objection may be<br />
raised. ‘Che publisher will say, “ You have taken<br />
the sale of limited numbers of the edition when<br />
the author receives 10 per cent.; and, again, you<br />
have taken various royalties to the author when<br />
the whole edition is sold. But what of the pub-<br />
lisher’s profit when the author’s royalty is high and<br />
the whole edition does not sell ?”<br />
<br />
Supposing, then, the author’s royalty is 15 per<br />
cent., 20 per cent., 25 per cent., how many copies<br />
must the publisher sell to make his profit on each<br />
copy equal to that of the author, and what interest<br />
per cent. does this in each case represent upon his<br />
investment of £170, if the copies are sold within<br />
the twelve months ?<br />
<br />
The problem is how many copies must the pub-<br />
lisher sell at 9s. to be able to get back his capital,<br />
£170, expended on the cost of production, and to<br />
have for himself a sum equal to that which he pays<br />
the author.<br />
<br />
The cost of production is always £170 = 3,400s.<br />
= 40,800d.<br />
<br />
The sum which the publisher receives for each<br />
copy is always 9s. = 108d.<br />
<br />
Let X in each case represent the number of<br />
copies which must be sold.<br />
<br />
Then, in the first case, the author receives &<br />
<br />
royalty of 15 per cent. =x a. = 22°6d.<br />
<br />
The publisher must have, to divide equally<br />
between himself and author 2 x 225d. = 45d.<br />
upon each copy sold.<br />
<br />
108 X = 40,800 +45 X.<br />
63 X = 40,800.<br />
T= 6176<br />
<br />
The publisher must sell 648 copies. To find his<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
profit per cent. upon his invested capital of £170 =<br />
<br />
40,800d., we must write,<br />
<br />
100 x 22°5 x 648<br />
<br />
. 28 ODA . es<br />
<br />
As 40,800 : 100 3: 22°5 x 648: oh<br />
<br />
22:5 x 648<br />
408<br />
<br />
Secondly, when the author’s royalty is 20 per<br />
cent., z.e. 30d.<br />
<br />
The publisher must have, to divide equally<br />
between himself and the author, 60d. = 5s. on each<br />
copy sold. And the calculation can be made in<br />
shillings.<br />
<br />
9 X = 3,400 + 5X.<br />
4X = 3,400.<br />
X= 650.<br />
The publisher must sell 850 copies. To find his<br />
profit per cent. upon his invested capital of £170 =<br />
3,400s., he must write,<br />
<br />
As 3,400: 100 ::2°5 x 850:<br />
<br />
34<br />
<br />
It is deserving of remark that the publisher’s<br />
gain per cent. creases (in consequence of the<br />
larger sale and the larger consequent profit on each<br />
copy), although he is giving a larger royalty to the<br />
author. But a point exists at which he is no<br />
longer able to share equally.<br />
<br />
Thus: in the third case, when the author’s<br />
royalty is 25 per cent., 7.e. 37°5d. per copy.<br />
<br />
The publisher must have to divide equally<br />
between himself and the author 75d. on each copy<br />
sold.<br />
<br />
108 X = 40,800 + 75 X.<br />
33 X = 40,800.<br />
X= 1,236°6.<br />
<br />
The publisher must sell 1,237 copies. This he<br />
cannot do, having only 950 copies for sale. That<br />
is to say he cannot give the author a royalty of<br />
25 per cent., and himself reap an equal profit per<br />
copy. And this appears also in the table given<br />
above, where it is shown that at a royalty of<br />
25 per cent. the publisher’s profit per copy becomes<br />
less than the author’s, even if the whole edition is<br />
sold, but yet his profit on his capital when paying<br />
the author 25 per cent. is substantial. It is 64°76.<br />
<br />
All possible objections have now been met. It<br />
is clear that with a limited sale, and with royalty<br />
that to some may appear large, the publisher’s<br />
profit is still substantial. If it does not quite<br />
<br />
= 85°7.<br />
<br />
100 x 2°5 x 850 _<br />
3,400<br />
<br />
equal that of the author in some cases, it is no<br />
small percentage on the capital invested.<br />
<br />
Workers in other lines of business would be<br />
pleased if they could reckon on such a profit.<br />
<br />
145<br />
<br />
If publishers grumble about their losses it can<br />
only be accounted for by the fact that that vice<br />
which is gradually pervading and destroying all<br />
legitimate trade has caught them also. They are<br />
eng with books, as others with stocks and<br />
shares,<br />
<br />
_<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
+4<br />
The Bookseller.<br />
<br />
HE question of “The Distribution of Books”<br />
having been taken up by 7he Author, it is<br />
to be hoped that the whole subject may be<br />
<br />
thoroughly threshed out. Mr. MacLehose has, at<br />
the beginning of his interesting article, modestly<br />
pleaded that the question deserves more attention<br />
than is usually given it. That is putting the<br />
point temperately. Any one who contended that<br />
the distribution of books is at the present moment<br />
the most important of all accessory literary<br />
problems would be probably ‘not far from the<br />
truth. The facts require to be dragged into day-<br />
light, and the whole situation to be made plain. And<br />
that any one who can assist in any way to. this<br />
end will be doing good service must be the present<br />
writer’s excuse for a few remarks upon one aspect<br />
of the subject from one who can make no pretence<br />
to be either fully acquainted with all its bearings<br />
or by any. means so well informed as Mr. Mac-<br />
Lehose» The general obscurity and uncertainty<br />
at présent existing respecting the methods and<br />
complications of the distribution of books exactly<br />
resemble those which obtained concerning the<br />
cost of production before Sir Walter Besant, in the<br />
early years of the Society of Authors, brought<br />
the previously carefully concealed facts to light.<br />
The cost of production has long ceased to be a<br />
secret. And there is no reason why the methods<br />
by which books are distributed should remain one,<br />
if the interested parties (and they are many)<br />
choose to have the facts made plain. If the Society<br />
of Authors can assist to this desirable end, a<br />
service will be rendered, not to authors only, but<br />
also to the reading public, and to the publishers.<br />
That sales should increase is as much to be<br />
desired by these last as by any one else.<br />
<br />
That the distributing machinery is unsatisfactory<br />
and out of gear is undeniable. Wherever we find<br />
simultaneously existing a producer who cannot sell<br />
the commodity which he produces and a purchaser<br />
desirous of obtaining the same commodity unable<br />
to procure it, the method by which the commodity<br />
is distributed is evidently faulty.<br />
<br />
This is at present the case in the book trade.<br />
Authors cannot command really popular sales;<br />
<br />
<br />
<br />
<br />
<br />
146<br />
<br />
publishers cannot secure remunerative ones. And<br />
at the same time the larger part of the reading<br />
public—a public which would be larger than it is<br />
if its tastes were not systematically thwarted—<br />
cannot procure the books it desires.<br />
<br />
The outcry of the impossibility of getting books<br />
is universal. Every one has heard it in all forms,<br />
ranging from the complaint of the subscriber of<br />
the circulating library who reads only for amuse-<br />
ment (the most laudable, excellent, and improving<br />
of all amusements), andsdeclares “ One can never<br />
get what one wants,” to the protest of the scholar<br />
who knows how small are the number of shops at<br />
which he has any chance of procuring the works<br />
necessary for his studies—if he can procure them<br />
at all. In the suburbs and in the country the<br />
people who will have books send to town for them,<br />
in some cases take railway journeys to procure<br />
them ; the scholar makes laborious extracts at<br />
the public libraries of the matter which he requires,<br />
because to get the actual works is impossible. But<br />
the ordinary reader or purchaser will not, of<br />
course, take all this trouble. He simply goes<br />
without what is difficult to procure, declines to<br />
purchase what he cannot see, and deserts a market<br />
.at which his custom is discouraged.<br />
<br />
-~ On the other side the cry is that the unproduc-<br />
tive stock of books, whether new or old, remains<br />
on the hands of the publisher and bookseller. To<br />
dispose of it is impossible. Yet there is probably<br />
not a book in the world which some one would<br />
not purchase on the spot if it were placed before<br />
him.<br />
<br />
Mr. MacLehose appears to assign the larger part<br />
of the responsibility for this unsatisfactory state of<br />
things to the publisher. The present writer has<br />
no wish to dispute the conclusions of a man better<br />
informed than himself; but he believes that it is<br />
nearly impossible to exaggerate the lethargy and<br />
incapacity of the ordinary retail bookseller. ‘These<br />
retail booksellers are the final link between the<br />
author and the public. They are the distributing<br />
agents on whose capacity the publishers’ profits<br />
largely depend. They are the salesmen whose<br />
place it is to encourage the larger outlay of money<br />
upon books by the general public.<br />
<br />
There are, no doubt, booksellers and booksellers.<br />
There are booksellers (how few ! ) who if, reversing<br />
the discount system, they were to add twenty-five<br />
per cent. to the price of the books which they sell,<br />
might justly claim that their wares were cheap at<br />
the enhanced price. The scholar who has to take<br />
up some difficult subject, and is in doubt from<br />
<br />
which works the new knowledge which he requires<br />
<br />
can be most rapidly and most surely obtained, if<br />
he has a bookseller capable of affording him the<br />
information which he wants, able to mention up-<br />
to-date books not to be found in encyclopedias and<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
bibliographies, able to state which work stands<br />
highest in the estimation of experts, and prompt<br />
to furnish information respecting the appearance<br />
of new works on a special subject, would gladly<br />
pay 25s. instead of 20s. for the advantage of being<br />
immediately provided with the very works he<br />
wanted. ‘The man whose time is money, in need<br />
of some uncommon work, would find it an economy<br />
to pay the enhanced price to have a work, of which<br />
he stood in immediate need, instantly handed to<br />
him across the counter. But the booksellers able<br />
to render such services are extremely rare ; and<br />
they do not put twenty-five per cent, on to the<br />
price of their books.<br />
<br />
But the vast majority can be called booksellers<br />
only on the principle of dwcus a non lucendo. If<br />
asked why they do not stock books, they simply<br />
reply that they cannot sell them. And in many<br />
cases the reason why they cannot sell them is<br />
simply that they do not know how to do so.<br />
<br />
In a recent number of 7he Author figures were<br />
given which showed that in the case of the nett<br />
book the bookseller’s profit is less only by an insig-<br />
nificant fraction than the whole sum paid for pro-<br />
duction, the earnings of the paper-maker, com-<br />
positor, printer, and binder—in fact, the price of<br />
the whole of the mechanical labour. And all that<br />
the bookseller does is to procure the book, perhaps<br />
paying a trifle for carriage, and to hand it across<br />
the counter. Yet he cannot make these severe<br />
labours remunerative |<br />
<br />
That appears at first sight strange. But it is<br />
not so very strange if the capacities of the ordinary<br />
bookseller are taken into account.<br />
<br />
As an instance of what these can be, may the<br />
writer mention a recent experience ? Happening<br />
to require a cheap copy of the poems of Milton for<br />
marking, and not being in a hurry for it, he ordered<br />
a “Chandos Classics’? Milton from a suburban<br />
bookseller. It was never delivered. But at the<br />
end of a fortnight the bookseller found energy<br />
enough to send a messenger to say that the book<br />
could not be procured. When asked for the same<br />
afternoon at the shop of one of the cash booksellers<br />
in the Strand, it was of course produced at once<br />
Whether idleness, ignorance, mere forgetfulness, &<br />
disinclination to supply the book, or 4 combination —<br />
of all these, led the suburban bookseller to say that<br />
the work could not be procured, the Powers above —<br />
know. He asserts that bookselling does not pay —<br />
—in his case, naturally.<br />
<br />
Curiosity prompted a different experiment upon<br />
the tobacconist who has a shop nearly opposite the<br />
able bibliopole, and, like many of his trade, at the<br />
same time plies the business of a newsvendor. This<br />
time the work was a learned one on Egyptology.<br />
“If I give you the title and the publisher's address<br />
can you procure it?” ‘JI can procure it at once if<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
you will give me only the title,” was the immediate<br />
reply. And the book arrived the same evening,<br />
<br />
That a bookseller could, if he chose, procure a<br />
book as easily as a tobacconist could is evident.<br />
<br />
If booksellers of this kind are losing their<br />
custom, so much the better. The country would<br />
be benefited by the bankruptcy of the whole<br />
lot and the transference of their trade to more<br />
competent hands.<br />
<br />
All over the country the case is more or less the<br />
same as in the suburbs—rather more than less.<br />
In the provinces it is generally known that only<br />
the address of an enterprising London cash book-<br />
seller is necessary to make the purchase of the<br />
books sent by post from town easier, cheaper, more<br />
expeditious, and much more likely to result in<br />
what is wanted arriving than any dealings with the<br />
local bookseller. Often the local bookseller will<br />
give only 2d. in the shilling discount, whilst the<br />
London house gives 3d. The London house<br />
io charges the carriage. But if the book is of any<br />
5 considerable price the difference of the discount<br />
<br />
more than covers carriage. So the local trader<br />
<br />
arranges that the purchaser shall not be left with-<br />
<br />
out a single reason for sending to London.<br />
<br />
* __ Afterwards he discovers that bookselling does not<br />
*{ +=pay—naturally.<br />
<br />
So far, however, we are dealing with a small<br />
part only of the whole question, the supply of<br />
books ordered for cash. Here everything that has<br />
to be done is so simple that the purchaser can do<br />
it for himself as well as or even better than the local<br />
bookseller—when the purchaser knows anything<br />
about books, what he wants, and how to write<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
for them. But these people are not really<br />
numerous.<br />
Unfortunately, the local bookseller is, generally<br />
<br />
<br />
<br />
speaking, equally useless to all the rest.<br />
<br />
First of all, tothe considerable number of people<br />
who know little about books, but who will read if<br />
they can get what they enjoy reading, but go<br />
without books because of the hindrances put in the<br />
way of buying them. These people require, in<br />
the case of the most ordinary books, the same kind<br />
of assistance that a student requires in the pur-<br />
chase of technical works. Very frequently they<br />
are simply in search of something to read, without<br />
having any particular work in view. But they<br />
want to see what they are going to purchase.<br />
<br />
But outside these remain a still larger number<br />
who have no intention of purchasing, but will<br />
purchase if something that attracts them is placed<br />
before them.<br />
<br />
To all these the ordinary bookseller has nothing<br />
to show, because he does not stock. He asserts<br />
that it does not pay him to stock,<br />
<br />
But would it ever pay any one to stock, who<br />
knew nothing about what he was stocking, and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
147<br />
<br />
nothing about the tastes of his customers to whom<br />
the stock was to be sold ?<br />
<br />
The ordinary local bookseller’s acquaintance<br />
with the tastes of his customers is aptly illustrated<br />
by a characteristic declaration from the lips of a<br />
watering-place belle, speaking for herself and her<br />
sisters: “Oh, we never read now. They have<br />
changed the girls that used to serve at — s<br />
<br />
<br />
<br />
library. The girls they had there béfore spent all<br />
their Sundays in reading the novels. In con-<br />
<br />
sequence they could always tell us what we should<br />
like. The new girls don’t read novels ; and<br />
Mr. — knows nothing about the books, So<br />
we found that we never got anything that amused<br />
us, and have dropped our subscriptions.” This<br />
was clementary ; still, evidence that to have an<br />
idea of the tastes of the customer is worth<br />
something,<br />
<br />
This, on the other hand, is what a country<br />
bookseller has actually said on the subject of<br />
stocking, no doubt under the impression that he<br />
was being witty: “He only stocks books by<br />
established authors. He cannot be expected to see<br />
genius in the cover of a book.” Then why does he<br />
not look inside? Is he equally unable “to see<br />
genius” there also? He has not the time? But<br />
it is well known that any habitual reader can turn<br />
over a pile of twenty books in ten minutes, and be<br />
sure of detecting by a few hasty glances the two<br />
that will afford him the greatest assistance or<br />
entertainment. In the case of fiction he may<br />
examine fifty in the same time. Why cannot the<br />
bookseller equally easily detect the books which he<br />
can sell ?<br />
<br />
And the publishers’ travellers assert that it is by<br />
the cover that the country bookseller selects his<br />
stock.<br />
<br />
Evidently stocking cannot pay so long as the<br />
salesman is incompetent to choose his stock.<br />
Equally evidently his custom will not increase so<br />
long as he does all in his power to drive away his<br />
customers. Imagine the hosier whose reply to<br />
any demand for gloves was, “We do not stock<br />
them. But if you will give us the size, quality,<br />
and maker’s name, we can get them for you—in<br />
about ten days.” On those terms hosiery would<br />
not pay. The nett book is a novelty distinctly<br />
advantageous to the retailer; and other steps—<br />
those for example mentioned in Mr. MacLehose’s<br />
article—may be taken to ameliorate his position.<br />
But everything will be in vain unless the retail<br />
<br />
<br />
<br />
_bookseller chooses to help himself, and to do<br />
<br />
something to woo back the custom which he has<br />
lost, and is still discouraging. If he is incompetent<br />
to do that, the sooner the function of book<br />
distributing is transferred to more competent<br />
agents the better.<br />
<br />
The most serious aspect of the present situation<br />
<br />
<br />
<br />
<br />
148<br />
<br />
is, not that the publisher can command no widely<br />
distributed competent sellers—though this is<br />
serious for the publisher; nor that the author<br />
cannot get at the public—which is serious for the<br />
author ; but that simultaneously with a wide, if<br />
not particularly intelligent, promotion of education,<br />
the reading habit is being all over the country<br />
discouraged by the inefficiency of the vast majority<br />
of booksellers.<br />
<br />
——\_o——_+—____—-<br />
<br />
THE SHORTHAND SUBSTITUTE.<br />
<br />
><br />
<br />
HAVE no pen in my hand ; there is no short-<br />
hand writer in the room worrying me to<br />
repeat what I said, and asking the way to<br />
<br />
spell this or that word ; there is no typewriter in<br />
front of me with its odious click, click; and yet<br />
this article is being evolved rapidly and without<br />
effort. Now and again I press a key, but that is<br />
all. When I have dictated to the extent of 800<br />
words, I push aside a little lever, place a wax<br />
cylinder in a box, label it No. 1, and have no<br />
more care or trouble about the matter until the<br />
afternoon, when my amanuensis brings me a<br />
neatly-typed article for revision. Thanks<br />
to an excellent voice recording and reproducing<br />
machine, I have done most of my literary work<br />
and correspondence after this fashion for some<br />
years. The only serious fault I have to find<br />
with the system is that in course of time the<br />
phonograph comes to be regarded as almost indis-<br />
pensable, and that when away from home without<br />
my mechanical assistant, literary work of any kind<br />
becomes a grievous toil. Undoubtedly there are<br />
writers who could not use the phonograph with<br />
advantage. Some cannot dictate. In other cases<br />
the voice possesses a somewhat muffled quality,<br />
which makes the record of it too indistinct for the<br />
amanuensis to understand when phonographically<br />
reproduced, and [ may say here that women make<br />
by far the clearest record. There are, again,<br />
authors who are incapable of understanding<br />
and managing the most simple piece of machinery,<br />
though they somehow seem to learn to use a pen,<br />
which is an infinitely more difficult instrument to<br />
manage than a phonograph, and takes much longer<br />
in the learning. But there are large numbers of<br />
authors and journalists by whom the phonograph<br />
would be found as useful as I have found it, and<br />
for whose advantage I venture to offer some<br />
account of my experiences. I have only heard of<br />
two authors who use the phonograph—Mr. Guy<br />
Boothby and Mr. Houghton Townley—and the<br />
output of these is considerable. A few business<br />
men use them in their offices instead of shorthand<br />
<br />
THE AUTHOR.<br />
<br />
clerks. One whom I know—Mr. Upcott Gill<br />
publisher—has used a phonograph for many years<br />
for his correspondence.<br />
<br />
The first question which an author will naturally<br />
ask himself is, “Can I do as good work if I dictate<br />
as if I write?” This is very largely a personal<br />
matter, depending on the idiosyncrasy of the<br />
individual. The author who thinks and writes<br />
slowly, and whose literary output rarely exceeds<br />
500 words in a day, should, I think, confine himself<br />
to the pen, but those who compose about 2,000<br />
words a day or more are likely to keep up a<br />
better average quality of work if they dictate<br />
than if they write. The reason I express this<br />
opinion is that after about 1,000 words have<br />
been written with the pen there is acertain amount<br />
of bodily fatigue which affects the mind to a<br />
certain extent, and towards the end of the day’s<br />
work, the quality of the literary matter is inclined<br />
to suffer in consequence of the writer’s bodily<br />
weariness. As a general rule the literary man<br />
should, during and just before his hours of work,<br />
avoid anything which tends either to distract or<br />
weary him. The phonograph itself is undoubtedly<br />
when first possessed something in the nature of a<br />
distraction ; but this feeling passes off, and very<br />
<br />
soon one’s hand does the slight manipulation which ~<br />
<br />
is required without conscious reference to the<br />
mind, just as the hands of the piano player work<br />
mechanically while the eyes and mind of the player<br />
are fixed on the page of music. :<br />
<br />
This question was one which I considered very<br />
anxiously in connection with my own work, and<br />
the conclusion I came to was that dictated work<br />
was, on the whole, as good as work with pen and<br />
ink. I was able in this connection, to compare<br />
two novels. The first, “Lady Val’s_ Elope-<br />
ment,” was written by me in pencil, and as the<br />
revised draft was almost illegible, I dictated it<br />
to a shorthand writer, making further alterations<br />
as I went. After the shorthand notes had been<br />
transcribed, I revised the story for the third time<br />
and sent it to press. With this I can compare<br />
“ Her Wild Oats,” a novel which was dictated in<br />
a very few weeks, though the arrangement and<br />
scheme of it required many months of work. I can<br />
get no indication of which was the better book<br />
from the reviews; but it appears to me (if an<br />
author is able to judge his own work) that the<br />
wholly-dictated book was the better, and from the<br />
publisher’s point of view it was by far the most<br />
successful. It is shorter and generally less verbose<br />
than the written novel, and the dialogue is more<br />
crisp. The bocks are long out of print, so I do<br />
not hesitate to mention them by name, in order that<br />
others may decide whether my judgment is correct<br />
or not on this point which is one of considerable<br />
importance.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR, 149<br />
<br />
It is a good many years now since the first<br />
phonographs were introduced. A serious mistake<br />
was then made by the owners of the patent. It<br />
was supposed that pretty well everyone would<br />
require a phonograph, and that the invention would<br />
come into general use for correspondence, business<br />
purposes, etc. Instead of manufacturing the<br />
machines at a moderate price and selling them,<br />
the company merely hired them out on rather high<br />
terms, making an arrangement for the lessees to<br />
be visited by an inspector from time to time, who<br />
would look over their instruments and keep them in<br />
order. This system was an absolute failure. The<br />
phonographs were little used, but within the last<br />
few years they have come into popular favour in<br />
the shape of what I may term musical toys.<br />
Talking and music reproducing machines ‘of<br />
various kinds are now sold at a low price by<br />
quite a number of makers, and at the present<br />
day the practical and useful side of the phono-<br />
graph seems in danger of being lost sight of.<br />
The entertainment phonograph is not suitable for<br />
literary work, and an unguided author is likely<br />
to get a machine which for his particular purpose<br />
is of little use.<br />
<br />
It is well, perhaps, to explain that the phono-<br />
graph consists first of a kind of lathe. On the<br />
mandrel is placed a wax cylinder. Set your lathe<br />
in motion and the cylinder revolves, A turner<br />
would cut any circular design he wanted on the<br />
wax while in motion by holding a tool of some<br />
kind against it. In the phonograph what has to<br />
be cut is a fine thread like that on a screw. The<br />
tool which cuts this is a fine sapphire point held<br />
in position by an arm which travels slowly down<br />
the cylinder during its revolutions. In the enter-<br />
tainment phonograph a hundred threads are cut<br />
on every inch of cylinder. In the machine used<br />
for business purposes and by literary men—where<br />
it is important to get as many words on a cylinder<br />
as possible—the arm travels at half the speed, the<br />
sapphire point is finer, and two hundred threads<br />
are cut to every inch. The result is a slight loss<br />
of sound, but the recording instrument has been so<br />
much improved recently that this loss is more than<br />
regained, and an ordinary and fairly clear voice is<br />
admirably reproduced.<br />
<br />
The next question is what connection is there<br />
between the reproduction of sound and the threads<br />
cut in the wax cylinder ? It will suffice now if I<br />
say that the sapphire point which cuts the threads<br />
is attached to the centre of a round piece of very<br />
thin glass. The trumpet into which one speaks<br />
conveys the sound waves to this piece of glass,<br />
which vibrates according to the sounds striking it.<br />
The vibration is necessarily communicated to the<br />
sapphire point, which as it cuts the grooves digs<br />
into the wax more or less deeply, and at varying<br />
<br />
intervals according to the nature of the sound<br />
thus making what is termed the “ record,”<br />
<br />
To reproduce the sounds the sharp point is<br />
replaced by a round smooth point. This, as the<br />
cylinder revolves, goes over the grooves which have<br />
been cut by the sharp point, and the indentations in<br />
the grooves or threads cause the smooth point to<br />
shake, giving exactly the same vibration to the<br />
glass plate above it as the plate attached to the<br />
sharp point received when the speaking into the<br />
trumpet took place. The yibrations or sound<br />
Waves now come out of the trumpet instead of into<br />
it, and the recorded sounds are reproduced.<br />
<br />
I do not give this as a scientific description of<br />
the phonograph, but it is a description which<br />
I think will assist the proposing owner of one of<br />
these marvellous instruments, J] particularly wish<br />
to emphasize the point that for an author’s use the<br />
phonograph should cut two hundred threads to the<br />
inch. Each thread, roughly speaking, represents<br />
a word. ‘The cylinder is four inches long,* so that<br />
if we get two hundred threads to the inch, we can<br />
dictate two hundred words to the inch, or eight<br />
hundred words on the four-inch cylinder. If on<br />
the other hand the author has one of the ordinary<br />
machines in common use, with one hundred words<br />
to the inch, he is only able to get four hundred<br />
words on to a cylinder, and as cylinders have to be<br />
shaved after use, this involves double the amount<br />
of shaving, and many more cylinders have to be used,<br />
which is another consideration, though a very small<br />
one. I only know of one firm which makes these<br />
two hundred thread machines—the Edison-Bell<br />
Phonograph Company, of Charing Cross Road. I<br />
bought one of their ordinary standard machines,<br />
costing five guineas, and by altering the gear-<br />
ing of the lathe, had it turned into a two hundred<br />
thread machine without difficulty and without<br />
extra charge. This machine I keep for my type-<br />
writer’s use for reproducing the records which I<br />
make on a much more expensive machine, It will<br />
however, make a very excellent record of its own,<br />
and would be quite suitable for all purposes if<br />
fitted with a better arrangement for lifting the<br />
sapphire point off the wax when dictation ceases for<br />
a moment or two, and if it could shave cylinders<br />
more satisfactorily. The motive power of the<br />
little lathe is a spring, which after being wound<br />
up, will run for about two cylinders, but in the<br />
course of years the spring naturally gets weak,<br />
and will not do its work satisfactorily for more<br />
than one cylinder. This can of course be remedied<br />
by having a new spring.<br />
<br />
<br />
<br />
<br />
<br />
* The Columbia Phonograph Company, of Oxford Street,<br />
make a machine for business and literary men, with a<br />
six-inch cylinder. They have also shaving machines which<br />
are somewhat costly. I have not experimented with these<br />
instruments.—J, B.<br />
150<br />
<br />
For my own use—for making the records and<br />
shaving them—I had to purchase a machine which<br />
now costs £15. It has powerful springs which<br />
will run four or five cylinders without atten-<br />
tion. On this machine there are two little<br />
keys ; one marked “ Off? the other “ On.” If I<br />
press down the “Off” key, the point is lifted off<br />
the wax; on pressing the “On” key the point<br />
drops on to the wax again in its former position.<br />
In the cheaper machine there is a little difficulty in<br />
getting the sapphire point into exactly the same place<br />
after lifting it, but this could be easily remedied,<br />
andit is possible the company would make the altera-<br />
tion for any person requiring a machine of that<br />
class. It is of course necessary for the typewriter<br />
to stop the sound of the voice at the end of each<br />
sentence or two. This is not done by stopping<br />
the revolution of the cylinder but by lifting the<br />
sapphire point off it. It is obviously important<br />
that the point should be lowered into the groove<br />
from which it was raised, otherwise time is wasted.<br />
<br />
For some reasons, an electric motor is very<br />
much better than a spring motor forthe phonograph,<br />
and I should recommend it where electricity is<br />
available without much trouble. In houses fitted<br />
with electric light, it is of course available, the 100<br />
volt system being the best. The 200 volt system<br />
is too powerful, and the apparatus involved lends<br />
to much waste of electricity.<br />
<br />
A question which will perplex the purchaser is:<br />
<br />
whether to have a combined recorder and repro-<br />
ducer, or two separate instruments.t I do not find<br />
that the combined recorder and reproducer possesses<br />
any particular advantage. It is not often during the<br />
day that the author wishes to reproduce what he<br />
has said, and when this does occur, to change the<br />
recorder for the reproducer is a matter of a few<br />
seconds only. Before buying a phonograph I made<br />
arrangements with the company to have from them<br />
various types of phonograph with the option of pur-<br />
chase, and it was after a somewhat prolonged trial<br />
I found the machines I have mentioned to be the<br />
best. The larger one is the most highly finished<br />
production of the Edison-Bell Phonograph Com-<br />
pany, but as I have already said, the cheaper one<br />
would answer every purpose if fitted with an<br />
arrangement for lifting the sapphire from the wax<br />
and for shaving records satisfactorily.<br />
<br />
The running expenses of these machines after<br />
purchase are comparatively slight, for each cylinder<br />
can be shaved at least twenty times (the company say<br />
fifty times in their price list), As a cylinder costs<br />
a shilling, and contains about 800 words, at least<br />
<br />
<br />
<br />
+ The recorder consists of a round metal frame about<br />
18 in. in diameter, which holds the glass diaphragm and<br />
sharp sapphire point. The reproducer is similar but bears<br />
the smooth reproducing point. The two can be combined<br />
in one instrument.<br />
<br />
THE AUTHOR.<br />
<br />
16,000 words can be dictated at a cost of one<br />
shilling for material. When the cylinders get thin<br />
a musical or other interesting or amusing record<br />
can be made on them.<br />
<br />
The shaving of cylinders was at the commence-<br />
ment, my greatest difficulty. It is a matter of<br />
considerable delicacy with any of the cheaper<br />
machines—and requires an extremely well-made<br />
machine to do it satisfactorily. I may explain<br />
that the shaving is done by what is called a knife,<br />
but is in reality a flat piece of sapphire with a<br />
sharp, slightly convex edge which can be placed in<br />
contact with the cylinder, and travels along it<br />
while the machine is put at its highest speed. On<br />
the cheaper spring motors, such as that in the five<br />
guinea machine, I found that one could not get<br />
the necessary speed, and the arm holding the knife<br />
did not travel with sufficient accuracy to put a<br />
smooth surface on the cylinder. On my large<br />
machine I could shave the cylinders very well by<br />
using the spring motor, but it was a somewhat<br />
tedious operation, and of course shortened the life of<br />
thespring. Finally I solved the difficulty by having<br />
a handwheel (7% in. diameter) apparatus made by<br />
a bicycle maker for my large machine. It is<br />
placed on the machine in a couple of minutes by<br />
means of two thumbscrews. A piece of round solid<br />
rubber, with a hook and eye at the end of it to join<br />
it, is placed round the shaft of the lathe and over<br />
the wheel, and on the wheel being turned, the<br />
lathe works at such a high speed that I can now<br />
shave a cylinder in less than forty-five seconds and<br />
get a perfect surface. People who use phonographs<br />
for music and amusement more often buy records<br />
ready made than make them, and even after making<br />
a record they rarely want to shave the cylinder.<br />
When they do they can send the cylinder to the<br />
company and get it shaved for them at the cost ofa<br />
few pence. But an author who is using four, five<br />
and even more cylinders aday could notconveniently<br />
send them to the company. The cost of carriage,<br />
loss by breakage, and the trouble involved would<br />
be too great. For authors and for business pur-<br />
poses there is certainly very great need for the five<br />
guinea machines and others of moderate price, to be<br />
so constructed that they will shave properly, or for<br />
a special shaving apparatus to be sold at a<br />
reasonable cost. I should add that when the best<br />
quality machines are driven by electricity they can<br />
be run at such a speed as to render no handwheels<br />
necessary, but I would as soon use a handwheel<br />
when shaving on a £15 machine as on one<br />
electrically driven.<br />
<br />
It will be seen that as matters at present stand,<br />
one is obliged to buy a very expensive machine, or<br />
else send the cylinders to the company to be<br />
shaved. It may be that the profit on shaving<br />
cylinders is so considerable that the Edison-Bell<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
1<br />
a<br />
|<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
and other companies are not disposed to encourage<br />
shaving by their customers, but I am sure the<br />
policy is a bad one, for many an author would give<br />
five guineas for a machine which would record,<br />
reproduce, and shave a cylinder well, who would<br />
not be disposed or perhaps be able to give fifteen<br />
guineas or so for a machine which was not<br />
materially better except that it would shave<br />
cylinders. I find it a good plan to have a number<br />
of cylinders in use and to shave not less than half-<br />
a-dozen at a time, a matter of ten minutes or so.<br />
<br />
As the five guinea machine weighs 17lb., while<br />
the £15 machine weighs 541b., the former is by far<br />
the more convenient, particularly when travelling,<br />
for the phonograph must never be given up to a<br />
railway porter.<br />
<br />
I find that phonographs have several advantages<br />
beyond those which are obvious. In the first place<br />
the author and his amanuensis can both be<br />
working at the same time, which doubles the time<br />
the amanuensis can give to transcription. Secondly<br />
the author can work at any time it pleases him.<br />
Shorthand writers who have to come up to the<br />
<br />
.study at eleven o’clock at night will not often be<br />
<br />
found in a very amiable frame of mind. The<br />
author who has a phonograph into which he can<br />
dictate at night, can please himself as to his<br />
hours. Thirdly, the machine is, I need hardly say,<br />
an endless source of amusement to one’s friends,<br />
for even those made specially for literary and<br />
business purposes will reproduce music, songs, etc.,<br />
with more or less accuracy, and the friend who is<br />
not interested in literary matters is sometimes very<br />
much interested in the phonograph. And lastly,<br />
where members of an author’s family are anxious<br />
to assist him in his labours, they can always do so<br />
by shaving the cylinders and by writing out for<br />
him anything he may dictate into the phonograph,<br />
for obviously no knowledge of shorthand is<br />
necessary. One of my delights in my leisure<br />
moments is to place my phonograph at the back of<br />
the piano, ramble about over the keys, and imagine<br />
I am composing. The phonograph makes a record<br />
of the resulting sounds and enables me to study<br />
them and hear what poor stuff Ihave evolved. The<br />
instrument may be therefore recommended as a<br />
moderator of vanity.<br />
<br />
The most pleasant way to hear music, or indeed<br />
any sounds, reproduced by the phonograph is<br />
through thin, hardrubber tubes, the ends of which are<br />
connected with the ears like the modern stethoscope.<br />
These fine tubes have the curious property of soften-<br />
ing away the grating or hissing noise, which is<br />
really the reproduction of the noise of the sapphire<br />
cutting into the wax, while at the same time<br />
increasing and rendering more faithfully than the<br />
trumpet the sounds one desires to hear. When a<br />
trumpet is~used objectionable sounds are em-<br />
<br />
151<br />
<br />
phasised, and there is a good deal of metallic<br />
vibration as well. I should explain I am referring<br />
to the literary phonograph and not those specially<br />
constructed for concert use. When dictating it is<br />
best to speak into the metal trumpet provided with<br />
the machine.<br />
<br />
It is perhaps interesting to mention that the<br />
foregoing remarks are recorded on exactly three<br />
cylinders and a half, and therefore in all probability<br />
consist of about 3,600 words.<br />
<br />
JoHN BICKERDYKE.<br />
<br />
i)<br />
<br />
CHARLES DICKENS.<br />
eS<br />
<br />
2 is with much pleasure that we have to record<br />
another celebration in honour of Dickens.<br />
<br />
In last month’s Author we narrated how the<br />
Dickens Fellowship took its first practical step by<br />
giving a dinner to the poor children of the East<br />
End of London, and now the great writer’s memory<br />
is being preserved in the City of Bath by the<br />
unveiling of a tablet affixed to the house, at<br />
35, St. James’ Square, where Dickens lived during<br />
his residence in that city.<br />
<br />
Some ten years ago it was the fashion to say<br />
that Dickens was not read and in another ten<br />
years would be forgotten, but with the progress.<br />
of time this great artist’s works have sunk more<br />
and more into the hearts of readers, and in the last<br />
few years we have seen a great Dickens revival,<br />
which, no doubt, will continue.<br />
<br />
————__+—_>—_+____—-<br />
<br />
REFLECTIONS OF A REJECTED<br />
MANUSCRIPT.<br />
<br />
1<br />
<br />
MS. in the publisher’s hand is worth two in<br />
the author’s.<br />
An editor is known by the MSS. he keeps.<br />
—and the stamps.<br />
Desperate authors require desperate remedies.<br />
A poet and his poem are soon parted.<br />
In submitting a MS. he who hesitates is a<br />
wonder.<br />
All is not gold that glitters . . . on book covers.<br />
Faint purse never won fair publisher.<br />
A true friend is one who laughs at our jokes.<br />
It is a wise author who knows his own MS.<br />
after . . . it has been blue pencilled.<br />
An author’s royalties are often far from royal.<br />
No satirist is hero to his own epigram.<br />
“Many Happy Returns of the Day ” applies to.<br />
the unsuccessful writer all the year round.<br />
<br />
Water PULITZER.<br />
<br />
<br />
GENERAL MEMORANDA.<br />
<br />
——1—+—<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if @ proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
IJ. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
1.) Not to sign any agreement in which the cost of pro-<br />
duetion forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
<br />
doctor !<br />
<br />
Ill. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in Lhe Author.<br />
Readers can also work out the figures themselves from the<br />
4‘ Cost of Production.”<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
‘The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
tothe author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
—___+—<—_e+____—_——_<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
———+—<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
THE AUTHOR.<br />
<br />
8. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gress receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (4¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
<br />
be limited, and are usually limited, by town, country, and ©<br />
<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform, The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9, Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of this contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic cou-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
—_+——_—__—_<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
2. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel's<br />
opinion, All this without any cost to the member.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinarysolicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note, The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
This<br />
The<br />
<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
o><br />
<br />
THE READING BRANCH.<br />
<br />
—1—>— + —<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. ‘The term<br />
MSS. includes NoT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
6 ae ge<br />
<br />
NOTICES.<br />
a<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
58. 6d. subscription for the year.<br />
<br />
153<br />
<br />
Communications for The Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NoT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
i)<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EDITOoR on all subjects connected with literature, but on<br />
no other subjects whatever, Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
1+<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
HE New Danish Copyright Law has now<br />
passed the Upper House, and was signed by<br />
the King on the 19th of December, 1902.<br />
It will come into operation on the Ist of July,<br />
1903, after which there will be no further difficulty<br />
in Danes entering the Berne Convention.<br />
<br />
We have to express our regret that the name of<br />
Lieut.-Colonel G. F. R. Henderson, C.B., was by<br />
an error included in the Report among the list of<br />
members who had died in the past year.<br />
<br />
We have watched with great interest the forma-<br />
tion of the Artistic Copyright Society for the<br />
protection of all original workers in the Arts.<br />
<br />
If parts of the Literary Copyright Act are<br />
unintelligible the Artistic Copyright Acts are abso-<br />
lutely chaotic. In many cases the artistic and<br />
literary copyright is very closely connected<br />
where books are illustrated. For many years<br />
now the holders of literary copyright have been<br />
striving to obtain a reasonable law. ‘Two years<br />
ago consideration of the question was promised<br />
in the King’s Speech, but there is, so far, no<br />
fulfilment of this promise. Any combination<br />
which may aid in bringing about the desired result,<br />
and force the woes of the unprotected authors and<br />
artists prominently before the Government and<br />
the country is of advantage to those who own<br />
copyright property.<br />
<br />
The names of those interested in the new<br />
Copyright Association are sufficient guarantee that<br />
<br />
<br />
<br />
<br />
154<br />
<br />
the matter will be pushed forward with vigour<br />
and influence. :<br />
<br />
We cut the following paragraph, bearing on the<br />
Musical Copyright Act, from the issue of The<br />
Author, of October, 1902 :—<br />
<br />
The Musical (Summary Proceedings) Copyright Act is<br />
essentially a publishers’ Act.<br />
<br />
To a certain extent, however, the Act must benefit all<br />
owners of musical copyright, whether composers or<br />
publishers.<br />
<br />
A careful perusal of its scope tends to show that the Act,<br />
hurriedly conceived, and as hurriedly pushed through the<br />
House, scarcely covers the most important difficulties con-<br />
nected with this musical piracy. It is unsatisfactory, and<br />
only fills a small space in a wide gap. What are the<br />
penalties to be enforced? There is no mention of penalty.<br />
Are the cheap piratical printers, the arch offenders, to<br />
escape the court of summary jurisdiction? It would appear<br />
to be the case.<br />
<br />
The various proceedings that have come before<br />
the magistrates from time to time since the Act<br />
came into force, seem clearly to demonstrate that<br />
our prophecy has been fulfilled.<br />
<br />
The Act, drafted for the benefit of the music<br />
publishers, and carried hurriedly through, does<br />
not deal with the difficulties of the question in an<br />
adequate manner. Instead of forcing this piece-<br />
meal legislation, it would have been much better<br />
if the subject had been viewed from a larger<br />
standpoint, and the whole question of musical<br />
copyright, as well as that of other branches of<br />
literary property, exhaustively dealt with.<br />
<br />
We desire once more to call the attention of the<br />
members to the “Conditional Subscriptions ”<br />
towards the Pension Fund of the Society, set forth<br />
on page 134 of this number.<br />
<br />
As every day passes the time for fulfilling the<br />
conditions grows shorter. Six subscriptions of<br />
£10 a year for five years, in accordance with the<br />
list set down, have been promised. Another four<br />
are wanted. It is earnestly hoped that some of<br />
the wealthier members of the Society will come<br />
forward to complete the list.<br />
<br />
The editor of the American Bookman, who is<br />
suffering from the over persistence of a contributor,<br />
writes as follows :—“ The correspondent who wrote<br />
some time ago, asking for our opinion of ‘ Tess of<br />
the d’Urbervilles’ from a moral point of view, has<br />
now sent us a personal letter about this matter.<br />
He says that he ‘ insists’ upon receiving an opinion<br />
from us. He encloses an envelope stamped and<br />
addressed, and also a blank sheet of paper, so that<br />
we shall have no excuse of declining on the ground<br />
of expense. This is a very persistent gentleman,<br />
<br />
THE AUTHOR.<br />
<br />
but we are pretty persistent ourselves. We said in<br />
a former number of this magazine that if he tells<br />
us what he thinks about Tess, we will tell him<br />
whether we think that what he thinks is correct.<br />
This is the best we can do, and’ we stand by it.<br />
Meanwhile we have used his postage stamp and<br />
sheet of paper for other purposes.”<br />
<br />
<br />
<br />
—>—_ ¢ —_—<br />
<br />
THE NOBEL PRIZE COMPETITION.<br />
<br />
—1.— + —_<br />
<br />
N Wednesday, the 14th day of January, the<br />
Nobel Prize Committee met, under the<br />
chairmanship of Lord Avebury, in order<br />
<br />
to make arrangements for the despatch of the<br />
voting papers which had been duly collected.<br />
Mr. G. Herbert Thring, the secretary, was in-<br />
structed to forward them to the Nobel Prize<br />
Committee of the Swedish Academy, Stockholm.<br />
The letter was duly posted on January 26th, and<br />
notification has been received that the votes have<br />
arrived safely. It has been deemed advisable to<br />
strengthen and enlarge the Committee, and the<br />
following gentlemen, on the suggestion of the<br />
chairman, have been asked and have consented to<br />
jom—Sir William Anson, Mr. Anthony Hope<br />
Hawkins, Mr. George Meredith, Sir Leslie Stephen,<br />
and Sir Donald Mackenzie Wallace.<br />
<br />
—————_t—<<br />
<br />
FROM AN EDITOR’S STANDPOINT.<br />
<br />
oe<br />
<br />
IKE the late lamented Archbishop of Canter-<br />
bury, I ama beast. Unlike him, I am an<br />
unjust beast. I treat my correspondents<br />
<br />
with a gross and a studied discourtesy. I have a<br />
morbid craving for postage stamps, which, dis-<br />
honestly retained, form the greater part of my<br />
income. If ever I return an MS, before sending<br />
it back I crumple it up and play football with it<br />
for a week or two. This, or something like it, is<br />
the portrait of myself which I discern on holding<br />
up before me, as a mirror, the correspondence<br />
columns of your entertaining journal. For, alas 1<br />
have reached the lowest depth of moral degradation.<br />
Would that I had been content with the criminal<br />
notoriety of a burglar in a large way of business,<br />
a murderer, or even a War Office official! Beneath<br />
the level even of the last I have sunk—I have<br />
become an editor ; and uniting a brazen shame-<br />
lessness to my other vices, I have the hardihood<br />
to defend myself, and to hint that perfect courtesy<br />
and reasonableness are not found invariably even<br />
in a would-be contributor to the periodical Press.<br />
Well, I will invite the casual contributor behind<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the scenes. Here is the morning’s post-bag, con-<br />
taining, at the least, forty or fifty letters and<br />
manuscripts. Three of the latter, I see, are in-<br />
sufficiently stamped, and surplus postage has had<br />
to be paid on them. MHalf-a-dozen are bursting<br />
from their covers, having been done up in the<br />
flimsiest of envelopes; the result is they are<br />
crumpled and soiled, for which J shall get the<br />
credit when those MSS. are returned to their<br />
senders. Quite a dozen have come in the form of<br />
little cylinders ; it will take me ten minutes to<br />
undo these without tearing the pages, and to read<br />
them is almost impossible—you release your grip<br />
of the page for a moment, and in a flash the thing<br />
springs back again into a tight roll. But before<br />
dealing with the MSS., I study the letters which<br />
accompany them, and others which have come<br />
separately. Here are a few samples from this<br />
morning’s post-bag.<br />
<br />
From one of four closely-written pages—<br />
<br />
* DEAR SiR,—In my opinion, there is no magazine worth<br />
comparing for a moment with your brilliant and admirable<br />
periodical, while, of all its various features, by far the<br />
— is the magnificent editorial article which you your-<br />
se sractae<br />
<br />
At this point I make a rule of skipping promptly<br />
to the last paragraph. Ah, here it is—as usual—<br />
<br />
«|, . no blemish at all, beyond this remarkable lack of<br />
a series of, articles on ‘ Antarctic Crustaceans’; and such<br />
a series I myself am willing to supply. The price (payable<br />
in advance) which I would ask is,” ete., ete. ‘* I shall con-<br />
fidently await your prompt and favourable reply.”<br />
<br />
Well, my friend, you are likely to await it for<br />
some time. If you wish to offer a series of articles<br />
I shall not be the more disposed to accept it<br />
because you introduce your proposal with three<br />
pages of rancid compliment.<br />
<br />
Here is another letter—<br />
<br />
‘* Str,—In the last instalment of the serial story (by that<br />
popular, but grossly over-rated novelist, X. Y.), now<br />
appearing in your magazine, my attention was caught by<br />
the statement (p. 345) that the heroine ‘ skimmed the grass<br />
like a swallow. Such a sentence could have been penned<br />
only by one ludicrously ignorant of the actual velocity of the<br />
hirundo's flight. Such blunders are inexcusable in a<br />
journal of your standing. Unknown to fame as I am, I<br />
have written a romance which, at least, is free from such<br />
glaring absurdities, I cannot too strongly advise you<br />
to drop your present serial, and to substitute my tale,<br />
the MS. of which I will forward to-day. To help you<br />
out of your difficulty, I shall be content to accept whatever<br />
rate of payment you are allowing your present serialist.”<br />
<br />
Comment, as the older novelists used to say, is<br />
needless.<br />
Next come two letters in one handwriting—<br />
<br />
“ StR,—No less than four days ago I sent you a powerful<br />
Biblical romance of 15,000 words, entitled ‘The Jilting of<br />
Jezebel,’ It is inexcusable of you to keep me waiting so<br />
long for a reply. Kindly notify acceptance by return, and<br />
oblige,”<br />
<br />
155<br />
<br />
et SIR,—Since writing to you this morning, I have<br />
received back the MS. of ‘ The Jilting of Jezebel,’ I only<br />
sent it to you four days ago, and it is ridiculous to pretend<br />
that you can have given it really careful consideration in<br />
so brief a period. I am, therefore, posting it again to you<br />
to-night. P.S.—In order that you may have ample choice<br />
I send also ‘The Isolation of Isaac’ and ‘ Rebekah’s<br />
Repentance.’ ”<br />
<br />
The next letter seems familiar. In fact, every<br />
day of the week I get one or more closely resem-<br />
bling it—<br />
<br />
“ StR,—The literary merit of the enclosed tale may not<br />
be very great, although a dear friend of mine—who is a<br />
minor canon, and an extremely good judge—considers it a<br />
beautiful story. But I wish to inform you that the walls<br />
of our lovely parish church are in a pitiable state. My<br />
husband, who is rector here, frequently catches cold owing<br />
to the piercing draughts which enter through the cracks.<br />
For £5,000, we are told, the building could be put in<br />
thorough repair; and it is to this purpose that I shall<br />
devote the cheque which, I feel swre,:you will send me for<br />
my little effort.”<br />
<br />
The next correspondent is quite indignant—<br />
<br />
“*Srr,-~I should be glad if you would explain your<br />
invincible prejudice against my writings. In rejecting my<br />
former MSS, you told me that ‘they were not in keeping<br />
with the character of the magazine.’ Determined that you<br />
should have this excuse no longer, I looked at your January<br />
number. In this I noticed a paper on ‘The Delhi Durbar.<br />
Accordingly, having taken the trouble to ascertain that<br />
this subject was congenial to you, I posted, on February<br />
14th, a far better article on ‘The Durbar at Delhi.’ And<br />
then you have the effrontery—I can use no other term—to.<br />
reject it |”<br />
<br />
Yet another sample—<br />
<br />
“ Str,—-The bundle of verse enclosed is not intended for<br />
use in your magazine. None of these poems, I know, is in<br />
the least suitable for your pages. But I should be grateful<br />
if you would send me a full criticism of them, substituting<br />
other lines for any which may strike you as faulty.<br />
Perhaps also you would not mind giving me a letter of<br />
introduction to the editor of another periodical, of rather<br />
better class than yours, where they would be likely to gain<br />
acceptance.”<br />
<br />
Has the reader had enough? Would he like to<br />
see the letters urging the acceptance of impossible<br />
MSS. on the plea that the author has an elderly<br />
aunt to support, or that she has contributed to.<br />
Chippy Chirps, The Weekly Piffler, and the Christmas<br />
Number of Giggles? Or—of these I have had<br />
several—on the ground that the writer is “A<br />
Member of the Incorporated Society of Authors ” ?<br />
Or for the singular reason that she was invited<br />
once to a garden-party at Buckingham Palace ?<br />
Does he wish to realise to the full the vanity, the<br />
imbecility, the petty spitefulness of which literary<br />
human nature is capable? If so, the editorial<br />
post-bag will gratify his morbid taste.<br />
<br />
“ Yes,” the reader may remonstrate, “ but then<br />
these letters you have pretended to quote are not<br />
genuine—they are mere burlesques of your real<br />
correspondence.” Would that they were, my<br />
friend! Fictitious, in one sense, these extracts.<br />
<br />
<br />
156<br />
<br />
are ; even an editor may have some slight remnant<br />
of decency about him, and be loth to transcribe<br />
private letters for the public eye. But I can<br />
put my hand on my heart and declare that letters<br />
no less inane, foolish, and unreasonable than<br />
the imaginary ones here cited are dropped into<br />
letter-box day by day.<br />
<br />
Authors have their grievances too, I know ; and<br />
for some of them there is a very sufficient basis.<br />
Not ignorant of ill I speak ; I, who myself for<br />
many years was a casual contributor. ‘There are<br />
editors who treat their correspondents with dis-<br />
courtesy, there are editors who disfigure MSS.,<br />
there are editors who are unconscionably slow in<br />
acceptance or rejection. To this last failing I can<br />
give no pardon. Personally, I think I have never<br />
kept an MS. for more than a week unless it was<br />
accepted, though I receive sometimes forty or<br />
fifty MSS. in a day. Hardly ever does it happen<br />
that a rejected MS. is not despatched upon its<br />
return journey within two or three days of its<br />
receipt. I make no boast of this ; I do it partly<br />
out of justice to my correspondents, but partly in<br />
my own interests. If I fell into arrears with my<br />
work I should be overwhelmed utterly by MSS.<br />
Yet if this rule is possible for me, who have many<br />
other things to do besides editing a magazine, I<br />
maintain that it is more than possible for most of<br />
my confreres, who can give the greater part of their<br />
working hours to their editorial duties. Occa-<br />
sionally one wants to keep a contribution in hand<br />
for a while, on the chance of being able to make<br />
use of it. In this case a note to the writer, ex-<br />
plaining the wish, and offering, should he prefer<br />
it, to return the MS. at once, seems not more than<br />
what, in common courtesy, is his due. However,<br />
to find fault with editors in your columns would<br />
be indeed a work of supererogation! The truth<br />
which I ask your readers to believe is that they are<br />
a sorely-tried race ; that the habits of hundreds of<br />
their correspondents are enough to induce a bitter<br />
cynicism, and that their grievances are quite as<br />
real as those of the contributors who abuse them—<br />
though, as a rule, unlike the contributors, they<br />
prefer to suffer in grim silence.<br />
<br />
But, despite the “thorns in the cushion,” the<br />
editor has his rewards, which outweigh the troubles<br />
and annoyances of the work. One is able some-<br />
times to give encouragement, to help a beginner<br />
along the right path, to make unseen friends<br />
in all parts of the wrld. Letters of kindliness<br />
and gratitude come as well as the others—letters,<br />
to receive one of which makes the abuse and the<br />
spite seem less than nothing. And thus the editor,<br />
despite the correspondence columns of The Author,<br />
can dream at times that he has laboured not quite<br />
in vain.<br />
<br />
ANTHONY DEANE.<br />
<br />
THE AUTHOR.<br />
<br />
THE ACADEMIE GONCOURT.<br />
<br />
—<br />
<br />
URING the past three or four months there<br />
has been considerable discussion one way<br />
or another about Academies. -<br />
<br />
The British Academy has come into existence.<br />
The pages of The Author have been full of letters<br />
with regard to the Literary Academy, and lastly<br />
the Académie Goncourt has become legalised in<br />
France.<br />
<br />
Owing to the kindness of Mr. Edmund Gosse,<br />
we are able to cull some interesting facts from an<br />
article of his that appeared in the Daily Chronicle.<br />
<br />
As it is possible that many members of the<br />
Society have not seen the article, and are interested<br />
in the subject, the following statement may prove<br />
instructive.<br />
<br />
Monsieur Goncourt left a considerable fortune<br />
for the formation of an Academy limited and<br />
confined by the strict boundaries set forth in the<br />
will.<br />
<br />
The Council of State has decided that this pro-<br />
posed Literary Society is of public utility, and may<br />
accept the important legacy of M. Goncourt. Thus,<br />
after six years’ struggle, during the course of which<br />
no doubt a good deal of the academic capital has<br />
been squandered, it comes into active life. Mr. Gosse<br />
tells us that M. Goncourt was no lover of the French<br />
Academy, so his academy is forbidden to engage<br />
in the discussion of grammar, to make any sort of<br />
dictionary, to lay down laws of public taste, or to<br />
give prizes for the encouragement of virtue.<br />
<br />
He did not enjoy poetry, and he hated criticism<br />
—accordingly there were to be no poets and no<br />
critics in the academy. This appears to be the<br />
negative side. The positive side is as follows.<br />
<br />
It is to be composed of ten men—all novelists—<br />
each to receive an annual income of 4250, and they<br />
were all to combine in offering a prize of £200<br />
every year on a book which shall be a work of real<br />
literary merit.<br />
<br />
Goncourt’s Academy would have been a most<br />
distinguished little body if it could have been carried<br />
out on the lines which he originally sketched. But<br />
Flaubert, the obvious first president, died early, and<br />
was followed by Maupassant, while Alphonse Daudet<br />
scarcely outlived the founder. Zola apostatised,<br />
and went cap in hand to the other academy ;<br />
him Edmond de Goncourt angrily struck off the<br />
list. He grew discouraged at last, and failed to<br />
fill up lacwne ; so that when the academicians held<br />
their first solemn meeting (on April 7th, 1900),<br />
only seven of them were left. These were MM.<br />
Gustave Geoffrey, Leon Hennique, J. K. Huys-<br />
mans, Paul Margueritte, Octave Mirbeau, and<br />
<br />
the brothers Justin Boex and Joseph Henri Boex<br />
(who called themselves Rosny). M.. Huysmans,<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
ertainly the best known among these names, was<br />
<br />
elected president, and M. Paul Margueritte secre-<br />
tary. They completed their number by the election<br />
of M. Elémir Bourges, M. Lucien Descaves and<br />
M. Leon Daudet ; then they were swallowed up<br />
again by that litigation from which they are now<br />
happily and finally released.<br />
<br />
With the exception of M. Leon Daudet, these<br />
gentlemen are not very young. Few of them will<br />
see fifty again, although none have yet seen sixty.<br />
<br />
We thank Mr. Gosse for his interesting facts.<br />
<br />
It remains to be seen, as in the case of the British<br />
Academy, what vitality there is in this formation.<br />
It has been created for no practical purpose,<br />
and seems to have no large ideal. It will be<br />
interesting to watch its future. Perhaps the fact<br />
that it stands without an ideal may be its safe-<br />
guard. Academies with large ideals, in that they<br />
are human, have in many cases fallen far below the<br />
standard they set for themselves. An academy,<br />
however, started on the Goncourt basis may rise<br />
to a standard far beyond its own imagination.<br />
One point is quite clear, and that is the £250 per<br />
annum.<br />
<br />
(a eee<br />
<br />
A GUIDE TO GRUB STREET.<br />
<br />
—_— st<br />
<br />
s HE Literary Year Book ’’* improves by slow<br />
degrees, and the volume for 1903 (which,<br />
by the way, is the seventh that has been<br />
<br />
issued) is an advance upon its predecessors. It is<br />
<br />
still, however, capable of being altered in many<br />
respects before it can be regarded as a really<br />
necessary addition to the numerous works of refer-<br />
ence catering to the requirements of the author or<br />
journalist. Much of the information, for example,<br />
contained within its pages is to be found in the<br />
<br />
Postal Directory ; and as to the remainder, much<br />
<br />
of it is ont of place in a volume that should be<br />
<br />
practical and nothing else. Included in this latter<br />
category are the articles on ‘‘'The Crown and the<br />
<br />
Author,” “Some Questions of Criticism,” and<br />
<br />
“Authors and their Societies.” These, although<br />
<br />
interesting, are polemical. As an instance of the<br />
<br />
distinctly controversial nature of the compiler’s<br />
remarks, the following extract from his account of<br />
the Royal Society of Literature is instructive :—<br />
<br />
“The Royal Society of Literature, as has been<br />
<br />
pointed out before in this place and elsewhere, is<br />
<br />
past praying for. Itis an institution which literally<br />
blocks the way of the proper representation and<br />
encouragement of literature in this country.”<br />
<br />
<br />
<br />
* “The Literary Year Book,” edited by Henry Gilbert.<br />
London: George Allen, 1903.<br />
<br />
157<br />
<br />
Very likely it is, but this is not where the question<br />
ought to be discussed.<br />
<br />
As in the last volume, a feature is again made<br />
of the Directory of Authors. No doubt this is a<br />
difficult section to edit, for it is the one that calls<br />
most loudly for improvement. It wants purging<br />
of a good deal of the tag-rag and bobtail who<br />
therein dub themselves “authors.” The wisdom<br />
of setting out at length the various third-rate<br />
periodicals in which their effusions have appeared<br />
is also open to question. No one, for example<br />
(excepting possibly Miss Snooks herself), cares two-<br />
pence—much less four shillings and sixpence, the<br />
price of this volume—to learn that Miss Snooks<br />
has contributed to Cackle and Silly Bits, or that<br />
Mr. Somebody Else edited Coronation Chuckles.<br />
To be of use, the hospitality of the list should<br />
be confined strictly to writers of distinction, and<br />
mention should only be made of the books they<br />
have published during the year.<br />
<br />
The practical portion of the volume includes<br />
lists of periodicals and their editors (with some<br />
explanatory remarks thereon), tables of royalties,<br />
and the names and addresses of the best known<br />
agents and publishers. With respect to the first<br />
of these features, several errors are to be noted.<br />
As, however, the life of a magazine is so precarious<br />
in these days of fierce competition, this is only to<br />
be expected. Among the slips are the mentioning<br />
of several defunct journals as though they were<br />
alive, and the giving of wrong addresses. Thus,<br />
the Candid Friend, Imperial and Colonial, Naval<br />
and Military, and Universal magazines are no more,<br />
although they are described as being still in exist-<br />
ence, while the offices of two or three others are<br />
described erroneously. The “ Contributors’ Guide,”<br />
describing the policy of the different papers alluded<br />
to in the second list, is of distinct value when (as<br />
so often happens) the names of the periodicals<br />
themselves offer no clue to this. It should at any<br />
rate induce budding geniuses in the country to<br />
refrain from bombarding the Pilot with articles on<br />
shipping.<br />
<br />
The tables of royalties scarcely seem so helpful<br />
as they might, and should, be. Even the most<br />
rapacious of publishers would scarcely offer (except<br />
by telephone) a royalty of 24 per cent. on a sixteen-<br />
shilling volume. Yet the editor of the “ Literary<br />
Year Book” apparently thinks that he would, for<br />
the necessary calculations on this basis are given<br />
here. Then, again, the highest royalty which he<br />
takes into account is one of 20 per cent., when it<br />
ought to be one of 834 per cent. These, however,<br />
are matters which are being dealt with at length<br />
in another issue of this journal.<br />
<br />
H. W.<br />
<br />
a<br />
<br />
<br />
EDNA LYALL,<br />
<br />
1— 1 —<br />
<br />
<br />
<br />
<br />
<br />
E record with deep regret the death of Miss<br />
Ada Ellen Bayly, which took place at<br />
the house of her sister, Mrs. Jameson, at East-<br />
bourne, on Sunday, February 8th. Well known to a<br />
large section of the reading public as Edna Lyall,<br />
an anagram composed of some of the letters of her<br />
real name, Miss Bayly had been a member of the<br />
Incorporated Society of Authors since 1887, so that<br />
she was one of its oldest members. She did not,<br />
however, join it until she had had experience of<br />
literary work and to a large extent had made her<br />
mark. In her childhood Miss Bayly evinced a<br />
taste for writing, and had composed stories before<br />
she left the schoolroom, as, indeed, many girls do<br />
who afterwards make no attempt to win fame as<br />
authors. Beginning early to write with the serious<br />
intention of seeing her work published, Miss Bayly<br />
had for a time to endure those disappointments<br />
which many have to face who begin the literary<br />
life better equipped than she. She was, however,<br />
persevering as well as industrious. It has been<br />
told of her that once she entered St. Paul’s<br />
Cathedral dispirited by a fruitless journey to the<br />
land of editors and publishers, and took courage at<br />
the sight of the monument of one of her kinsmen<br />
who had been killed in battle. She resolved to<br />
fight on even if she died fighting as he died, but<br />
ghe lived to win success and the affectionate esteem<br />
of a large circle of readers. These felt themselves<br />
personally attached to an author who seemed in<br />
‘a marked manner to infuse her own personality<br />
and feelings into her works. ‘‘ Won by Waiting,”<br />
her first book, written for girls and published in<br />
1879, had at the time no particular measure of<br />
‘success, financial or otherwise, and if we cannot<br />
without giving up confidential information relating<br />
to a member of the Society name the precise figure,<br />
we are revealing no secret if we state that the<br />
copyright in “Donovan,” her second book, pub-<br />
lished in 1882, was acquired by a publisher for a<br />
um which represented but a small fraction of its<br />
ultimate pecuniary value.<br />
<br />
The success which Donovan enjoyed did not<br />
come at first, but rather after “We Two” had<br />
attracted many readers among those who like to<br />
study religious questions in the form of fiction,<br />
and had gained the attention of a wider public<br />
still. Miss Bayly’s work was deeply imbued with<br />
religious feeling ; but her books, written as they<br />
were from a Christian standpoint, were filled with<br />
a thoughtful magnanimity not always found in<br />
those of men and women as earnestly religious<br />
as herself. “We Two” was no doubt inspired<br />
by a feeling of sympathy with the difficulties<br />
encountered by the late Mr. Bradlaugh, or at all<br />
<br />
THE AUTHOR.<br />
<br />
events the struggles in which his views upon<br />
religious matters involved the late Member for<br />
Northampton suggested possibilities which were<br />
embodied in the story.<br />
<br />
“We Two” was followed by “In the Golden<br />
Days,” (1885), a romance of a different type, and<br />
the author’s position became well established, so<br />
that many who had not read her former works<br />
when they were first published did so now. Toa<br />
high literary or philosophic standard Edna Lyall<br />
did not perhaps attain, but her warmest admirers<br />
were among those not keenly critical in such matters.<br />
She won sympathy for her characters, and had the<br />
power to a very considerable degree of rousing<br />
interest in them and in the intellectual and physical<br />
difficulties and dangers that beset them. Of her<br />
minor works, “The Autobiography of a Slander,”<br />
published in 1887, had many readers. Her recent<br />
production, “ The Hinderers,” 1902, took a side<br />
that was too unpopular at the time to allow its<br />
advocates a sympathetic hearing.<br />
<br />
Miss Bayly was the daughter of the late Mr.<br />
Robert Bayly, a barrister of the Inner Temple, and<br />
a granddaughter of Mr. Robert Bayly, formerly a<br />
bencher, and at one time treasurer of Gray's Inn.<br />
Her principal writings include, besides those<br />
already named, ‘‘Their Happiest Christmas,” 1886 ;<br />
“Knight Errant,” 1887 ; ‘A Hardy Norseman,”<br />
1889 ; Derrick Vaughan, Novelist,” 1889; “ To<br />
Right the Wrong,” 1892 ; “ Doreen, The Story of a<br />
Singer,” 1894; ‘‘How the Children Raised the<br />
Wind,” 1895; “The Autobiograghy of a Truth,”<br />
1896; “ Wayfaring Men,” 1897; “ Hope the<br />
Hermit,” 1898 ; “In Spite of All,” 1901.<br />
<br />
—_————\_1——_<br />
<br />
SIR. GAVAN DUFFY.<br />
<br />
+<br />
<br />
ITH the death of Sir Charles Gavan Duffy<br />
<br />
a fine type of fighting Irishman has<br />
<br />
passed away. His political career—<br />
<br />
revolutionary and startling—has been fully set<br />
<br />
forth in the papers. There is no need to repeat<br />
facts known to everybody.<br />
<br />
He was a member of the Society from 1890 till<br />
1899, when he retired owing to increasing age.<br />
His literary works were not numerous, but one of<br />
his most interesting was, perhaps, his work entitled<br />
“Young Ireland.” He assigned the right of<br />
publication of this to a Dublin publisher for a<br />
given period of years, and to his amazement, some<br />
years after the date mentioned in the agreement,<br />
found the book was still selling on the market.<br />
As he thought it improbable that ‘these copies<br />
had been printed in accordance with the terms<br />
of the agreement, his suspicions and at the same<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
time his fighting spirit were roused. He deter-<br />
mined to test the matter in the courts. We have<br />
before us a copy of the agreed judgment in the<br />
action in which he was plaintiff; as the judgment<br />
was in his favour his suspicions proved amply<br />
justified : a considerable edition had been printed<br />
and published after the agreement had expired.<br />
<br />
In all his political actions in Ireland, in England,<br />
and the Colonies, he stood forth a sound example<br />
of the Irishman of a past generation, whose high<br />
Irish spirit and Irish vigour carried him to an<br />
honoured old age.<br />
<br />
ee ee ee<br />
<br />
THE AGE OF REASON.*<br />
<br />
1<br />
<br />
F self-satisfaction, and a placid acquiescence in<br />
the order of the universe, and a somewhat<br />
lofty contempt for all previous ages, may<br />
<br />
be considered to constitute happiness, the mid-<br />
eighteenth century, as it is rather curiously termed,<br />
will be regarded as a period not unworthy of the<br />
return of Astrea. That “their lot had been cast<br />
in an era of unparalleled enlightenment, that<br />
theirs was the last word in the progressive series<br />
of human thought and knowledge,” was the fine<br />
and futile belief of the Encyclopeedists, the Econo-<br />
mists, and of Voltaire himself. For Voltaire, as<br />
Mr. Millar has shown us, was not a pessimist. A<br />
pessimist is a man who knows no better ; he is an<br />
unsuccessful thinker. If Voltaire showed pessi-<br />
mism in his attitude towards the theories of others,<br />
with regard to his own point of view his optimism<br />
was steadfast. He did not dance on his rose-coloured<br />
spectacles. Like all true cynics, he reserved them<br />
for the contemplation of everything that was the<br />
antithesis of what he attacked.<br />
<br />
Johnson, and the novelists, both French and<br />
English, approved of their period for a tamer<br />
reason, simply because it was inevitable. Le Sage<br />
and Fielding acquiesced in the order of things,<br />
not through devotion, not through complacent<br />
content, but because their sense of humour, their<br />
wide, sane view of life, forbade useless lamentation<br />
or rhapsody.<br />
<br />
But the general “song of pure concent” was<br />
not wholly undisturbed. There are always certain<br />
thin-lipped persons who console themselves for<br />
their own stupidity, or ugliness, or bad manners,<br />
by sneering at the wise, the beautiful, and the<br />
gracious. These silly people are, as a rule, of even<br />
Jess importance in literature than in life ; their<br />
denunciations of luxury, which they call effeminacy,<br />
<br />
<br />
<br />
* “Periods of European Literature: IX, The Mid-<br />
Eighteenth Century,” by J. H. Millar (Blackwood, 1902),<br />
<br />
159<br />
<br />
and their attitude to art, which reminds one irre-<br />
sistibly of a policeman in a museum, are rarely<br />
worth notice. Still, on occasions, they acquire,<br />
like many quite intolerable things, the merit of<br />
usefulness. They are usually indiscriminate in<br />
their invectives against the existing order of things<br />
—they would attack the age of Pericles, if they<br />
lived in it, as cheerfully as they would attack that<br />
of Charles I., and so it is just a chance whether<br />
their influence is beneficial or not. In a great<br />
period they are a nuisance ; in a petty period they<br />
are an unpleasant but useful cathartic. They are<br />
always with us.<br />
<br />
They existed in the mid-cighteenth century, but<br />
no one took them seriously, until from their ranks<br />
arose, portentous, insidious, the form of Jean<br />
Jacques Rousseau. He was an Ovid disguised in<br />
the mantle of a Bernardin St. Pierre; he was the<br />
corrupt champion of a not ignoble revolt. No<br />
revolt is ignoble. It is Nature’s protest against<br />
inactivity, and dull oppression, and _ intellectual<br />
death. But most people who revolt are quite<br />
revolting.<br />
<br />
The craving for realism, which was one of the<br />
chief characteristics of the period, found its satis-<br />
faction in one form of literature, the novel. It<br />
affected the drama, too, but only slightly ; poetry<br />
continued its serene, sluggish course of “ classi-<br />
cism,” to be lost at last—the weariest river !—in<br />
the bright waves of the Romantic revival. A<br />
point that Mr. Millar seemed to omit to notice<br />
was that Realism actually formed a step from<br />
hide-bound, mincing “classicism” to Romanticism.<br />
Between the study of man as a piece of intellectual<br />
clockwork and the study of the lurid depth and<br />
grey mystery of his passions must lie the con-<br />
templation of man as a real being, ovre kaxirros ov're<br />
mpatos tows, dudAdds d€ tis. . . But probably Mr.<br />
Millar was fearful of encroaching on the outskirts<br />
of the claim belonging to his neighbour, Professor<br />
Vaughan.<br />
<br />
Mr. Millar’s book has escaped most of the dis-<br />
advantages that beset a treatise whose aim is<br />
primarily educational. It is well written, with<br />
pleasant flashes of humour, and some of the criti-<br />
cisms are really very illuminating. But his defence<br />
of the period at the end of the volume is an appeal<br />
based on the glass-house theory, and I feel certain<br />
that after he had written it he rushed from his<br />
desk and read Theocritus, or Catullus, or Theo-<br />
phile Gautier, or someone else remarkable for grace<br />
and delicacy. He has avoided the old, obvious<br />
clichés in dealing with the great men; he has given<br />
a succinct account of the philosophy of the period<br />
which all people who have not read any philosophy<br />
could appreciate, and which even a philosopher<br />
might sometimes understand. His information is<br />
derived from first-hand knowledge. As one thinks<br />
160<br />
<br />
of “ Butler’s Analogy,” one experiences all the<br />
sweet sensations of sympathy. But at all events,<br />
it has not hurt Mr. Millav’s prose style.<br />
<br />
Mr. Millar regards the drama as extinct. It<br />
ended, he says, with “The Critic.” ‘‘ Tragedies<br />
have been produced by poets great and small, but<br />
they are unplayable, and ought to have remained<br />
unplayed.” Did Mr. Millar, I wonder, see<br />
“Herod” ? ‘ Melodramas and comedies have run<br />
for thousands of nights, yet in print prove obsti-<br />
nately unreadable.”’ Has Mr. Millar ever attempted<br />
to read any of Oscar Wilde’s plays ? They are not<br />
so obstinate. Mr. Millar’s book is too readable,<br />
his quotations from Vauvenargues too typical of<br />
the man who loves a good phrase, to make me believe<br />
that he could fail to understand the ‘‘ Importance<br />
of Being Earnest.” He will, perhaps, some day<br />
delete with tears the last page of his chapter on<br />
the drama.<br />
<br />
St. Joun Lucas.<br />
<br />
ee<br />
<br />
CORRESPONDENCE.<br />
<br />
St<br />
<br />
To the Editor of Ton AUTHOR.<br />
<br />
Srr,—I should much like to know whether or<br />
not some folk have any good ground for saying<br />
whether or no? Most of us say ‘‘ whether or not,”<br />
and surely correctly. I had almost persuaded a<br />
certain friend to give up his “no,” when trium-<br />
phantly he produced the Authorized Version,<br />
John ix., 25! But surely even there “ not”<br />
would be grammar, since it means whether he be<br />
a sinner or (whether he be) not (a sinner). In<br />
fact it is the German nicht and nein. Can The<br />
Author settle the point ?<br />
<br />
Kine’s ENGLIsa.<br />
<br />
P.S.—I note that the Revisers have discreetly<br />
dropped the contested point! Still I keep saying,<br />
“‘ Whether it be usage, or not” ; my friend declaring<br />
“‘ Whether you think it wrong, or no.” Will The<br />
Author arbitrate ? doing so by showing reason,<br />
else my friend will never be convinced !<br />
<br />
—— 1 —<br />
<br />
REYIEWS AND REYIEWERS.<br />
To the Editor of Tun AUTHOR.<br />
<br />
Dear Srr,—With reference to the playful ways<br />
of reviewers, the enclosed specimen may amuse the<br />
author and publisher, who are kind enough to send<br />
copies of their works to provincial newspapers.<br />
<br />
No one really attends to the remarks of the<br />
<br />
THE AUTHOR.<br />
<br />
reviewer ; they have long ceased to pretend to any<br />
value, other than the price of a few lines of print ;<br />
but the question now arises, Is it better to have a<br />
string of ignorant or impertinent observations, or<br />
a review of a quarter of a column (of which half is<br />
quotation from a work other than that under notice)<br />
which barely mentions the book at all ?<br />
<br />
Personally, I prefer the last, judging by the<br />
specimen I enclose. I had never seen the verses<br />
quoted ; so that I’ve learnt something.<br />
<br />
T am, etc.,<br />
<br />
L. Corr CORNFORD.<br />
<br />
Mr. L. Cope Cornford—whose interesting monograph on<br />
Stevenson was so successful in catching the very trick of<br />
that author’s style—announces a new novel under the<br />
romantic title of “The Last Buccaneer.” ‘The title, of<br />
course, is not quite original—few titles are, and luckily<br />
there is no copyright in them. It was used before by a<br />
poet whose work we should like to quote, for it is very<br />
little known, although the author’s name is a household<br />
word among us. Perhaps those who are in need of a mild<br />
amusement might offer their friends a dozen guesses at the<br />
author’s name—to be discovered from internal evidence.<br />
This is the poem :<br />
<br />
“The winds were yelling, the waves were swelling,<br />
The sky was black and drear,<br />
When the crew, with eyes of flame, brought the ship<br />
without a name<br />
Alongside the last Buccaneer.<br />
<br />
“¢ Whence flies your sloop full sail, before so fierce a<br />
<br />
gale,<br />
When all others drive bare on the seas ?<br />
Say, come ye from the shore of the holy Salvador,<br />
Or the gulf of the rich Carribees ?’<br />
<br />
“¢From a shore no search hath found, from a gulf no<br />
line can sound,<br />
Without rudder or needle we steer ;<br />
Above, below our bark, dies the sea fowl and the shark,<br />
As we fly by the last Buccaneer.<br />
<br />
‘“««To-night there shall be heard on the rocks of Cape de<br />
Verde<br />
A loud crash, and a louder roar ;<br />
And to-morrow shall the deep, with a heavy moaning,<br />
sweep<br />
The corpses and wreck to the shore,’<br />
<br />
“The stately ship of Clyde securely now may ride<br />
In the breath of the citron shades ;<br />
And Severn’s towering mast securely now flies fast<br />
Through the sea of the balmy Trades.<br />
<br />
“From St. Jago’s wealthy port, from Havana’s royal<br />
fort<br />
The seaman goes forth, without fear ;<br />
For since that stormy night not a mortal hath had<br />
sight<br />
Of the flag of the last Buccaneer.”<br />
<br />
The modern reader will trace in this poem something of<br />
the style of Poe and something of that of Mr. Kipling,<br />
though its date makes it highly probable that its author<br />
was influenced by neither of these high authorities on<br />
buccaneers. | https://historysoa.com/files/original/5/481/1903-03-01-The-Author-13-6.pdf | publications, The Author |
482 | https://historysoa.com/items/show/482 | The Author, Vol. 13 Issue 07 (April 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+07+%28April+1903%29"><em>The Author</em>, Vol. 13 Issue 07 (April 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-04-01-The-Author-13-7 | | | | | 161–192 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-04-01">1903-04-01</a> | | | | | | | 7 | | | 19030401 | Che Buthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
VoL: XTIT == No. 7.<br />
<br />
APRIL Ist, 1903.<br />
<br />
[PRICE SIXPENCE.<br />
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<br />
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THE TELEPHONE.<br />
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The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
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Tue Editor begs to inform members of the<br />
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that the cases which are from time to time quoted<br />
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1<br />
<br />
List of Members.<br />
<br />
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can now be obtained at the offices of the Society,<br />
<br />
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It will be sold to the members of the Society<br />
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The Pension Fund of the Society.<br />
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THE investments of the Pension Fund at<br />
present standing in the names of the Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou, XIII.<br />
<br />
money value can be easily worked out at the current<br />
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SPECIAL APPEAL.<br />
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Tur Appeal sent out by the Chairman of the<br />
Society at the request of the Pension Fund Com-<br />
mittee has been very successful.<br />
<br />
The total amount of subscriptions and donations<br />
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either list are set out below.<br />
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Subscriptions.<br />
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Dec. 1, Finnemore, Mrs. . 50. 5 0<br />
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<br />
162<br />
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1903.<br />
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The Lord . :<br />
» Gribble, Francis. :<br />
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» Carlile, Rev. J. C..<br />
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EPoeecocoeoorecoocoooroce<br />
Ho<br />
Ocoeceooeoseoqooooaconoo oom<br />
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The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rey. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
Dowsett, C. F.<br />
<br />
THE AUTHOR.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
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SPECIAL CONDITIONAL SUBSCRIPTIONS.<br />
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Mr. Hamilton Drummond, who is a member of<br />
our Society, has offered a subscription of £10 for<br />
five years, if nine other members of the Society<br />
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We sincerely hope that sufficient members of<br />
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Patterson, A. . : : : coe<br />
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<br />
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<br />
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<br />
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<br />
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a<br />
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taal<br />
AaonaIntoor<br />
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oOo o OS Oo<br />
Om GS oo SO<br />
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See<br />
<br />
FROM THE COMMITTEE.<br />
<br />
—<br />
<br />
MEETING of the Managing Committee of<br />
the Society was held on Monday, March<br />
2nd, when twenty members and associates<br />
<br />
were elected, making the total number of elections<br />
for 1903 up to sixty-two.<br />
<br />
Mr. A. Hope Hawkins has been elected a<br />
member of the Pension Fund Committee, to fill<br />
the vacancy caused by the resignation of Sir<br />
Michael Foster. Mr. Hawkins is the nominee of<br />
the Committee. ;<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Mr.<br />
nominee of the Society at the General Meeting.<br />
<br />
We are sorry to state that Sir Arthur Conan<br />
Doyle, while expressing his sympathy with the<br />
work of the Society, has been forced, owing to<br />
pressure of business, to retire from the Committee<br />
<br />
Morley Roberts was re-elected as the<br />
<br />
of Management. The Committee accepted his<br />
resignation with regret.<br />
<br />
Three cases came before the<br />
consideration.<br />
<br />
On the first case the Committee had already<br />
taken counsel’s opinion, but after perusal of it,<br />
regretted that they were unable to take the matter<br />
further on behalf of the member concerned.<br />
<br />
In one of the other two cases it was decided to<br />
commence action, as it was understood that the<br />
publisher had refused to produce vouchers of his<br />
accounts. The Committee have always held that<br />
the right to have accounts properly vouched is one<br />
of the foremost principles for which the Society<br />
contends.<br />
<br />
The second, a case of alleged infringement, the<br />
<br />
Committee for<br />
<br />
THE AUTHOR.<br />
<br />
163<br />
<br />
Sandlands, The Rev. J.P. Brigstock<br />
Thrapston.<br />
<br />
36, Waterloo Bridge<br />
Road, 8. E.<br />
<br />
52, Lower Sloane Street,<br />
S.W.<br />
<br />
The Grotto, Hanworth<br />
Road, Hampton-on-<br />
Thames.<br />
<br />
Vicarage,<br />
Stephenson, Cecil<br />
Stone, Miss J. M.<br />
Tayler, J. Lionel<br />
<br />
a<br />
<br />
The Annual Dinner,<br />
<br />
THE Annual Dinner of the Society has been<br />
fixed for April 30th. It will be held at the Hotel<br />
Cecil at 7 for 7.30. Mr. D. W. Freshfield will take<br />
the Chair.<br />
<br />
The Committee have decided that on this and<br />
future occasions the Chairman of the Managing<br />
Committee for the current year shall be Chairman<br />
of the Dinner.<br />
<br />
The following members have consented to act<br />
as Stewards :—<br />
<br />
<br />
<br />
Committee were unable to take further.<br />
<br />
ee<br />
<br />
March Elections.<br />
<br />
Blew, The Rev. John<br />
Brereton, Capt. Frederick<br />
Ss<br />
<br />
i Chellineton, Rupert ”<br />
<br />
Dougall, Miss Lily .<br />
<br />
Dutton, Mrs. Carrie<br />
(“ Tattler ”’)<br />
<br />
Edge, Miss Kathleen M.<br />
<br />
Hole, W. G.<br />
<br />
Kinder, Mrs. Harold<br />
(‘‘ Frances Aylward ”)<br />
<br />
King, W. J. Harding<br />
<br />
Knocker, Mrs.<br />
<br />
Mathieson, W. L.<br />
<br />
Pells, S. F.<br />
<br />
Peters, William Theodore<br />
<br />
Rainsford, W. H. . ;<br />
<br />
meeves, Mra. (“C. J.<br />
Hargreaves ”’)<br />
<br />
cL. &. ; ‘<br />
Rowsell, Miss Mary O.<br />
<br />
Scatter Rectory, Lin-<br />
coln.<br />
<br />
3, Queen’s Road, South-<br />
port.<br />
<br />
Melbourne, Derby-<br />
shire.<br />
<br />
Springhall, Sawbridge-<br />
worth.<br />
<br />
Waverley Court, Cam-<br />
berley, Surrey.<br />
<br />
The Castle House,<br />
Shrewsbury.<br />
<br />
Taunton, Coulsdon,<br />
Caterham, Surrey.<br />
<br />
Wallescote Hall, Stour-<br />
bridge.<br />
Millslade, — Brendon,<br />
Lynton, N. Devon.<br />
Clifton Lodge, Wardie,<br />
Edinburgh.<br />
<br />
185, Church Road,<br />
Hove,<br />
<br />
55, Cité des Fleurs,<br />
Paris.<br />
<br />
Patton, Bedfordshire.<br />
<br />
20, Brook Lane, Orms-<br />
kirk, Lanes.<br />
<br />
67, Buxton Road,<br />
Thornton Heath.<br />
<br />
Abbot, The Rev. Edwin<br />
A, D.D.<br />
Aflalo, F. G.<br />
Allingham,<br />
F.R.C.S.<br />
<br />
Archer, William.<br />
<br />
Arnold, Sir Edwin,<br />
K.C.I.E., C.8.1.<br />
<br />
Avebury, The Right<br />
Hon, The — luord,<br />
P.C., etc.<br />
<br />
Bateman, Robert.<br />
<br />
Beddard, F. E., F.RB.S.<br />
<br />
Bell, Mackenzie.<br />
<br />
Benson, A. CO.<br />
<br />
Benson, E. F.<br />
<br />
Bergne, Sir Henry,<br />
K.C.M.G., C.B.<br />
<br />
Bonney, The Rev. T. G.,<br />
F.R.S.<br />
<br />
Browning, Oscar.<br />
<br />
Bryden, H. A.<br />
<br />
Bullen, F. T.<br />
<br />
Campbell, Lady Colin.<br />
<br />
Capes, Bernard.<br />
<br />
Carey, Miss R. N.<br />
<br />
Chambers, 8. Haddon.<br />
<br />
Cholmondeley, Miss<br />
Mary.<br />
<br />
Church, Prof. A. H.,<br />
F.R.S.<br />
<br />
Clodd, Edward.<br />
<br />
Collier, The Hon. John.<br />
<br />
Cookson, Col. Fife.<br />
<br />
Courtney, W. L.<br />
<br />
William,<br />
<br />
Croker, Mrs.<br />
Davidson, John.<br />
Dobson, Austin.<br />
Doudney, Miss Sarah.<br />
Dougall, Miss Lily.<br />
<br />
Douglas, Sir George,<br />
Bart.<br />
Dowden, Prof. Edward.<br />
Doyle, Sir Arthur<br />
Conan.<br />
Foster, Sir Michael,<br />
K.C.B.<br />
<br />
Garnett, Richard, C.B.<br />
Gissing, George.<br />
Gollancz, Israel.<br />
Grand, Madame Sarah.<br />
Graves, Alfred P.<br />
Gribble, Francis.<br />
Haggard, H. Rider.<br />
Harraden, Miss Beatrice.<br />
Hart, Major-General Sir<br />
Reginald, V.C., &c.<br />
<br />
Hocking, The Rey.<br />
Silas K.<br />
<br />
Hornung, E. W.<br />
<br />
Humphreys, Mrs.<br />
<br />
C* Rita),<br />
Hunt, Miss Violet.<br />
Hyne, C. J. Cutcliffe.<br />
Jacobs, W. W.<br />
Jex-Blake, Dr. Sophia.<br />
Keary, ©. F.<br />
Keltie, J. Scott, LL.D.<br />
Kennard, Mrs. Edward.<br />
Lang, Andrew.<br />
<br />
<br />
<br />
<br />
162 THE AUTHOR.<br />
Feb. 8, Reynolds, Mrs. Fred 0 5 0 There are in addition other subscribers who do<br />
Feb. 11, Lincoln, C. . : 0 5 O- not desire that either their names or the amount<br />
Feb. 16, Hardy, J. Herbert. 0 5 O they are subscribing should be printed.<br />
» Haggard, Major Arthur . 0 5 O<br />
Feb. 23, Finnemore, John . 0 5 O SPECIAL CONDITIONAL SUBSCRIPTIONS.<br />
Mar. 2, Moor, Mrs. St. C. . 1:9 9 Mr. Hamilton Drummond i<br />
aS : 5 : : , who is a member<br />
Mar. 5, Dutton, Mrs. Carrie 015 6 a See offered a subscription of £10 a<br />
: ve years, if nine other members of the Soci<br />
Donations. will promise the same contribution. ies<br />
Dec. 1, Sanderson, Sir J. Burdon 5 0 0 We sincerely hope that sufficient members of<br />
Smith, G. C. Moore 1 0 0. the Society will be found to come forward and<br />
Dec. 2, Trevor-Battye, Aubyn 1 1 0 meet Mr. Drummond’s generous offer, and that<br />
» Marks, Mrs. . : 0 10 0 before the time expires we may be able to print in<br />
Dec. 9, Moore, Henry Charles 0 5 0. the columns of The Author the full list of ten<br />
Dec. 11, Lutzow, Count 2 0 0 subscribers of the required amount.<br />
», “Leicester Romayne ” 0 5 O<br />
» Hellier, H. Gores 1 1.0 Subscriptions.<br />
Dec. 12, Croft, Miss Lily 0 5 O #awkins, A.<br />
5, Panting, J. Harwood 010-0 pasie 7 ee : ‘ ‘ a ;<br />
» Tattersall, Miss Louisa . 0 5 0 Drummond, Mactan : ; 35 a<br />
Dec. 19, Egbert, Henry 0 5 0 Wynne, Charles Whitworth . . 10 0 0<br />
Dec. 23, Muirhead, James F. 010 0 Gilbert, W. S. : : 10 6 @<br />
Dee 28,4.5 . .. . . 1 1 0 Sturgis, Julian . 3 3 : - 10 0 6<br />
» Bateman, Stringer . ; . 010 0<br />
Dec. 31, Cholmondeley, Miss Mary 10 0 0 a<br />
1903. : :<br />
Jan. 3, Wheelright, Miss E. 010 6 Sir Walter Besant Memorial Fund.<br />
» Middlemass, Miss Jean . -,0 10 0 THE amount standing to the credit<br />
Jan. 6, Avebury, The Right Hon. of this account in the Bank is......... £330 3 6<br />
The Lord . bb 0 : a :<br />
» Gribble, Francis. : 610 06 There are a few promised subscriptions still<br />
Jan. 13, Boddington, Miss Helen . 010 6 Outstanding. The total of these is, roughly,<br />
Jan. 17, White, Mrs. Wollaston 1 1 © about £4. The subscriptions received from July 1st<br />
, Miller, Miss E. T. . 0 5 0 to the date of issue are given below :—<br />
Jan. 19, Kemp; Miss Geraldine 010 6 ;<br />
Jan. 20, Sheldon, Mrs. French 0 5 0 fclvey, opined o “ u .<br />
Jan. 29, Roe, Mrs. Harcourt 010 0 Gidley, Mick C0 pie 8<br />
Feb. 9, Sherwood, Mrs. : 040 6 Nison Prof 7. 076<br />
Feb. 16, Hocking, The Rev. Silas 110 “pat ‘Migs Beasts ’ Ob a<br />
Feb. 18, Boulding, J. W. 010 6 Moore, Henry Charles 0 8 a<br />
» Ord, Hubert H. 010 9 Kemp, Miss Geraldine 010 6<br />
Feb. 20, Price, Miss Eleanor 010 0 (Qlarke, Miss B O05 8<br />
» Carlile, Rev. J. O.. 010 0 : :<br />
Feb. 24, Dixon, Mrs. D0 0 ee<br />
Feb. 26, Speakman, Mrs... 010 0<br />
Mar. 5, Parker, Mrs. Nella 010 0 FROM THE COMMITTEE.<br />
Mar. 16, Hallward, N. Ll. . 1 20 aes<br />
Mar. 20, Henry, Miss Alice . : ee) ; ;<br />
Mar. 23, Ward, Mrs. Humphry . -10 0 6 MEETING of the Managing Committee of<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rey. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
Dowsett, C. F.<br />
<br />
the Society was held on Monday, March<br />
<br />
2nd, when twenty members and associates<br />
were elected, making the total number of elections<br />
for 1903 up to sixty-two.<br />
<br />
Mr. A. Hope Hawkins has been elected a<br />
member of the Pension Fund Committee, to fill<br />
the vacancy caused by the resignation of Sir<br />
Michael Foster. Mr. Hawkins is the nominee of<br />
the Committee.<br />
<br />
<br />
<br />
Ete Swat<br />
<br />
o ety yi<br />
ehh.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Morley Roberts was re-elected as the<br />
nominee of the Society at the General Meeting.<br />
<br />
We are sorry to state that Sir Arthur Conan<br />
Doyle, while expressing his sympathy with the<br />
work of the Society, has been forced, owing to<br />
pressure of business, to retire from the Committee<br />
of Management. The Committee accepted his<br />
resignation with regret.<br />
<br />
Three cases came before the Committee for<br />
consideration.<br />
<br />
On the first case the Committee had already<br />
taken counsel’s opinion, but after perusal of it,<br />
regretted that they were unable to take the matter<br />
further on behalf of the member concerned.<br />
<br />
In one of the other two cases it was decided to<br />
commence action, as it was understood that the<br />
publisher had refused to produce vouchers of his<br />
accounts. The Committee have always held that<br />
the right to have accounts properly vouched is one<br />
of the foremost principles for which the Society<br />
contends.<br />
<br />
The second, a case of alleged infringement, the<br />
Committee were unable to take further.<br />
<br />
——_1—~<— +<br />
<br />
March Elections.<br />
<br />
Blew, The Rev. John Scatter Rectory, Lin-<br />
<br />
coln.<br />
Brereton, Capt. Frederick 3, Queen’s Road, South-<br />
S. port.<br />
**Chellington, Rupert ”<br />
Dougall, Miss Lily . Melbourne, Derby-<br />
shire.<br />
Dutton, Mrs. Carrie Springhall, Sawbridge-<br />
(“ Tattler ’’) worth.<br />
<br />
Edge, Miss Kathieen M. Waverley Court, Cam-<br />
<br />
berley, Surrey.<br />
<br />
Hole, W.G. . : . The Castle House,<br />
Shrewsbury.<br />
Kinder, Mrs. Harold Taunton, Coulsdon,<br />
<br />
(‘‘ Frances Aylward”)<br />
King, W. J. Harding<br />
<br />
Caterham, Surrey.<br />
Wallescote Hall, Stour-<br />
bridge.<br />
Millslade, | Brendon,<br />
Lynton, N. Devon.<br />
Clifton Lodge, Wardie,<br />
<br />
Knocker, Mrs.<br />
Mathieson, W. L.<br />
<br />
Edinburgh.<br />
<br />
Fells, S.F. . : -. 185, Church Road,<br />
Hove.<br />
<br />
Peters, William Theodore 55, Cité des Fleurs,<br />
Paris.<br />
<br />
Rainsford, W. H. . . Patton, Bedfordshire.<br />
<br />
Reeves, Mrs. (“C. J. 20, Brook Lane, Orms-<br />
Hargreaves ”’) kirk, Lancs.<br />
0. L. RB.<br />
<br />
Rowsell, Miss Mary C.. 67, Buxton Road,<br />
Thornton Heath.<br />
<br />
Sandlands, The Rev. J. P. Brigstock<br />
<br />
Stephenson, Cecil<br />
Stone, Miss J. M. .<br />
<br />
Tayler, J. Lionel<br />
<br />
163<br />
<br />
Vicarage,<br />
Thrapston.<br />
<br />
36, Waterloo Bridge<br />
Road, S.E.<br />
<br />
52, Lower Sloane Street,<br />
S.W.<br />
<br />
The Grotto, Hanworth<br />
Road, Hampton-on-<br />
Thames.<br />
<br />
—<br />
<br />
The Annual Dinner.<br />
THe Annual Dinner of the Society has been<br />
<br />
fixed for April 30th.<br />
Cecil at 7 for 7.30.<br />
the Chair.<br />
<br />
It will be held at the Hotel<br />
Mr. D. W. Freshfield will take<br />
<br />
The Committee have decided that on this and<br />
future occasions the Chairman of the Managing<br />
Committee for the current year shall be Chairman<br />
<br />
of the Dinner.<br />
<br />
The following members have consented to act<br />
<br />
as Stewards :—<br />
<br />
Abbot, The Rey. Edwin<br />
A., D.D.<br />
Aflalo, F. G.<br />
Allingham,<br />
F.R.C.S.<br />
<br />
Archer, William.<br />
<br />
Arnold, Sir Edwin,<br />
K.C.I.E., 0.8.1.<br />
<br />
Avebury, The<br />
Hon. ‘The<br />
P.C., etc.<br />
<br />
Bateman, Robert.<br />
<br />
Beddard, F. E., F.R.S.<br />
<br />
Bell, Mackenzie.<br />
<br />
Benson, A. C.<br />
<br />
Benson, E. F.<br />
<br />
Bergne, Sir Henry,<br />
K.C.M.G., C.B.<br />
<br />
Bonney, The Rev. T. G.,<br />
F.R.S.<br />
<br />
Browning, Oscar.<br />
<br />
Bryden, H. A.<br />
<br />
Bullen, F. T.<br />
<br />
Campbell, Lady Colin.<br />
<br />
Capes, Bernard.<br />
<br />
Carey, Miss R. N.<br />
<br />
Chambers, S. Haddon.<br />
<br />
Cholmondeley, Miss<br />
Mary.<br />
<br />
Church, Prof. A. H.,<br />
F.R.S.<br />
<br />
Clodd, Edward.<br />
<br />
Collier, The Hon. John.<br />
<br />
Cookson, Col. Fife.<br />
<br />
Courtney, W. L.<br />
<br />
William,<br />
<br />
tight<br />
<br />
Lord,<br />
<br />
Croker, Mrs.<br />
<br />
Davidson, John.<br />
<br />
Dobson, Austin.<br />
<br />
Doudney, Miss Sarah.<br />
<br />
Dougall, Miss Lily.<br />
<br />
Douglas, Sir George,<br />
Bart.<br />
<br />
Dowden, Prof. Edward.<br />
<br />
Doyle, Sir Arthur<br />
Conan.<br />
Foster, Sir Michael,<br />
K.C.B.<br />
<br />
Garnett, Richard, C.B.<br />
Gissing, George.<br />
Gollancz, Israel.<br />
Grand, Madame Sarah.<br />
Graves, Alfred P.<br />
Gribble, Francis.<br />
Haggard, H. Rider.<br />
Harraden, Miss Beatrice.<br />
Hart, Major-General Sir<br />
Reginald, V.C., &e.<br />
Hocking, The Rev.<br />
Silas K.<br />
Hornung, E. W.<br />
Humphreys, Mrs.<br />
(* Rita’)<br />
Hunt, Miss Violet.<br />
Hyne, C. J. Cutcliffe.<br />
Jacobs, W. W.<br />
Jex-Blake, Dr. Sophia.<br />
Keary, C. F.<br />
Keltie, J. Scott, LL.D.<br />
Kennard, Mrs. Edward.<br />
Lang, Andrew.<br />
164<br />
<br />
Lankester, Prof. E. Ray.<br />
Lecky, The Right Hon.<br />
W. E.H., P.C.<br />
Leighton, Mrs. Connor.<br />
Lely, J. M.<br />
Lennox, Lady William.<br />
Lockyer, Sir Norman,<br />
K.C.B., F.RB.S.<br />
“‘Maarten Maartens.”<br />
Marsh, Richard.<br />
Mason, A. E. W.<br />
<br />
Maxwell, The Right<br />
Hon. Sir Herbert,<br />
Bart.<br />
<br />
Middlemas, Miss Jean.<br />
Morrison, Arthur.<br />
Norman, Henry, M.P.<br />
Parker, Sir Gilbert,<br />
M.P.<br />
Parker, Louis N.<br />
Pemberton, Max.<br />
Pinero, A. W.<br />
Plunkett, The Right<br />
Hon. Count, F.R.S.<br />
Pollock, Sir Frederick,<br />
Bart, LL.D.<br />
Praed, Mrs. Campbell.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Pryce, Richard.<br />
<br />
Reich, Prof. Emil.<br />
<br />
Roberts, Morley.<br />
<br />
Russell, Sir W. H.,<br />
LL.D.<br />
<br />
Senior, William.<br />
<br />
Shaw, G. Bernard.<br />
<br />
Sidewick, Alfred.<br />
<br />
Spencer, Herbert.<br />
<br />
Spielmann, M. H.<br />
<br />
Sprigge, S. Squire.<br />
<br />
Stanford, Sir Charles<br />
Villiers, Mus. Doc.<br />
<br />
Steel, Mrs.<br />
<br />
Street, G. 8.<br />
<br />
Thompson, Sir Henry,<br />
Bart., F.R.C.S.<br />
<br />
Tweedie, Mrs. Alec.<br />
<br />
Upward, Allen.<br />
<br />
Wain, Louis.<br />
<br />
Ward, Mrs. Humphry.<br />
<br />
Watts-Dunton, T.<br />
<br />
Wells, H. G.<br />
<br />
White, Percy.<br />
<br />
Whiteing, Richard.<br />
<br />
Wilkins, W. H.<br />
<br />
Zangwill, Israel.<br />
<br />
—_——————_+——_+__—_—_<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
<br />
<br />
<br />
PROPERTY.<br />
<br />
ee<br />
“Fiction for the Million.”<br />
J<br />
<br />
COLUMN article under the above heading<br />
A appeared in the Daily Chronicle on the<br />
26th February last, in which certain state-<br />
ments were put forward, apparently with authority,<br />
by its author, for he described himself as reader or<br />
“taster” for one of the most successful fiction<br />
publishing firms in the world. The true inwardness<br />
of the article was revealed by its sub-title, “ How<br />
to Make an Income by Novel Writing,” and this<br />
income would appear to be anything but exiguous.<br />
Indeed, a positive declaration is made that by the<br />
production of serials there are “ many writers .<br />
who without much effort” earn from £2,000 to<br />
£3,500 a year regularly. ‘1 speak at first hand,<br />
and from personal knowledge,” adds the writer.<br />
In examining this astounding statement the<br />
question arises, What is meant here by serials ?<br />
The article referred to supplies the answer; they<br />
are such stories as are written by authors “ who<br />
have in many cases had no story at all or very few<br />
stories reproduced in volume form.” As a matter<br />
fact, every one knows exactly what these serials<br />
<br />
<br />
<br />
<br />
<br />
<br />
are ; they are described, and not inaccurately, as<br />
“rotters.” It is equally well known that there is<br />
a market for these serials—in the popular penny<br />
weeklies, in the halfpenny dailies, in the halfpenny<br />
evening papers, etc. According to the writer in<br />
the Daily Chronicle, this market is so large and so<br />
abundant in opportunity of money-making, that<br />
there are many who draw from it regular annual<br />
incomes of from £2,000 to £3,500. Now, it is no<br />
difficult matter to get at the prices paid in this<br />
market A very top price is £2 2s. per thousand<br />
words, and there have been cases when £3 35. has<br />
been paid, but between the top price, commanded<br />
by not more than six writers at the most, and the<br />
bottom price, at which a large proportion of serial<br />
work is turned out, there is a great gulf. This<br />
bottom price ranges from 2s. 6d. to 5s. per thousand<br />
words. The editor of a morning halfpenny daily<br />
told the present writer that he considered half a<br />
guinea a thousand a fair price for a serial, but that<br />
a guinea might be paid for “exceptionally strong<br />
work”; he scouted the notion that any serial<br />
could be worth more than a guinea a thousand,/<br />
But suppose, for the sake of argument, a pound a<br />
thousand be taken as an average rate for serials,<br />
how many thousand words must the earners of<br />
from £2,000 to £3,500 a year turn out annually ?<br />
It is a simple sum in arithmetic. For £2,000 the<br />
serial writer must produce two million words ; for<br />
£3,500 three and a-half million words !!! Suppose<br />
the serial writer is able to work 300 days in the<br />
year—and this is a tremendous supposition—how<br />
many words per diem must he turn out to produce<br />
2,000,000 words a year ? Answer—6,666 words.<br />
To produce 3,500,000 words ? Answer—11,000<br />
words and over. Even the serial-writer who gets<br />
£2 2s, per thousand (and it may be repeated that<br />
at most there are not more than six of him or,<br />
rather, of her) must write a million words, or<br />
thereabouts, annually to earn £2,000 a year. These<br />
“cold” calculations are enough in themselves to<br />
show that the writer in the Daily Chronicle, though<br />
he affirms he speaks “‘at first hand and from personal<br />
knowledge,” is talking very wildly, to put the<br />
matter pleasantly.<br />
<br />
But there is another element or factor to be<br />
taken into account. It is possible to imagine that<br />
a serial-writer might for some time, some longer<br />
or shorter time, turn out 6,000 or even 11,000 words<br />
per diem; no doubt cases have occurred, so to<br />
speak, where something of the kind has been done.<br />
But it is a great mistake to suppose that facility<br />
and rapidity of production means always or even<br />
often a proportionately greater earning capacity.<br />
It may be the very contrary. Here is an in-<br />
<br />
stance, The editor of a paper “running ” serials<br />
offered £600 a year to a serial writer for writing<br />
all. the serials<br />
<br />
he wanted during the year.<br />
THE AUTHOR.<br />
<br />
On inquiry, the serial writer found that to<br />
earn his £600 a year (an annual income a long<br />
way removed from £2,000, to say nothing of<br />
£3,500) he would have to produce 5,000 words (two<br />
separate serials in instalments of 2,500 words each)<br />
each day for six days a week, and this without any<br />
provision for sickness or holidays. Worked out,<br />
the rate per thousand came to 8s. When the serial<br />
writer protested this princely remuneration was<br />
insufficient, he was assured that the work was “as<br />
easy as pie,” and if he didn’t care to undertake it<br />
another would. And this appears to be the case,<br />
for a serial writer has been found to go in for the<br />
job. The experiment will be watched with interest.<br />
The end can hardly be other than that when,<br />
through overstrain, the serial writer in question<br />
begins to flag, ‘.e., when he shows signs of being<br />
worked out, he will be promptly and remorselessly<br />
“ chucked.”<br />
<br />
With such facts as these before us, it is impossible<br />
to escape the conclusion that the writer in the<br />
Daily Chronicle is guilty of gross exaggeration.<br />
What he might have said he does not say, and<br />
this is that there are some serial writers who employ<br />
“ vhosts,” and by their aid add materially to their<br />
incomes. But even with the assistance of these<br />
gentry, it is still quite absurd to maintain there are<br />
many who earn from £2,000 to £3,500, without<br />
much effort, a year.<br />
<br />
A SeRIAL WRITER.<br />
<br />
—1—— +<br />
<br />
II.<br />
<br />
?<br />
<br />
Tue “literary taster” who has lately stated<br />
in an article in the Daily Chronicle that writers<br />
of serial fiction for the million can easily earn<br />
incomes of two thousand a year and upwards<br />
seems to have exaggerated a little, in the first<br />
shock of discovering that in these degenerate days<br />
of the novel there 1s actually a good and dependable<br />
living to be made out of the writing of serials for<br />
popular penny weekly journals.<br />
<br />
It is perfectly true that large incomes are occa-<br />
sionally made by serial writing; incomes large<br />
enough in some cases to make the two or three<br />
hundred pounds a year which is often all that can<br />
be earned by the ordinary novelist who sees his or<br />
her name on title-pages appear a mere pittance.<br />
And it is equally true that with the mass of the<br />
reading public great literary names are growing to<br />
have less and less value, the demand being more<br />
and more for good and strong work by whomsoever<br />
written. ‘There are many proprietors and editors<br />
of weekly journals for the people who simply would<br />
not accept and publish, much less pay for, the work<br />
of the men and women who are the brightest stars<br />
in the literary firmament of to-day. They have<br />
<br />
165<br />
<br />
learned by experience that the circulation of their<br />
journals is largely affected by—if not wholly<br />
dependent upon—serial stories, and they are wil ling<br />
to pay good prices only to those who have proved<br />
themselves to be masters of the difficult art of<br />
composing serial fiction that shall stir and grip<br />
the public for whom it is provided. 2<br />
The whole matter, therefore, resolves itself into<br />
this simple fact—that more money is to be made<br />
by the writing of serials than by the writing of<br />
ordinary novels by those who excel in this very<br />
distinct branch of literary craftsmanship. The<br />
writer in the Daily Chronicle goes too far when<br />
he lays it down that two thousand a year, or<br />
thereabout, can be “easily” earned in this way.<br />
A large income can be no more easily gained in<br />
this branch of literary activity than in any other.<br />
Only the best workers win the rewards ; and these<br />
best workers are tried by the most difficult of all<br />
standards—the standard of results. The rich in-<br />
flow of money does not come to those who put<br />
together a story, sell it, and then trouble them-<br />
selves no more about its fortunes. The successful<br />
serial-writer must increase, or at least conspicuously<br />
maintain, the circulations of the journals in which<br />
his stories appear. He or she has a challenge cup<br />
to win; and when the serial-writer has won this<br />
challenge cup he cannot rest on his laurels, but<br />
must hold what he has won against all comers, or<br />
else his success and his income will fail and fall<br />
together, rapidly and irrevocably. By this it will<br />
be seen that the person who embarks upon the<br />
business of writing serial novels in order to gain<br />
a large income must have, besides a natural gift<br />
for writing, the gifts of almost tireless industry<br />
and energy, a quick and practically bottomless<br />
invention, dramatic force, and robust health to<br />
stand the strain of regular, unflagging hard work.<br />
Any man or woman who enters this particular<br />
literary arena lacking these initial advantages will<br />
soon find that for one serial-writer who earns an<br />
income anywhere approximating to two thousand<br />
a year, there are hundreds who can only hope to<br />
win the barest subsistence. The few—the very<br />
few—who succeed brilliantly from a financial point<br />
of view are trained specialists, who usually work<br />
regularly for one journal and who practically hold<br />
the market, and will hold it until others shall<br />
displace them by proving themselves their betters.<br />
<br />
Maris C. LEIGHTon.<br />
—_+——+—_<br />
<br />
III.<br />
<br />
Tue article dealing with this subject which<br />
recently appeared in the Daily Chronicle under the<br />
heading of “Fiction for the Million,” gives an<br />
<br />
<br />
<br />
<br />
166<br />
<br />
initiated reader the impression that some one must<br />
have been “getting at” the gentleman who de-<br />
scribes himself as a “literary taster.” Can he be<br />
serious in asserting that there are many writers of<br />
popular serials earning from £2,000 to £3,500 a<br />
year without much effort ? Surely he has been<br />
misled by the statements of those writers who<br />
wish to convince him, in his capacity of<br />
“adviser to one of the most successful publish-<br />
ing firms in the world,” of the esteem in which<br />
their work is held by other successful publishing<br />
firms!<br />
<br />
For instance, there are writers not above calcu-<br />
lating their incomes on a current month of<br />
exceptional good fortune. Say that A., whose<br />
usual rate is 15s. per thousand words, is lucky<br />
enough to obtain a commission for a serial of<br />
60,000 words at £1 5s. 0d., and that he can turn<br />
out 18,000 words a week. Thereupon he lightly<br />
informs B., who may be “literary taster” to the<br />
successful publishing firm he wishes to impress,<br />
that he is earning “at the rate of £1,100 or<br />
£1,200 a year,” whereas the fact is, that he is<br />
frequently without work at any price, and that<br />
necessary rest, illness, etc., is bound to interrupt<br />
his output during many weeks of the year. Hence<br />
the genesis of these calculations.<br />
<br />
Nevertheless, it is undeniable that a good<br />
income may be made by writers of facility who can<br />
be dramatic and sentimental to order, and have the<br />
knack, often unconscious, of interesting the bulk<br />
of the population; and undoubtedly there are<br />
several writers, comparatively unknown to the<br />
public, who are earning far more by serial work<br />
for the newspapers and popular weeklies than<br />
many novelists of note by their books. And<br />
their employment is secure, for the statement in<br />
the Daily Chronicle that “most publishers now<br />
have every line or at least a considerable part of<br />
the story in hand before they buy it,” and that<br />
“the syndicate reserves to itself the right of<br />
refusing any work submitted,” does not tally<br />
with the experience of the present writer. When<br />
a serial writer’s position is established, he need<br />
not put pen to paper without an agreement as<br />
binding upon the publisher or syndicate as upon<br />
himself.<br />
<br />
In other words, this class of fiction is a very<br />
good thing for those at the top; but that any<br />
serial writer is in receipt of a regular £2,000 a<br />
year is problematical, and £3,500 is a quite<br />
incredible figure, even if those authors are included<br />
whose serials subsequently attain a fair measure of<br />
success in book form, and who are occasionally<br />
able to sell their American, colonial, and foreign<br />
rights. As for the dramatic rights of these stories,<br />
they need not be counted seriously, the majority<br />
being available for nothing better than crude<br />
<br />
THE AUTHOR.<br />
<br />
melodrama in which the “pump” is of greater<br />
value than the plot.<br />
<br />
The figures in the Daily Chronicle are absurd<br />
for various reasons. Firstly, £2 2s. per thou-<br />
sand words is the usual top price of most<br />
newspapers. Occasionally £2 12s. 6d. is paid, and<br />
even £3 3s., but these prices cannot be used as a<br />
basis for calculation. Secondly, only a few writers<br />
can always command £2 2s. Od. Thirdly, how<br />
long would those writers maintain their supremacy<br />
if they turned out work at the rate of anything<br />
like a million to a million and a-half words a<br />
year ? And the same argument may dispose of<br />
the “ghost” theory, because the “ghost’s” stuff<br />
must be of inferior quality as he is unable to<br />
obtain remunerative employment for himself in a<br />
market where names have little value. Fourthly,<br />
it is only a limited number of rich newspapers<br />
which will pay £2 2s. per thousand to any-<br />
body. The provincial syndicates have to be<br />
reckoned with, certainly; but as an agreement<br />
with a syndicate usually contains a clause to the<br />
effect that the author is to publish no other work,<br />
during the period of the contract, through any<br />
other syndicate, the provincial market is more<br />
restricted than the London one.<br />
<br />
This being the case, where could “many<br />
writers” place their collective millions of words—<br />
this enormous mass of “copy ”—at top prices which<br />
is to provide these numerous incomes of from<br />
£2,000 to £3,500 a year? No, the British Press,<br />
though big, is not big enough for them. They<br />
dwindle, on the most cursory investigation, to<br />
the half-dozen elect, and Jane, the housemaid,<br />
need not be tempted to devote her pen-and-ink to<br />
“ literature.”<br />
<br />
When we take the second and third-rate<br />
writers, whose remuneration varies between<br />
£1 1s. Od. and 10s. per thousand, the statement<br />
becomes still more reckless. The half-dozen<br />
writers of the first rank are always in demand, and<br />
can usually take their choice of work offered, but<br />
the second- and third-rate writer is numerous and<br />
competition is severe, and where, in the name of<br />
common sense, could many of them place, say,<br />
from three and a half to seven million words a<br />
year, as they would have to do to earn an annual<br />
€3,500! The mere figures make one’s head<br />
swim.<br />
<br />
It is far more probable that £1,800 a year<br />
represents the limit touched by the few most<br />
successful writers of newspaper fiction.<br />
<br />
ANoTHER SERIAL WRITER.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
On Titles.<br />
<br />
THE question of the property in Titles is a<br />
very vexed question. Many authors come to<br />
the Secretary for advice on this subject, and<br />
sometimes are hurt because the Society cannot<br />
recommend them to take action. It has been<br />
thought well, therefore, to repeat in substance,<br />
with certain additions, an article that appeared in<br />
The Author in 1898.<br />
<br />
There is no copyright in a title. This is a<br />
sound foundation to start upon; but this state-<br />
ment cannot be taken as absolutely true, for in<br />
the case of Dick v. Yates, which went to the Court<br />
of Appeal, where the title ‘Splendid Misery” was<br />
under discussion, the Master of the Rolls spoke as<br />
follows :—<br />
<br />
“Now I do not say that there could not be<br />
copyright in a title, as for instance in a whole page<br />
of title or something of that kind requiring inven-<br />
_ tion. However, it is not necessary to decide that.<br />
But, assuming that there can be copyright in a<br />
title, what does copyright mean? It means the<br />
right to multiply copies of an original work. If<br />
you complain that a part of your work has been<br />
pirated you must show that that part is original,<br />
and if it is not original you have no copyright.<br />
How can the title ‘Splendid Misery’ be said to be<br />
original when the very same words for the very<br />
same purpose were used nearly eighty years ago ?”<br />
<br />
This case was fought out mainly on the basis,<br />
«Ts a title copyright?” and the question of trade<br />
mark law on which the right of property in a title<br />
rests, though dealt with, was dealt with as a<br />
secondary point. The reason for this course in<br />
this particular case is clear on the facts as reported.<br />
Those who desire the reason are referred to the<br />
report.<br />
<br />
_ Again, (1) speaking generally, it cannot be said<br />
there is copyright in a title.<br />
<br />
(2) If there is copyright, then the title must<br />
claim distinct originality.<br />
<br />
That, however, there is property in a title is<br />
quite clear, and the law bearing on the right of<br />
such property comes under, and is in some way<br />
analogous to, trade mark law, but titles cannot be<br />
registered like trade marks.<br />
<br />
The real question to consider is whether the<br />
infringement amounts to a common law fraud on<br />
the public.<br />
<br />
This is distinctly pointed out in the case—the<br />
*Chancellor, Masters and Scholars of the University<br />
of Oxford v. Wilmore-Andrews Publishing Com-<br />
pany—which was tried in the United States<br />
courts. It is a case of great importance, and<br />
brings into prominence the solid principle on<br />
<br />
<br />
<br />
* The Author, August, 1900.<br />
<br />
167<br />
<br />
which this question rests. There the Chancellor of<br />
the University of Oxford obtained an injunction<br />
against the defendant for publishing a Bible termed<br />
the Oxford Bible, which was not the “Oxford<br />
Bible’ as known on the market and published by<br />
the Clarendon Press. The plaintiffs could not<br />
possibly have any copyright either in the Bible or<br />
title, and this is the point it is desired to make<br />
especially clear, but the defendant had no right<br />
to sell a book as the product of the plaintiffs,<br />
which product was a well-known market com-<br />
modity.<br />
<br />
In order to obtain this property, two points<br />
therefore are clear :<br />
<br />
(1) That the product must be actually selling on<br />
the market, and must have established a position<br />
on the market by continuous sale.<br />
<br />
(2) That products with similar names must be<br />
similar products.<br />
<br />
This latter statement would appear self-evident<br />
if confusion had not frequently arisen in cases<br />
placed before the Secretary. For instance, a book<br />
of poems could not be confused with a philosophical<br />
treatise, nor a work of fiction with a book of<br />
sermons, even though the names were the same.<br />
<br />
There are also one or two minor points which<br />
are very difficult of decision, and are too intricate<br />
to be dealt with in a short article.<br />
<br />
The case in the American court above referred<br />
to makes it clear that if the book is out of copy-<br />
right, it does not follow there is no trade mark in<br />
the title. But with whom the right of commencing<br />
an action would lie might need some ingenuity to<br />
determine.<br />
<br />
A further point arises for consideration. When<br />
a book has been produced and is out of print, and<br />
the author is deliberating, or states that he is<br />
deliberating, about the production of a second<br />
edition, how far would the author have the right of<br />
stopping the production of a similar book under a<br />
similar title ?<br />
<br />
Though each case must be decided on its separate<br />
facts and its separate peculiarities, the broad general<br />
rule would hold that as it was impossible to buy<br />
the first book in the open market, it was impossible<br />
that any of the public could be deceived, and<br />
therefore the production of book No. 2 could not<br />
possibly be a fraud. This is an important point,<br />
as cases have been known to occur where authors<br />
have practically abandoned their book, their title,<br />
and their rights, but have tried to revive all three<br />
on seeing another book produced with a similar<br />
name.<br />
<br />
It might be useful to quote again a case that<br />
was quoted in a former article, as it illustrates one<br />
or two of the most important points with regard to<br />
property in a title.<br />
<br />
Messrs. Hogg in 1863 registered an intended<br />
168<br />
<br />
new magazine to be called Belgravia. In 1866,<br />
such magazine not having appeared, Mr. Maxwell,<br />
in ignorance of what Messrs. Hogg had done,<br />
projected a magazine with the same name, and<br />
incurred considerable expense in preparing it and<br />
extensively advertising it in August and September<br />
as about to appear in October. Messrs. Hogg,<br />
knowing of this, made hasty preparations for<br />
bringing out their own magazine before that of<br />
Mr. Maxwell could appear, and in the meantime<br />
accepted an order from Mr. Maxwell for advertising<br />
his (Mr. Maxwell’s) magazine on the covers of<br />
their own publications ; and the first day on which<br />
they informed Mr. Maxwell that they objected to<br />
his publishing a magazine under that name was<br />
Sept. 25, on which day the first number of Messrs.<br />
Hoge’s magazine appeared. Mr. Maxwell’s maga-<br />
zine appeared in October. Under these circum-<br />
stances, on a bill filed by Mr. Maxwell, it was held<br />
that Mr. Maxwell’s advertisements and expenditure<br />
did not give him any exclusive right to the use of<br />
the name Belgravia, and that he could not restrain<br />
Messrs. Hogg from publishing a magazine under<br />
the same name (the first number appeared before<br />
Mr. Maxwell had published his) ; and on a bill<br />
filed by Messrs. Hogg, that the registration by them<br />
of the title of an intended publication could not<br />
confer upon them a copyright in that name, and<br />
that in the circumstances of the case they had<br />
not acquired any right to restrain Mr, Maxwell<br />
from using the name as being Mr. Hogg’s trade<br />
mark.<br />
<br />
This case was, contrary to Dick v. Yates,<br />
decided almost entirely on the aspect of the trade<br />
mark. Certainly papers register titles, and produce<br />
periodically dummy copies in the hope of obtaining<br />
some kind of property. Any one who has studied<br />
the question would at once know that this labour<br />
is wasted, and that this kind of property can only<br />
be claimed when a title has become associated<br />
with a certain commodity by a continued public<br />
circulation.<br />
<br />
How can a paper of which one copy only is<br />
published even every day claim to be such a public<br />
commodity ?<br />
<br />
The contention is absurd.<br />
<br />
From the most practical point of view, therefore,<br />
it is best for the author not to name the title of<br />
his book until his book is produced, if he considers<br />
that there is any particular power in the words he<br />
is using.<br />
<br />
Those who through personal experience have<br />
come across the question of title for the first time<br />
consider the matter as a difficulty but recently<br />
discovered, which needs immediate amendment :<br />
they may, however, rest assured that the question<br />
of legislating more fully on the point has been<br />
deeply and thoroughly discussed and considered<br />
<br />
THE AUTHOR.<br />
<br />
by all those who have attempted to legislate on<br />
copyright or who are interested in the affairs of<br />
authorship. It is not a simple or one-sided<br />
question. It is exceedingly complicated, and has<br />
many sides.<br />
<br />
At present no remedy has been devised suffi-<br />
ciently satisfactory to embody in any of the<br />
Copyright Bills, and the solution of each case is<br />
based upon the common law. On the whole, it may<br />
be considered that this is the most satisfactory<br />
way of leaving the question. It gives more scope<br />
and adaptability, and prevents the stiffening that<br />
is often produced when a matter is statute-bound.<br />
<br />
G; ae.<br />
<br />
<br />
<br />
—1—~—+—_.<br />
<br />
The “Encyclopedia Britannica” in Canada.<br />
<br />
A. & ©. Buack e¢ al. v. Tur ImprrtaL Boox<br />
CoMPANY AND JAMES Haurs.<br />
<br />
Tus action, begun in September, 1901, was<br />
tried before Street, J., at the Toronto Non-J ury<br />
Sittings on September 23rd, 1902, and argued on<br />
January 3rd, 1908. The judgment delivered on<br />
January 26, in the present year, contains many<br />
notabilia dicta worthy the attention of authors,<br />
especially of those who have vested interests in ‘‘<br />
Canada.<br />
<br />
The material facts were, shortly, as follows :—A<br />
Canadian firm called “ Hales and Sparrow” had<br />
been importing into Canada a cheap American | te<br />
reprint of the ninth edition of the “ Encyclopedia ae<br />
Britannica,” its properly-authorised Canadian pub-<br />
lishers being the Clark Company of Toronto. :<br />
Just outside the statutory term—a year—within i<br />
which actions for infringements must be brought,<br />
Hales and Sparrow formed themselves into a com-<br />
pany, calling itself ‘‘ The Imperial Book Company, — .<br />
Limited.” The company had strange notions of<br />
<br />
q<br />
<br />
“See<br />
<br />
‘imperial ” obligations, for it continued to import<br />
the reprint. Hence the present action. The chief<br />
arguments set up for the defence were well-worn<br />
ones; and the lucid and masterly judgment of<br />
Street, J., reviewing once again much of our<br />
familiar case law, makes the action and its result<br />
an object-lesson for the misguided, if enterprising,<br />
Colonial publisher, who hopes by a splendid variety<br />
of defences to evade his simple obligations as a<br />
citizen.<br />
<br />
It was first of all objected by the defendants<br />
that a certificate of registration at Stationers’<br />
Hall did not, in the absence of other proof, estab<br />
lish proprietorship of copyright ; and that there-<br />
fore it was necessary for the plaintiffs, in addition<br />
to the certificate produced, to prove in fact that<br />
they were the proprietors. Street, J., held that in<br />
the absence of any evidence to the contrary on<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Sn,<br />
<br />
“<<br />
<br />
uo<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 169<br />
<br />
either side, except the copy of the certificate, its<br />
production was jal] that was necessary to make out<br />
a prima facie Proprietorship of copyright in an<br />
encyclopedia under Sections 18 and 19 of the Act,<br />
or under Section 11 to make out a prima facie<br />
proprietorship of the copyright in a book. On<br />
this first point, therefore, the defence failed,<br />
<br />
The title to the copyright being therefore estab-<br />
lished, it was next contended that the effect of the<br />
agreement entered into between Messrs. A. & C.<br />
Black and their co-plaintiffs, the Clark Company,<br />
was to transfer the copyright to that company ;<br />
that Messrs. Black could not maintain this action<br />
because they had assigned the copyright to the<br />
Clark Company ; and that the Clark Company<br />
could not maintain it because they had not regis-<br />
tered the assignment at Stationers’ Hall.<br />
<br />
This was an extremely plausible contention, but<br />
Street, J., found on the facts no difficulty in dis-<br />
posing of it. As this part of his judgment will<br />
have great interest for all authors, we make no<br />
apology for quoting it in full :—<br />
<br />
“T have examined the agreement in question, and Iam<br />
of opinion that it is not to be treated as an assignment but<br />
merely as a licence. In this agreement Messrs. A. and C.<br />
Black are called the publishers, and the Clark Company<br />
are called the Company. By the agreement the publishers<br />
agree that until 31st December, 1912, the Company shall<br />
have the exclusive right to print and sell the ninth edition<br />
of the ‘Encyclopedia Britannica,’ and for the purpose of<br />
enabling them to print it the publishers agree to deliver to<br />
the Company the existing plates used in its publication,<br />
and not to publish or announce the publication of a tenth<br />
edition of the work until after the 31st December, 1912.<br />
The Company, on its part, agrees not to alter the text of<br />
the work, and that the style of paper, printing, and binding<br />
shall remain unaltered. That they will pay £40,000 to<br />
the publishers for the rights acquired under the agree-<br />
ment. That they will not sell any copy of the work under<br />
£15, either in Great Britain or America; and that they will<br />
as soon as possible after the 31st December, 1912, deliver<br />
to the publishers any unsold copies of the work and all the<br />
plates used in printing it then in their possession. The<br />
Company further agrees that they will not knowingly<br />
issue any advertisement of and concerning the work of a<br />
nature likely to do injury to the publishers either in their<br />
business or as the owners of the copyright of the work.<br />
Authority is also given to the Company to institute, in the<br />
names of the publishers, any proceedings they may deem<br />
proper in respect of any breach of copyright of the<br />
work. . . . They have expressly reserved the copyright to<br />
themselves, and this reservation is entirely consistent, it<br />
appears to me, with the full enjoyment by the Company of<br />
the rights given them. The agreement therefore must, in<br />
my opinion, be construed as a licence merely, and not as<br />
an assignment,”<br />
<br />
It is interesting to note that, after citing almost<br />
all the case law on the subject in support of his<br />
view, the learned Colonial judge was not above<br />
referring the litigants to our most recent treatise<br />
on the subject, “ MacGillivray on Copyright,” pp.<br />
80,81 and 82. We congratulate Mr. MacGillivray<br />
on the unusual honour. He is the first of our<br />
<br />
writers on modern copyright to, give particular<br />
attention to the distinction between a licence and<br />
an assignment. The distinction for the practical<br />
purposes of authorship is only in the air as yet,<br />
but we believe things are shaping that way, and<br />
the day is not very distant when we shall be able<br />
to say definitely of every publishing agreement<br />
either that it is an assignment of copyright or only<br />
a licence to use. a<br />
<br />
The next point in the defence was that the<br />
plaintiffs did not correctly notify the Customs of<br />
their ownership of copyright as required by the<br />
Customs Act, 39 & 40 Vict., cap. 36. The learned<br />
judge had no doubt that if this Act was ever in<br />
force in Canada the defence would have been good,<br />
because the date given by the plaintiffs as to when<br />
their copyright expired was wrongly entered as<br />
1924 instead of 1917. The question, therefore,<br />
remained: Was the Customs Consolidation Act<br />
ever in force in Canada? The Commissioners who<br />
prepared the “Table of Imperial Statutes appear-<br />
ing to be in force in Canada, ex proprio vigore, at<br />
the end of 1901,” included Section 152 of the Act,<br />
which lays down that proper notice must be given.<br />
But Section 151 especially excepts from the opera-<br />
tion of the Act “any British possessions which<br />
shall by local Act or ordinance have provided . . .<br />
for the regulation of the Customs of any such<br />
possession, or made in like manner express pro-<br />
vision in lieu or variation of any of the clauses of<br />
the said Act for the purposes of such possession.”<br />
Now Canada was brought clearly within this<br />
exception by the Statute of the Province 10 and<br />
11 Vict., cap. 31, by which entire provision was<br />
made for the regulation of the Customs of the<br />
Province by the provincial Legislature. The<br />
defence, therefore, failed on this issue. As the<br />
learned judge said :—<br />
<br />
“T can find no reason in the context or subject-matter<br />
of Section 152 of the Customs Consolidation Act requiring<br />
me to say that it ought to be held to be in force in Canada<br />
notwithstanding Section 151, under the circumstances<br />
above set forth: and I am therefore obliged to conclude<br />
that it never was in force here, because Canada had, with<br />
the assent of Her Majesty, assumed entire control of its<br />
own Customs before the Customs Consolidation Act of 1876<br />
was passed,”’<br />
<br />
The defence at this point appeared to have been<br />
prepared with considerable ingenuity and fore-<br />
sight, for the next argument set up looked as if it<br />
had anticipated this ruling : it looked as if the<br />
defendants had said : “Oh, very well, if you hold<br />
that Section 152 of the Customs Consolidation Act<br />
is not in force in Canada, but that Canada has<br />
regulated her own Customs by Provincial Statute,<br />
—then you must also hold that the English Copy-<br />
right Act of 1842, is not im force there, since<br />
Canada has also copyright legislation of her own ;<br />
<br />
<br />
170 '<br />
<br />
and therefore the qHaintiffs are not entitled to<br />
recover under thp Ack of 1842 which they plead.”<br />
But the learned\judke was unable to entertain<br />
that view. Caner in his opinion, had no copy-<br />
right legislation which over-rode the Imperial Act<br />
of 1842. Besides, the point had already been<br />
determined adversely to the defendants’ objection<br />
in Routledge v. Low, Smiles v. Belford, and Morang<br />
y. Publishers’ Syndicate. Many hard things have<br />
been said from time to time in Canada, and in<br />
<br />
laces not so far away, about “ the Act of 1842” 3<br />
and the activity of Canada in legislating for itselfin<br />
copyright matters has been the subject of eulogy.<br />
But until the new Copyright Bill comes into force,<br />
at least, both Canadians and Englishmen. will do<br />
well to remember one important fact about<br />
“Macaulay’s Act” before they ignore it: It is<br />
still in force in Canada!<br />
<br />
The next and last question with which the judg-<br />
ment dealt was whether there had been, in bringing<br />
this action, delay amounting to acquiescence or<br />
“laches.” Notwithstanding the protest of Mr. H.<br />
E. Hooper, the Managing Director of the Clark<br />
Company, that he did not know that the illegal<br />
reprint was being sold in Canada until just before<br />
the action was brought, the learned judge held<br />
that there had been some delay. But the degree<br />
of delay which might bar an action for an inter-<br />
locutory injunction would by no means necessarily<br />
be an answer to an action of this kind, and there<br />
was not sufficient delay here to prove acquiescence<br />
or “laches” on the part of the plaintiffs. The<br />
learned judge then summed up as follows :—<br />
<br />
“ ] think the plaintiffs have established their right to an<br />
injunction perpetually restraining the defendants, The<br />
Imperial Book Co., Limited, their servants and agents,<br />
from importing into Canada any copies of the ‘ Encyclo-<br />
pedia Britannica, ninth edition, or of any part thereof<br />
printed in any country outside the British dominions,<br />
which infringe the copyright of the plaintiffs, Adam and<br />
Charles Black ; and I order that the said defendants, the<br />
Imperial Book Co., Limited, do deliver up for cancellation<br />
all and any copies so printed in their possession. The<br />
plaintiffs are also entitled to an account of the profits<br />
realised by the defendants, the Imperial Book Co., Limited,<br />
from the sale of any such copies within one year before<br />
the commencement of this action.”<br />
<br />
As to Hales, who, it will be remembered, was a<br />
co-defendant with the Imperial Book Co.: he<br />
hed undoubtedly made large profits out of the<br />
sale of the unlawfully imported copies of the<br />
‘ Ehcyclopaedia, but by pleading the statute, as we<br />
have seen, he escaped accounting for them. The<br />
action, therefore,.failed as against him. But he<br />
had to pay his own costs.<br />
CHARLES WEEKES.<br />
<br />
‘ —_ +<br />
<br />
<br />
<br />
6<br />
<br />
THE AUTHOR. ;<br />
<br />
1908.<br />
<br />
——<br />
<br />
r<br />
<br />
THE ANNUAL “aa oe OF<br />
<br />
PPVHE Annual General Meeting of the Society<br />
was held in the Large Hall of the Royal<br />
Medical and Chirurgical Society, at 20,<br />
<br />
Hanover Square, on March 5th.<br />
<br />
Mr. Douglas Freshfield took the Chair at 4 p.m.,<br />
and, in opening the proceedings, paid a tribute to<br />
the great services rendered by his predecessor, Mr.<br />
A. Hope Hawkins, to the Society as Chairman of its<br />
Committee of Management during the past three<br />
years. Mr. Freshfield went on to suggest that the<br />
report of the Committee, which had already been<br />
in the hands of the Society’s members, might, as<br />
<br />
usual, be taken as read, and proceeded to make a ~<br />
<br />
few explanatory remarks and comments upon its<br />
details. He dwelt upon the good work always<br />
being done by the Society in strengthening the<br />
desired friendly relations between authors and<br />
publishers by removing causes of difference between<br />
them, and criticised the conduct of those authors<br />
who entered the Society for the purpose of getting<br />
some difference adjusted between them and their<br />
publishers, leaving it after having obtained the<br />
desired benefit, to rejoin it only when once more in<br />
need of its assistance. He put forward as a<br />
principle to be adopted by the Committee that, in<br />
dealing with the affairs of members of this class,<br />
litigation should only be entered upon where a<br />
question was involved, the settling of which was<br />
likely to be useful to the Society at large. Mr.<br />
Freshfield also expressed regret at the slow progress<br />
that is being made with copyright legislation.<br />
With reference to the memorial to Sir Walter<br />
Besant, he informed the Society that the work of<br />
Mr. Frampton, R.A., with which considerable<br />
progress has been made, is, in the opinion of those<br />
who have seen it, likely to prove eminently satis-<br />
factory. The other topics which he touched upon<br />
included the work done for the Society by its legal<br />
advisers and the Secretary, the Pension Fund, the<br />
changes in the Committee and Council, and the<br />
dinner, fixed for the 30th of April, the tickets for<br />
which, the Society was informed, are to be 10s.,<br />
while the dinner is to be followed by the usual<br />
conversazione. The report was adopted without<br />
further discussion, and the re-election of Mr.<br />
Morley Roberts to the committee for the manage-<br />
<br />
ment of the Pension Fund concluded the agenda of<br />
<br />
which notice had been given.<br />
Mr. Bernard Shaw then rose, and in a vigorous<br />
speech expressed his regret that neither the com-<br />
<br />
mittee nor any individual member should have<br />
<br />
question for its<br />
<br />
provided the meeting with any :<br />
and upon which<br />
<br />
discussion of interest to authors,<br />
<br />
authors might be glad to ventilate their possibly —<br />
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divergent opmions: In the absence of any such<br />
subject, Mr. Shaw made reference to a matter with<br />
regard to which the feeling of those present was<br />
too unanimously with him for it to form the subject<br />
of controversy. Calling attention to the fact that<br />
the Society of Authors is at times the subject of<br />
adverse criticism and uninformed or wilfully mis-<br />
taken obloquy in the Press, he asked whether no<br />
means existed for the punishment of the literary<br />
black-legs who might be responsible for defamatory<br />
statements such as those to which he referred, and<br />
he suggested that the best method for dealing with<br />
them might form a fit subject for the Society’s<br />
consideration upon such an occasion as its general<br />
meeting.<br />
<br />
Mr, Warwick Bond, Mr. Eyre Hussey, and other<br />
speakers continued the discussion, and addressed<br />
those present briefly upon the same subject, the<br />
Chairman suggesting, in conclusion, that the diffi-<br />
culty of detecting the offender might be responsible<br />
for the impossibility of disposing of him or of his<br />
statements otherwise than by contradiction and<br />
refutation. As no member had any other matter to<br />
bring forward, a vote of thanks to the Chairman was<br />
then proposed by Mr. E. A. Armstrong, who con-<br />
gratulated the Society on having obtained so able<br />
a successor as Mr. Douglas Freshfield to take the<br />
place of Mr. A. Hope Hawkins. The motion was<br />
seconded by Lieut.-Col. Manifold Craig, and<br />
unanimously carried.<br />
<br />
The attendance at the meeting was decidedly<br />
smaller than usual, and considerably less than it<br />
used to be before the Society had won the secure<br />
position which it now occupies. This may in part<br />
have been due to the inclement weather, and to the<br />
fact that there was no controversial topic among<br />
the agenda. It is, however, to be regretted that<br />
members of the Society should not be present in<br />
greater numbers upon the annual occasion which<br />
gives them the opportunity to raise questions of<br />
interest to themselves and authors in general, and<br />
to express their approval of the labours of their<br />
Committee and Secretary.<br />
<br />
Among those present were—Mr. E. A. Armstrong,<br />
Miss E. A. Barnett, Miss Clementina Black, Mr. R.<br />
Warwick Bond, Miss E. E. Charlton, Lieut.-Col.<br />
R. Manifold Craig, Mr. Arthur Dillon, Mr. Basil<br />
Field, Mr. Douglas Freshfield, Miss Beatrice<br />
Harraden, Miss Helena Heath, Miss BE. M. Hine,<br />
Mr. Eyre Hussey, Mr. H. T. Inman, Mr. Benjamin<br />
Kidd, Miss Arabella Kenealy, Mr. J. M. Lely, Mrs.<br />
Nella Parker, Miss Olive K. Parr, Dr. A. Rattray,<br />
Mr. Edward Rose, Mr. Bernard Shaw, Mr. F,<br />
Vicars, etc., etc.<br />
<br />
ee Gee cme eee<br />
<br />
THE AUTHOR. fi<br />
<br />
}<br />
171<br />
<br />
THE AUTHORS’ ASSOCIATION.<br />
1)<br />
<br />
N the list of societies given in the Literary<br />
Year Book for the current year we find one,<br />
founded apparently early in 1902, under the<br />
<br />
name of the Authors’ Association.<br />
<br />
We have had brought before us two circulars,<br />
one setting out the “Rules and Constitution of the<br />
Association” and the other its objects :—<br />
<br />
‘Any person who has, or is desirous of adopting a<br />
literary life either as a profession or a recreation is qualfied<br />
for membership. The subscription for the first year is one<br />
guinea, for following years half a guinea,”<br />
<br />
The control of the society is vested in a Council,<br />
to consist of not less than six or more than twelve<br />
members, including the Secretary and Officers,<br />
This Council, it is provided, “shall manage the<br />
business of the Association, consider what steps<br />
are necessary to forward the objects for which the<br />
Association is established, and take such measures<br />
to carry them out as they may deem advisable,<br />
including the disposal of the funds of the Associa.<br />
tion.”<br />
<br />
The Secretary has charge of all correspondence<br />
and accounts, and the Treasurer pays all debts of<br />
the Association at his direction.<br />
<br />
It is further enacted that “no general or Council<br />
meeting shall without special announcement be<br />
considered a public meeting, or be attended by<br />
reporters for the Press except by invitation of the<br />
General Secretary by order of the Council ; nor<br />
shall any report of or comments upon the proceed-<br />
ings of any meeting be supplied to any newspaper<br />
or periodical, or be printed and published in any<br />
form, except by order of the Council conveyed by<br />
the General Secretary.”<br />
<br />
The General Secretary is Mr. Galloway Kyle,<br />
F.R.S.L., who resides at Darlington. The Asso-<br />
ciation, however, has a temporary office at 62,<br />
Paternoster Row.<br />
<br />
In the circulars before us the Countess of Aber-<br />
deen is stated to be the President of the society.<br />
<br />
We have called Mr. Kyle’s attention to the fact<br />
that her ladyship withdrew from the office in<br />
November last, and that, notwithstanding her<br />
resignation, her name is retained as President<br />
in the Literary Year Book for 1903, and also in<br />
circulars issued by the Association up to the.end<br />
of January.<br />
<br />
In reply Mr Kyle, while disputing the right, of<br />
the Authors’ Society to call for any explanation,<br />
states in general terms that at the time of her<br />
withdrawal her ladyship was informed that in the<br />
Literary Year Book and certain circulars already<br />
prepared her ladyship’s name would appear, and<br />
further that ‘any advertisement or announcement<br />
made or arranged after a certain date does not<br />
contain her ladyship’s name.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Mr. Kyle has @ecfined to give any more direct<br />
answer to the exp¥cit question whether he had<br />
Lady Aberdeen’s authority to continue the use of<br />
her name after her withdrawal.<br />
<br />
The following names are printed under the<br />
heading Council in the prospectus :—<br />
<br />
General Secretary and Editor, Mr. Galloway<br />
Kyle, F.R.S.L. ; Treasurer, Mr. J. Wilson ; Art<br />
Editor, Mr. T. Eyre Macklin, R.B.A.: Music<br />
Editor, Mr. T. Hutchinson, Mus. Doc. ; Solicitors,<br />
Messrs. Warburton & Robertson.<br />
<br />
The minimum number of six can, therefore, only<br />
be made up by including the Countess of Aberdeen,<br />
who has resigned, or counting the firm of solicitors<br />
as two councillors.<br />
<br />
The prospectus of the Association is a strangely<br />
inconsistent and self-contradictory document. For<br />
instance, it states emphatically in one paragraph<br />
that, “the Association is not a literary agency,”<br />
but on turning to page 2 we read :—<br />
<br />
“LITERARY AGENCY,<br />
<br />
“ A commission, varying with the position, experience of<br />
the author, and the character, length, and value of the<br />
work, will be charged on the price obtained for all MSS.<br />
published through the offices of the Association. Special<br />
arrangements may be made for the supply of topical<br />
articles, short stories, &c., by experienced members.”<br />
<br />
Inconsistency and obscurity of statement are not,<br />
however, confined to a single point. The circular<br />
alleges that the Association “is neither a trading<br />
nor a philanthropic institution.” Yet it is pro-<br />
posed not only to do the business of a literary<br />
agent, on’very vague terms, but also “to undertake<br />
typewriting and duplication of MSS. at the usual<br />
rates,” and to criticise MSS. for members on terms<br />
stated, or for non-members at double those terms.<br />
<br />
Every member, we must mention, has the right<br />
to have one MS. of 5,000 words criticised each<br />
year free of charge. Though in no way philan-<br />
thropic—<br />
<br />
“Tt is an attempt to offer reliable responsible authorita-<br />
tive advice and criticism to beginners in literature and<br />
journalism, to afford the inexperienced the assistance of<br />
experience ; to organise tentative efforts and direct mis-<br />
directed and wasted energy; to protect and develop<br />
professional interest and to be of general use to literary<br />
workers, especially to the isolated, the uninfluential, and<br />
the amateur, and to introduce some order, coherence, co-<br />
operation and uniformity in the chaotic and feebly indivi-<br />
dualistic state of the earlier stages of the literary<br />
profession.”<br />
<br />
Once more the circular states that among the<br />
Association’s objects are “to assist and advise the<br />
beginner in literature.” ‘To give legal advice on<br />
questions within the scope 6f the Association, and<br />
to afford members the protection and advantage of<br />
a powerful and responsible organisation in touch<br />
with the higher as well as with the lower branches<br />
of the profession of letters.”’<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
And yet we read, “the scope of the Association is<br />
entirely outside that of the Authors’ Society, of<br />
which it can only be a feeder and not a rival.”<br />
<br />
We need hardly assure our readers—but we are<br />
glad to assure Mr. Kyle—that we should welcome<br />
most cordially any Association likely to be of sub-<br />
stantial assistance to authors, even though its field<br />
of action might in some directions overlap our<br />
own. Before, however, we can extend to him the<br />
hand of fellowship, he must produce some further<br />
proof than is contained in the circular before us<br />
that the Association which he represents is the<br />
“responsible and powerful organisation” he claims<br />
it to be.<br />
<br />
He must prove that it has an acting President<br />
and a working Council whose names will convey to<br />
the public an adequate assurance of its indepen-<br />
dence and capacity to administer the funds and<br />
dispose of the interests, literary and financial, that<br />
may be entrusted to it for the benefit of its<br />
clients.<br />
<br />
—_o——_e__-<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
1<br />
<br />
IR GEORGE DOUGLAS will publish this<br />
month, through Messrs. Hodder and Stough-<br />
ton, “The Man of Letters,” a novel embodying a<br />
study of the literary temperament. We have<br />
already had from this author’s active pen an<br />
admirable “History of the Border Counties,”<br />
“Poems of a Country Gentleman,” “The Fireside<br />
Tragedy,” etc., etc. He is, besides, a steady con-<br />
tributor to The Bookman and Scotsman.<br />
<br />
Mr. John Murray is just bringing out the<br />
first series of lectures given in the Physiologicab<br />
Laboratory of the London University at South<br />
Kensington. It is intended that the series shall<br />
comprise two volumes a.year. The volume now<br />
in the press is by Dr. A. Waller, F.R.S. This is<br />
the first sign of life that the University of London<br />
is giving as a seat of learning. These lectures are<br />
especially to belong to what may be termed “ the<br />
growing surface of our knowledge,” on work that<br />
has been or is actually being carried out by the<br />
University lectures.<br />
<br />
The numerous readers of Mr. Richard Bagot’s<br />
“Donna Diana,” and “The Just and the Unjust,”<br />
will be interested to know that the author is<br />
making arrangements for their dramatisation. Mr.<br />
Bagot is at present in Italy, and is engaged on<br />
a new novel. ‘This is to appear as a serial during<br />
the coming summer, and is to be published in<br />
volume form afterwards.<br />
<br />
A letter of Mr. Bagot’s recently appeared in<br />
the Atheneum under the heading of “ Fiction and<br />
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<br />
Fact.” In it he'pfotested, and very rightly, against<br />
the growing practice of labelling characters in<br />
fiction with the names of individuals. Mr. Bagot<br />
sent to the Editor of the Atheneum cuttings from<br />
articles published in the Mew York Times, in<br />
which names of well-known members of Roman<br />
Society—personal friends of the author—were<br />
mentioned as being the originals of certain of his<br />
characters in ‘‘ Donna Diana.”<br />
<br />
As this matter touches authors very nearly we<br />
quote a portion of the protesting letter :—<br />
<br />
“That well-known individuals should be mentioned by<br />
name as the originals of an author’s characters appears<br />
to me an abuse of the privileges of the Press. In the<br />
present instance, the statements made are absolutely false<br />
and likely to cause pain, not only tothe individuals alluded<br />
to, but also to many others, while the novelist can scarcely be<br />
pleased at being regarded as a photographic machine. .. .<br />
The characters in ‘Donna Diana’ are types—no living<br />
members of Roman Society are the originals from whom<br />
these types have been selected.”<br />
<br />
We are to have two annuals from Louis Wain<br />
this year. One is to be a “Summer Book,” for<br />
children only ; there is to be also the “ Winter<br />
Annual,” which appeals to grown-ups as well.<br />
Mr. Wain has no intention whatever of throwing<br />
up his cats for a literary career. He is bound<br />
hard and fast to the cat, for he is convinced this<br />
despised little animal is going to do great things<br />
in the cause of humanity.<br />
<br />
Mr. Wain tells us that when he started on his<br />
career as an artist by drawing for the illustrated<br />
papers at dog, cat, and agricultural shows, he soon<br />
found that the primary cause of success was to<br />
please other people and not his own art instincts.<br />
If he drew an animal as others imagined it he at<br />
once made a hit ; but did he follow his own fancy<br />
he “got it hot on the spot.” Every development<br />
he has since made in his art or hobbies has been<br />
the direct outcome of contact with men who are<br />
past-masters in their own particular work. He<br />
has looked through their spectacles, as it were,<br />
and he has endeavoured to grasp the essentials of<br />
all the arts.<br />
<br />
He says further :—<br />
<br />
“In a small way I have started by building up my<br />
annual... . That we shall race forward and arrive at a<br />
more masterful cult in all the arts and sciences directly<br />
the flood of fortune touches the starved-out literati,<br />
quickens the active instincts of the artists, and calls to<br />
life the finer sense of feeling of the musician, I believe<br />
to be a truism; but the organisation to bring it about<br />
will be built up of the united judgment of many master-<br />
minds,”<br />
<br />
Mr. Felix Moscheles, whose very interesting<br />
“Fragments of an Autobiography” we all know,<br />
has no long book in hand at present, but he is busy<br />
in other directions. He is a regular contributor<br />
<br />
to Concord, the monthly organ of the Inter-<br />
national Arbitration and Peace Association, of<br />
<br />
| THE AUTHOR.<br />
<br />
| 173<br />
<br />
i<br />
which he is chairman. The sbjects treated are<br />
naturally in close connection wh the aims of the<br />
society, and the articles are mainly intended to<br />
popularise and strengthen the Hague Conventions,<br />
and the International Tribunal established in that<br />
city.<br />
<br />
Mr. Moscheles has also lately written on Esperanto,<br />
the International language invented by Dr. Zamen-<br />
hof, of Warsaw. An Esperanto Club has been<br />
formed, and Mr. Moscheles is its president.<br />
<br />
Dr. Andrew Balfour, who went out last December<br />
to the Gordon College at Khartoum, as director of<br />
the Research Laboratories, presented to the Govern-<br />
ment by Mr. H. S. Wellcome, of Messrs. Burroughs,<br />
Wellcome & Co., Limited, fears he will have no<br />
time for fiction in this new position, as there is<br />
any amount of hard work to be done, and that in a<br />
climate which can scarcely be called stimulating.<br />
<br />
Perhaps it is not generally known that Dr.<br />
Balfour wrote, with Dr. C. J. Lewis, of Edinburgh,<br />
a large text-book entitled “Public Health and<br />
Preventive Medicine.” He took to scribbling, by<br />
way of relaxation, shortly after graduating at Edin-<br />
burgh, in’94. His first story, ‘‘ Gentleman Jerry,”<br />
was accepted by Chambers’ Journal, much to his<br />
surprise and delight. He then wrote “ By Stroke<br />
of Sword,” which was published by Messrs. Methuen,<br />
and quickly ran into a fourth edition. The same<br />
firm issued his “lo Arms” and “ Vengeance is<br />
Mine.” “To Arms” is now in its second<br />
edition.<br />
<br />
Like many another, Dr. Balfour served his year<br />
as a civil surgeon in South Africa: the result has<br />
been the output of two books—‘ Cashiered,” a<br />
volume of short stories (Nisbet), and “ The Golden<br />
Kingdom” (Hutchinson). Dr. Balfour belongs to<br />
the same clan as that which claims R. L. Balfour<br />
Stevenson, viz., “ the auld hoose o’ Pilrig,” and he<br />
is very proud of the fact.<br />
<br />
The Rey. Silas K. Hocking is finishing his new<br />
novel, “A Bonnie Saxon,” and will publish it at<br />
an early date through Messrs. F. Warne & Co.<br />
He is also engaged on a new serial story for the<br />
Sunday Companion, the title of which will be<br />
“The Tempter’s Power.”<br />
<br />
Miss Constance Hill is now at work upon a book<br />
dealing with an eighteenth century subject. Mr.<br />
John Lane will publish it. A second edition of<br />
“Jane Austin: Her Homes and Her Friends,” is<br />
in preparation. Our readers will remember that<br />
this really admirable and, we venture to think,<br />
definitive book about the famous authoress was<br />
illustrated by Miss Hllen S. Hill, and that it was<br />
published last Christmas year by Mr. John Lane.<br />
<br />
Miss Constance Hill began to write in 1888,<br />
when she edited and added matter to a series of<br />
books for children written to a large extent by her<br />
<br />
<br />
174° i<br />
<br />
mother before her marriage. These volumes were<br />
called “ The Parents’ Cabinet of Amusement and<br />
Instruction.” This series ran through many<br />
editions, and elicited letters of warm appreciation<br />
from Maria Edgeworth. In 1894 Miss Hill edited,<br />
with large additions, her father’s life. It was<br />
entitled, “Frederic Hill: an Autobiography of<br />
Fifty Years in Times of Reform” (Bentley).<br />
Then, in 1899, Mr. Heinemann published her<br />
“ Story of the Princess des Ursins in Spain.” This<br />
has just been translated into German and published<br />
by Carl Winter. (Heidelberg University Press.)<br />
<br />
A third edition of Rita’s new novel, “Souls a<br />
(Hutchinson & Co.), is already in preparation. The<br />
first edition was sold out in a week, and the second<br />
is practically disposed of.<br />
<br />
A new book on astronomy by Mr. J. EH. Gore,<br />
F.R.A.S., entitled “The Stellar Heavens: An<br />
Introduction to the Study of the Stars and<br />
Nebule,” is in the press, and will shortly be<br />
published by Messrs. Chatto and Windus.<br />
<br />
Mr. Wilkinson Sherren, whose ‘“ Wessex of<br />
Romance” was published by Messrs. Chapman<br />
and Hall last year, is revising for press a volume<br />
of tales, chiefly rustic in character. A picturesque<br />
cover vignette has been drawn by Mr. William<br />
Pye, whose Dorset pictures and etchings are<br />
becoming increasingly popular. The title of this<br />
volume will be “A Rustic Dreamer.”<br />
<br />
This month Mr. H. J. Drane will publish a<br />
tragedy called “ Messalina,” by Mr. F. T. Winbolt,<br />
author of “Frithof the Bold,” ete. The drama<br />
deals with the schemes of the Empress, and con-<br />
cludes with her overthrow and assassination. The<br />
last scene depicts Claudius at a banquet listening<br />
to the pleadings of Domitia, the mother of Messa-<br />
lina, for the life of her daughter, whom he has<br />
ordered to be slain. Moved by the words of<br />
Domitia, Claudius pardons Messalina, but as he<br />
does so, the news arrives that his orders have been<br />
carried out, and that the Empress is dead.<br />
<br />
The Sunday School Union has just brought out<br />
a fine edition of Miss Wood’s Picture Map of<br />
Palestine, which gives all the physical features of<br />
the country, and is most useful for teaching pur-<br />
poses. It is six feet long, and the names are very<br />
clearly printed. The map is on an entirely new<br />
principle, and is very graphic.<br />
<br />
A little volume, “Recollections of a Royal<br />
Parish,” by Mrs. Patricia Lindsay, recently pub-<br />
lished by Mr. John Murray, gives an interesting<br />
account of the parish of Crathie, in which are<br />
situated Balmoral and Abergeldie Castles. The<br />
book contains several hitherto unpublished letters<br />
from Queen Victoria to the writer’s father and<br />
herself. These throw some interesting sidelights<br />
upon the character of the late Queen, and on life<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
in the Highlands. The oa illustrated by<br />
some excellent views and portraits.<br />
<br />
Mr. E. H. Lacon Watson, author of “ Chris-<br />
topher Deane,” ‘ Benedictine,” and several other<br />
volumes, has recently published a new novel<br />
through Mr. Edward Arnold. Its name is ‘The<br />
Templars,” but intending readers are warned that<br />
the story has no concern with life at the Bar or<br />
with the Knights Templars of the Middle Ages.<br />
The title, in fact, is taken from the name of the<br />
family whose fortunes are chronicled in the book.<br />
It is quite modern.<br />
<br />
Miss C. Gascoigne Hartley’s “Early British<br />
Heroes,” stories founded upon Geoffrey of Mon-<br />
mouth’s Chronicles, has been favourably noticed<br />
by reviewers. Messrs. Dent and Co. are the pub-<br />
lishers. The book is illustrated by Mr. Patten<br />
Wilson.<br />
<br />
A notable book just out is “ The Rubaiyat of<br />
Umar Khaiyam,” done into English from the<br />
French of J. B. Nicholas, by Frederick Baron<br />
Corvo, together with a reprint of the French text.<br />
There is an interesting introduction by Nathan<br />
Haskell Dole (John Lane). It seems that the<br />
translation was undertaken at the solicitation of<br />
Mr. Henry Harland and Mr. Kenneth Grahame.<br />
<br />
We give a triplet of the far-famed quatrains in<br />
this new and striking form :—<br />
<br />
‘“ When I am drinking Wine, its Foes appear on every<br />
Hand to induce me to abstain, alleging Wine to be the<br />
Enemy of Religion. For this exquisite Reason, now, I dub<br />
myself Faith’s Champion, and with God’s Aid I will drink<br />
Wine ; knowing that to drink the Blood of His Enemy is<br />
a meritorious Deed.” (93)<br />
<br />
“When low lieth mine Head at the Feet of Death, when<br />
Haides shall have plucked me like a Fowl, make nothing<br />
save a Flagon from my Dust; for the odour of the Wine<br />
therein, perchance, for an instant, will revive me.” (290)<br />
<br />
“OQ limpid Wine, Wine of richest Tincture! Fool that<br />
I be, I will in such excess to drink thee, that whoever shall<br />
perceive me from afar, may mistake me for thee, and say,<br />
© Master Wine, pray tell me whence thou comest.” (439)<br />
<br />
The Russian Choir at present singing in “ Resur-<br />
rection” at His Majesty’s Theatre has received<br />
several invitations to sing in other places. An<br />
extensive programme is being prepared of the most<br />
characteristic Russian Church chants, operatic<br />
choruses, and arias, folk-lore and wedding songs,<br />
etc., embracing those of Great Russia, Little Russia,<br />
White Russia, Lethuania, Poland, and the s0-<br />
called Gipsy Cycle. The choir will wear costumes<br />
characteristic of the historical epoch and locality<br />
represented. The undertaking will be under the<br />
direction of M. Jaakoff-Prelooker, who will accom-<br />
pany the performances with brief explanatory<br />
remarks in English. The most important songs<br />
will be printed in full English translations.<br />
<br />
A second edition of Mr. Arthur Lovell’s “ Con-<br />
centration ” (post free, 2s. 3d.), is now ready, It<br />
<br />
<br />
THE AUTHOR.<br />
<br />
is enlarged by the addition of a new<br />
entitled, “ Matter and Force.”<br />
<br />
Mr. Bernard Cape’s new novel, “A Castle in<br />
Spain” (Smith-Elder), has gone into a second<br />
edition,<br />
<br />
At the annual general meeting of the Royal<br />
Literary Fund Mr. W. E. H. Lecky was elected<br />
president for the ensuing year. Among those<br />
present were Mr. Edmund Gosse, Mr. Julian<br />
Sturgis, Mr. Owen Seaman, Mr. M. H. Spiel-<br />
mann, and Sir Theodore Martin. Mr. Julian<br />
Sturgis presented the reports of the Fund. He<br />
announced that their income last year amounted to<br />
£2,986, while the sum expended in grants was<br />
£2,870. The total invested sum was £56,410,<br />
which produced an income of £1,741. They were<br />
in want of strong cases, said Mr. Sturgis, and would<br />
be glad to hear of any bond fide literary people who<br />
were in trouble, or of anybody who was engaged in<br />
literary research.<br />
<br />
An_ original light comedy in three acts by<br />
Mr. Henry Arthur Jones entitled, “ Whitewashing<br />
Julia,” was produced at the Garrick Theatre<br />
on Monday evening, March 2nd. Mr. Arthur<br />
Bourchier was successful in the part of Mr.<br />
William Stillingfleet, and Miss Violet Vanbrugh<br />
made the most of Julia. Miss Ethelwyn Arthur<br />
<br />
chapter<br />
<br />
Jones made a decided hit as the Bishop’s out-<br />
<br />
spoken niece, Trixie Blenkinsop. Mr. Sam Sothern<br />
and Mr. Kenneth Douglas were exceedingly good<br />
as the Hon. Edwin and the Hon. Bevis Pinkney<br />
respectively,<br />
<br />
“The Two Mr. Wetherbys,” a “middle-class<br />
comedy ” by St. John Hankin, was successfully pro-<br />
duced at the Imperial Theatre on March’ 15th<br />
before members of the Stage Society. A public<br />
performance was given at the same theatre on<br />
the following afternoon. Mr. Hankin may be<br />
remembered as the author of the series of<br />
“ Dramatic Sequels,” which, after appearing in the<br />
pages of Mr. Punch, were republished in book<br />
form by Messrs. Bradbury & Agnew about a year<br />
ago.<br />
<br />
————__+—~@—.<br />
<br />
PARIS NOTES.<br />
<br />
—_+-—>—+—__<br />
<br />
HE book of the month here<br />
<br />
: 4 “L’Inde,” by Pierre Loti.<br />
<br />
It has been advertised in many of the<br />
<br />
papers as “L’Inde, sans les Anglais,” and this<br />
title gives an admirable idea of the book.<br />
<br />
We have had many volumes on India, and<br />
magazine articles without number, but in most of<br />
these the British element is in the foreground, and<br />
in a country like India, from a poetic and artistic<br />
<br />
1s, undoubtedly,<br />
<br />
175<br />
<br />
point of view, the British element is so prosaic<br />
that it completely spoils the picture. In that<br />
wonderful book on Burma, “The Soul of a People,”<br />
the author shows us clearly how prosaic and un poeti-<br />
cal we are. Pierre Loti goes still farther, he leaves<br />
us out altogether, and his book, from an artistic<br />
point of view, gains immensely by the omission.<br />
<br />
Prince Henri @Orléans, in his last book,<br />
“ L’Ame du Voyageur,” speaks of the éfat d’ame<br />
of the explorer. He Says: “Le voyageur ne<br />
recueille pas uniquement le bénéfice d’un travail<br />
conscient ; il éprouve des sensations connues de lui<br />
seul, sensations profondes, nettes, qui lui laisseront<br />
& jamais une impression aussi vive qu’au premier<br />
Jour. Sentant qu’il est prés d’elle et qu'il est a<br />
elle, la nature le prend pour confident et lui ouvre<br />
tout grands ses mystéres. I] n’a pas lieu de<br />
s’enorgueillir, il nest guére plus savant que<br />
d’autres ; mais il a vu de pres, sans voiles; il est<br />
Partiste qui se repait pleinement, sainement de la<br />
beauté,<br />
<br />
Dans ces moments de révélation le voyageur qui<br />
crayonne sur son carnet ne se sent pas écrire; sa<br />
main semble courir toute seule, poussée par une<br />
force inconnue, et l’état de son ame se refléte en<br />
ces pages comme en un miroir.”<br />
<br />
This is surely the way in which Pierre Loti was<br />
inspired to write the poem in prose which he has<br />
entitled “L’Inde.” The volume is divided into<br />
five parts : “ En Route vers Inde,” “A Ceylon ;”<br />
“Chez le Maharajah du Travancore 57 = Danes<br />
VInde des Grandes Palmes 3° ° Dang inde<br />
Affamée ;” and ‘“ Vers Bénarés.”<br />
<br />
“ L’Oblat,” the new book by M. J. K. Huysmans,<br />
is extremely interesting, treating as it does one of<br />
the burning questions of the day in France, that<br />
of the Associations Law and the recent expulsion<br />
of many of the religious congregations. The<br />
oblatis a kind of lay brother who is admitted<br />
as a boarder into a monastery, and as M. Huysmans<br />
tried this experiment himself, and remained in his<br />
monastery until the exodus of the monks and<br />
their departure for the land of exile, the author of<br />
this book speaks feelingly when, as Durtal, he gives<br />
us his opinion on recent events. There are some<br />
very fine pages in “ L’Oblat,” and, as a French critic<br />
says, “ It is a continuation of M. Huysmans’<br />
‘ Encyclopzedia of Catholicism, ’”<br />
<br />
Durtal is living in a monastery in the neigh-<br />
bourhood of Dijon as an oblat, when the Pope’s<br />
letter with regard to the Associations Law causes<br />
a stir in the French Catholic world. The monks<br />
believe that the Government will not dare to touch<br />
the religious orders, but Durtal has not this faith,<br />
and, in the passages where he attacks the Govern.<br />
ment, treating Loubet “as a veritable Pilate,” we<br />
recognise not only the lay brother, but Huysmans,<br />
an author of the realistic school.<br />
<br />
<br />
<br />
<br />
176<br />
<br />
He describes the indignation of the worthy<br />
monks who object to ask the authorization of the<br />
Government, and who object, still more strongly,<br />
to give an inventory of all they possess. Through<br />
all the tribulations of the monks, the lay brother,<br />
Durtal, appears to see clearly the causes which<br />
have brought about this state of things. “Les<br />
fideles,” he says, “ont aidé A faire du catholicisme<br />
ce quelque chose d’émascule, d’hybride, de mol,<br />
cette espéce de courtage de priéres et de mercu-<br />
riale @oraisons, cette sorte de Sainte-Tombola ou<br />
Yon brocante des graces en insérant des papiers<br />
et des sous dans des troncs, scellés sous des statues<br />
de saints !”<br />
<br />
Finally, Durtal is convinced that if God allows<br />
His Church to be persecuted it is in order that<br />
certain reforms shall be made, and that the Church<br />
shall be more in accordance with the requirements<br />
of the times.<br />
<br />
Among other ideas Durtal proposes that artists<br />
shall help to restore the monastic idea. He<br />
dreams of a huge settlement composed of houses<br />
and studios, where men of various professions shall<br />
live, each house offering hospitality to a monk, but<br />
all living together and having a common oratory.<br />
In conclusion, Durtal says: ‘“ L’Eglise pourrait<br />
faire plus mal que prier Dieu de lui envoyer des<br />
artistes. leurs ceuvres opéreraient plus de con-<br />
versions et lui améneraient plus de partisans que<br />
les vaines rengaines que ses prétres, juchés dans<br />
des coquetiers, versent sur la téte resignée des<br />
fideles.””<br />
<br />
On closing the book one is struck with the idea<br />
that the society of M. Huysmans must have been<br />
a great addition to the monks in the monastery<br />
where he resided for some time.<br />
<br />
“Au milieu des massacres” is the title of the<br />
book just published by Madame Maurice Carlier,<br />
the heroic woman who was recently decorated by<br />
the French Government with the Order of the<br />
Legion of Honour. Her husband was the French<br />
Consul who distinguished himself by his courage<br />
during the events of Sivas, in 1895.<br />
<br />
The “Correspondance de Chateaubriand avec<br />
La Marquise de V.—”’ has just been published as<br />
“Un Dernier Amour de René.”<br />
<br />
The story of this correspondence is quite a<br />
romance. The Marquise de V. was a great<br />
admirer of Chateaubriand’s works, and for years<br />
had “worshipped” in silence. When she was<br />
about forty-eight she ventured to write to the<br />
celebrated author, because she had seen from the<br />
newspaper that he was ill. Chateaubriand replied<br />
in the most cordial terms, and the Marquise then<br />
wrote a longer letter, in which she expressed her<br />
admiration for his works, and owned that he had for<br />
many years been her “ étoile.”<br />
<br />
The correspondence continued during the next<br />
<br />
THE AUTHOR.<br />
<br />
two years, and it is very evident from the letters of<br />
the Marquise that her admiration developed into<br />
love, and that she suffered tortures between her<br />
longing to see the man whom she idolised and her<br />
dread lest their meeting should prove to be the end<br />
of their romance. Chateaubriand persisted in<br />
believing that she was quite young, and she had<br />
not the courage to undeceive him.<br />
<br />
Before the end of the first year of this exchange<br />
of letters, Chateaubriand writes: “J’aime celle<br />
qui ne m’est plus inconnue que de visage.” A few<br />
months later he calls on the Marquise, and then<br />
after a few more letters the correspondence ceases.<br />
<br />
As the preface to the book explains ‘ Chateau-<br />
briand avait toujours vite fait de cesser d’aimer et<br />
nombreuses sont les femmes qui en ont souffert.”<br />
The Marquise de V. was probably one of these<br />
women.<br />
<br />
The letters are well worth reading, and one<br />
understands from those of Chateaubriand some-<br />
thing of the fascination he exercised.<br />
<br />
The death of M. Gaston Paris is a great loss<br />
to the French literary world. He was a member<br />
of the Academy, a great savant and a philologist<br />
of the first order. He lectured at the College of<br />
France on the French language and literature of<br />
the Middle Ages. Among his numerous works the<br />
following are perhaps the best known :—“ Histoire<br />
poetique de Charlemagne,” “Les plus anciens<br />
monuments de la langue francaise,” “ Les Contes<br />
orientaux de la littérature francaise du Moyen-Age.”<br />
<br />
The French Academy has lost its Doyen, M.<br />
Ernest Legouvé. He became a member of the<br />
Academy in 1855, and has, during his long career,<br />
seen all his thirty-nine colleagues replaced by new<br />
members. Hewas born in 1807. His best known<br />
works are: “Adrienne Lecouvreur,” and the<br />
“ Bataille de Dames,” et “Contes de la Reine de<br />
Navarre,” in collaboration with Scribe.<br />
<br />
The late M. Zola’s books have been sold, and<br />
among them a Latin manuscript, a breviary of<br />
the fifteenth century, executed by the Abbé de<br />
Moissac. The miniatures and illuminations were<br />
very beautiful.<br />
<br />
Tt seems that the breviary had a history.<br />
Zola picked it up ata sale, and it appears that it<br />
inspired him for his book “ Le Réve.” The exact<br />
description of this manuscript is to be found in<br />
the book.<br />
<br />
An exquisite little volame has just been pub-<br />
lished entitled, “‘Pensées d’une Solitaire.” The<br />
authoress of these “ Pensées,” Madame Ackermann,<br />
died in 1890. She had published an edition in<br />
1883, but it was very soon out of print, and this<br />
reprint is preceded by a chapter entitled “ Madame<br />
Louise Ackermann intime,” written by Mlle. Louise<br />
Read. In this chapter many hitherto unpublished<br />
fragments of poetry and prose are given, and also<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 177<br />
<br />
a brief sketch of the life of the authoress whose<br />
works won the admiration of such men as Tolstoy,<br />
Sully Prudhomme, Coppée and Barbey @’ Aurevilly,<br />
The latter, who was often horrified at Madame<br />
Ackermann’s tone of revolt in certain of her<br />
writings, spoke of her as “ tout 4 la fois un monstre<br />
et un prodige: un prodige pur le talent et un<br />
monstre par la pens¢e.”<br />
<br />
Whereupon Mme. Ackermann sent her critic a<br />
volume of her poems dedicated to him by “ Un<br />
monstre reconnaissant.”’<br />
<br />
Mile. Read sums up admirably the great merit<br />
of both the Pensées and the poems. “Ceux qui<br />
avaient déja souffert aussi,’ she says: “savent<br />
combien son influence était fortifiante et reposante<br />
et quel courage ils puisaient prés d’elle, non qu’elle<br />
s’efforcat de leur donner de vagues consgolations,<br />
mais sondant avec eux les abimes de la souffrance<br />
méme, la généralisant, l’ennoblissant. La est sa<br />
supréme puissance.”<br />
<br />
The new review published here (The Weekly<br />
Critical) has made rapid strides, both as regards<br />
quality and popularity. The French are quick to<br />
recognise literary merit, and the Editor, M. Arthur<br />
Bles, has already been nominated Offcier a’ Académie.<br />
The tenth number of the review contains some<br />
excellent articles, among others, “An English<br />
View of Nathaniel Hawthorne,” by John F,<br />
Runciman; “The Decay of Craftmanship in<br />
England,” by Arthur Symons ; “ Joseph Conrad,”<br />
by Ernest Newman; and a criticism of the<br />
Schumann Lieder, by Hugues Imbert. Some of<br />
the first writers in France are contributing to this<br />
review, and weekly articles are also to appear by<br />
Arthur Symons, John F. Runciman, and Ernest<br />
Newman.<br />
<br />
The International Theatre, too, seems likely<br />
to be a success. This magazine is published on<br />
the 20th of each month, and the March num-<br />
ber is most interesting. The theatrical news of<br />
the world is summed up in sixty pages, and as<br />
every article is given in two languages, French<br />
and English, it seems as though the whole world<br />
should be able to read it. Dramatic authors will<br />
no doubt enjoy following their plays to the various<br />
countries and seeing the photos of their interpreters<br />
of all nationalities. Besides the “ news,” there are<br />
some excellent articles in this number on subjects<br />
connected with the theatre. Mr. Louis N. Parker<br />
writes on “ Authors and their Adapters.” He says<br />
that in the course of his work he has been struck<br />
by the “callous indifference of authors towards<br />
their own plays. The majority of them do not<br />
seem to care by whom their plays are translated or<br />
interpreted, and they display a reckless ignorance<br />
of theatrical matters outside their own immediate<br />
surroundings which is perfectly amazing. ...<br />
Subsequently they are pained and surprised if,<br />
<br />
owing to the grotesque incompetence of the transla-<br />
tion, or the laughable inappropriateness of the<br />
performance, their play is a fiasco.”<br />
<br />
Perhaps the International Theatre will change<br />
all this. It will be more easy from henceforth for<br />
dramatic authors to know what is going on outside<br />
their own country.<br />
<br />
Another of the articles in this number is “ The<br />
American Syndicate since its Foundation,” by<br />
Norman Hapgood. The author explains very<br />
clearly the origin of the “ Theatrical Trust.”<br />
<br />
In Paris, the city par excellence for all things<br />
connected with dramatic art, the new venture has<br />
been welcomed cordially, and, as the name of<br />
Simpkin and Marshall appears on the cover of<br />
this month’s issue, it is evident that London, too,<br />
has discovered it.<br />
<br />
At the theatres there is great activity. ‘ Werther,”<br />
by M. Decourcelles, still holds the bill alternatively<br />
with “La Dame aux Camélias” at the Sarah<br />
Bernhardt Theatre.<br />
<br />
‘Le Beau, Jeune Homme,” by M. Capus, at the<br />
Renaissance, has not had the success of “ La Chate-<br />
laine,”<br />
<br />
At the Odeon “ Le Message” and “ Les Appe-<br />
lears ” have been put on in the place of “ Résur-<br />
rection.” M. Antoine has had great success with<br />
“ Le Colonel Chabert,” a piece cleverly adapted by<br />
M. Louis Forest from a novel by Balzac.<br />
<br />
The new play, which is now being rehearsed by<br />
Madame Réjane, is awaited with great interest. It<br />
is in five acts and entitled “La Meilleure Part,”<br />
by Pierre de Coulevain, written in collaboration<br />
with Pierre Decourcelles.<br />
<br />
Pierre de Coulevain’s last novel, “Eve Victo-<br />
rieuse,” had great success in Paris, and, as in the<br />
play an American woman is one of the prominent<br />
characters, great curiosity is felt, not only with<br />
regard to the play itself, but also as to the inter-<br />
pretation by a French artiste of an American girl<br />
who becomes the wife of a French aristocrat.<br />
Madame Réjane has an extremely difficult ré/e, that<br />
of one of the most complex of complex women.<br />
She will no doubt rise to the occasion, and it is<br />
more than probable that ‘‘ La Meilleure Part” will<br />
be her greatest triumph.<br />
<br />
Atys HaLtaRp<br />
——_$_-—~<—_ —______<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
es<br />
Some American Conditions.<br />
<br />
HE Authors’ Society might do worse than<br />
issue a Special Commission to inquire into<br />
and report upon the present state of the<br />
<br />
business of book-making and (so far as “ authors”<br />
are concerned) of periodical-making in the United<br />
States of America, Foreign markets are of ever-<br />
<br />
<br />
176<br />
<br />
He describes the indignation of the worthy<br />
monks who object to ask the authorization of the<br />
Government, and who object, still more strongly,<br />
to give an inventory of all they possess. Through<br />
all the tribulations of the monks, the lay brother,<br />
Durtal, appears to see clearly the causes which<br />
have brought about this state of things. “ Les<br />
fidéles,” he says, “ ont aidé & faire du catholicisme<br />
ce quelque chose d’émascule, d’hybride, de mol,<br />
cette espéce de courtage de pricres et de mercu-<br />
riale d’oraisons, cette sorte de Sainte-Tombola ou<br />
Yon brocante des graces en insérant des papiers<br />
et des sous dans des troncs, scellés sous des statues<br />
de saints ! ”<br />
<br />
Finally, Durtal is convinced that if God allows<br />
His Church to be persecuted it is in order that<br />
certain reforms shall be made, and that the Church<br />
shall be more in accordance with the requirements<br />
of the times.<br />
<br />
Among other ideas Durtal proposes that artists<br />
shall help to restore the monastic idea. He<br />
dreams of a huge settlement composed of houses<br />
and studios, where men of various professions shall<br />
live, each house offering hospitality to a monk, but<br />
all living together and having a common oratory.<br />
In conclusion, Durtal says: ‘‘ L’Eglise pourrait<br />
faire plus mal que prier Dieu de lui envoyer des<br />
artistes. Leurs ceuvres opéreraient plus de con-<br />
versions et lui améneraient plus de partisans que<br />
les vaines rengaines que ses prétres, juchés dans<br />
des coquetiers, versent sur la téte résignée des<br />
fideles.”’<br />
<br />
On closing the book one is struck with the idea<br />
that the society of M. Huysmans must have been<br />
a great addition to the monks in the monastery<br />
where he resided for some time.<br />
<br />
“Au milieu des massacres” is the title of the<br />
book just published by Madame Maurice Carlier,<br />
the heroic woman who was recently decorated by<br />
the French Government with the Order of the<br />
Legion of Honour. Her husband was the French<br />
Consul who distinguished himself by his courage<br />
during the events of Sivas, in 1895.<br />
<br />
The “Correspondance de Chateaubriand avec<br />
La Marquise de V.—” has just been published as<br />
“Un Dernier Amour de René.”<br />
<br />
The story of this correspondence is quite a<br />
romance. The Marquise de V. was a great<br />
admirer of Chateaubriand’s works, and for years<br />
had “worshipped” in silence. When she was<br />
about forty-eight she ventured to write to the<br />
celebrated author, because she had seen from the<br />
newspaper that he was ill. Chateaubriand replied<br />
in the most cordial terms, and the Marquise then<br />
wrote a longer letter, in which she expressed her<br />
admiration for his works, and owned that he had for<br />
many years been her “ étoile.”<br />
<br />
The correspondence continued during the next<br />
<br />
THE AUTHOR.<br />
<br />
two years, and it is very evident from the letters of<br />
the Marquise that her admiration developed into<br />
love, and that she suffered tortures between her<br />
longing to see the man whom she idolised and her<br />
dread lest their meeting should prove to be the end<br />
of their romance. Chateaubriand persisted in<br />
believing that she was quite young, and she had<br />
not the courage to undeceive him.<br />
<br />
Before the end of the first year of this exchange<br />
of letters, Chateaubriand writes: “J’aime celle<br />
qui ne m’est plus inconnue que de visage.” A few<br />
months later he calls on the Marquise, and then<br />
after a few more letters the correspondence ceases.<br />
<br />
As the preface to the book explains “ Chateau-<br />
briand avait toujours vite fait de cesser d’aimer et<br />
nombreuses sont les femmes qui en ont souffert.”<br />
The Marquise de V. was probably one of these<br />
women.<br />
<br />
The letters are well worth reading, and one<br />
understands from those of Chateaubriand some-<br />
thing of the fascination he exercised.<br />
<br />
The death of M. Gaston Paris is a great loss<br />
to the French literary world. He was a member<br />
of the Academy, a great savant and a philologist<br />
of the first order. He lectured at the College of<br />
France on the French language and literature of<br />
the Middle Ages. Among his numerous works the<br />
following are perhaps the best known :—“ Histoire<br />
poetique de Charlemagne,” “ Les plus anciens<br />
monuments de la langue francaise,” “ Les Contes<br />
orientaux de la littérature francaise du Moyen-Age.”<br />
<br />
The French Academy has lost its Doyen, M.<br />
Ernest Legouvé. He became a member of the<br />
Academy in 1855, and has, during his long career,<br />
seen all his thirty-nine colleagues replaced by new<br />
members. He was born in 1807. His best known<br />
works are: “Adrienne Lecouvreur,” and the<br />
“Bataille de Dames,” et “Contes de la Reine de<br />
Navarre,” in collaboration with Scribe.<br />
<br />
The late M. Zola’s books have been sold, and<br />
among them a Latin manuscript, a breviary of<br />
the fifteenth century, executed by the Abbé de<br />
Moissac. The miniatures and illuminations were<br />
very beautiful.<br />
<br />
Tt seems that the breviary had a history.<br />
Zola picked it up ata sale, and it appears that it<br />
inspired him for his book “ Le Réve.” The exact<br />
description of this manuscript is to be found in<br />
the book.<br />
<br />
An exquisite little volume has just been pub-<br />
lished entitled, ‘“ Pensées d’une Solitaire.” The<br />
authoress of these “ Pensées,” Madame Ackermann,<br />
died in 1890. She had published an edition in<br />
1883, but it was very soon out of print, and this<br />
reprint is preceded by a chapter entitled “ Madame<br />
Louise Ackermann intime,” written by Mlle. Louise<br />
Read. In this chapter many hitherto unpublished<br />
fragments of poetry and prose are given, and also<br />
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<br />
THE AUTHOR.<br />
<br />
a brief sketch of the life of the authoress whose<br />
works won the admiration of such men as Tolstoy,<br />
Sully Prudhomme, Coppée and Barbey d’ Aurevilly.<br />
The latter, who was often horrified at Madame<br />
Ackermann’s tone of revolt in certain of her<br />
writings, spoke of her as “ tout a la fois un monstre<br />
et un prodige: un prodige pur le talent et un<br />
monstre par la pensée.”<br />
<br />
Whereupon Mme. Ackermann sent her critic a<br />
volume of her poems dedicated to him by “Un<br />
monstre reconnaissant.”’<br />
<br />
Mlle. Read sums up admirably the great merit<br />
of both the Pensées and the poems. “ Ceux qui<br />
avaient déja souffert aussi,” she says: “savent<br />
combien son influence était fortifiante et reposante<br />
et quel courage ils puisaient prés d’elle, non qu'elle<br />
s’ettorgat de leur donner de vagues consolations,<br />
mais sondant avec eux les abimes de la souffrance<br />
méme, la généralisant, l’ennoblissant. La est sa<br />
supréme puissance.”<br />
<br />
The new review published here (The Weekly<br />
Critical) has made rapid strides, both as regards<br />
quality and popularity. The French are quick to<br />
recognise literary merit, and the Editor, M. Arthur<br />
Bles, has already been nominated Officier i’ Académie.<br />
The tenth number of the review contains some<br />
excellent articles, among others, “An English<br />
View of Nathaniel Hawthorne,” by John F.<br />
Runciman; “The Decay of Craftmanship in<br />
England,” by Arthur Symons ; « Joseph Conrad,”<br />
by Ernest Newman; and a criticism of the<br />
Schumann Lieder, by Hugues Imbert. Some of<br />
the first writers in France are contributing to this<br />
review, and weekly articles are also to appear by<br />
Arthur Symons, John F. Runciman, and Ernest<br />
Newman.<br />
<br />
The International Theatre, too, seems likely<br />
to be a success. This magazine is published on<br />
the 20th of each month, and the March num-<br />
ber is most interesting. The theatrical news of<br />
the world is summed up in sixty pages, and as<br />
every article is given in two languages, French<br />
and English, it seems as though the whole world<br />
should be able to read it. Dramatic authors will<br />
no doubt enjoy following their plays to the various<br />
countries and seeing the photos of their interpreters<br />
of all nationalities. Besides the “news,” there are<br />
some excellent articles in this number on subjects<br />
connected with the theatre. Mr. Louis N. Parker<br />
writes on “ Authors and their Adapters.” He says<br />
that in the course of his work he has been struck<br />
by the “callous indifference of authors towards<br />
their own plays. The majority of them do not<br />
seem to care by whom their plays are translated or<br />
interpreted, and they display a reckless ignorance<br />
of theatrical matters outside their own immediate<br />
surroundings which is perfectly amazing. ...<br />
Subsequently they are pained and surprised if,<br />
<br />
177<br />
<br />
owing to the grotesque incompetence of the transla-<br />
tion, or the laughable inappropriateness of the<br />
performance, their play is a fiasco.”<br />
<br />
Perhaps the International Theatre will change<br />
all this. It will be more easy from henceforth for<br />
dramatic authors to know what is going on outside<br />
their own country.<br />
<br />
Another of the articles in this number is “ The<br />
American Syndicate since its Foundation,” by<br />
Norman Hapgood. The author explains very<br />
clearly the origin of the “ Theatrical Trust.”<br />
<br />
In Paris, the city par excellence for all things<br />
connected with dramatic art, the new venture has<br />
been welcomed cordially, and, as the name of<br />
Simpkin and Marshall appears on the cover of<br />
this month’s issue, it is evident that London, too,<br />
has discovered it.<br />
<br />
At the theatres there is great activity. “ Werther,”<br />
by M. Decourcelles, still holds the bill alternatively<br />
with “La Dame aux Camélias” at the Sarah<br />
Bernhardt Theatre.<br />
<br />
“Le Beau, Jeune Homme,” by M. Capus, at the<br />
Renaissance, has not had the success of “ La Chate-<br />
laine.”<br />
<br />
At the Odeon “ Le Message” and “Les Appe-<br />
lears”” have been put on in the place of “ Résur-<br />
rection.” M. Antoine has had great success with<br />
“ Le Colonel Chabert,” a piece cleverly adapted by<br />
M. Louis Forest from a novel by Balzac.<br />
<br />
The new play, which is now being rehearsed by<br />
Madame Réjane, is awaited with great interest. It<br />
is in five acts and entitled “La Meilleure Part,”<br />
by Pierre de Coulevain, written in collaboration<br />
with Pierre Decourcelles.<br />
<br />
Pierre de Coulevain’s last novel, “Eve Victo-<br />
rieuse,” had great success in Paris, and, as in the<br />
play an American woman is one of the prominent<br />
characters, great curiosity is felt, not only with<br />
regard to the play itself, but also as to the inter-<br />
pretation by a French artiste of an American girl<br />
who becomes the wife of a French aristocrat.<br />
Madame Réjane has an extremely difficult ré/e, that<br />
of one of the most complex of complex women.<br />
She will no doubt rise to the occasion, and it is<br />
more than probable that ‘‘ La Meilleure Part” will<br />
be her greatest triumph.<br />
<br />
Atys HaALuarp<br />
$+ —____<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
—_—<br />
<br />
Some American Conditions.<br />
<br />
HE Authors’ Society might do worse than<br />
issue a Special Commission to inquire into<br />
and report upon the present state of the<br />
<br />
business of book-making and (so far as “ authors”<br />
are concerned) of periodical-making in the United<br />
Foreign markets are of ever-<br />
<br />
States of America.<br />
<br />
<br />
<br />
<br />
<br />
<br />
178<br />
<br />
<br />
<br />
increasing importance to the competent British<br />
writer, and the American is by far the most<br />
valuable of them all. We stand to gain, too, not<br />
only by the greater frequency of these over-sea<br />
transactions and the “invasion” of this country<br />
by American firms, but also by the example of<br />
vigour and intelligence which they often afford to<br />
the more conservative British publishers, editors,<br />
and retailers. Unfortunately, the only trustworthy<br />
information at present available is necessarily<br />
coloured by personal experience, and those who<br />
know most are least inclined to indulge in rash<br />
generalisation. I am very glad to respond to the<br />
editor’s request for some personal impressions ;<br />
but I am not at all inclined to help to encourage<br />
the young writer in the notion that there is, out<br />
there in the sunset, a new El Dorado yearning to<br />
acknowledge and reward his budding genius. In<br />
this, as in other departments of industry, the<br />
Republic is beginning to expect to balance exports<br />
against imports. It is now capable of supplying all<br />
the trash it can consume (which, indeed, is saying<br />
a good deal) ; the only conquests that remain are<br />
for special talent, or something still rarer, backed<br />
by skilled advice and vigilant organisation.<br />
<br />
Let me take the periodical Press first. I am<br />
much struck by the courtesy and still more by the<br />
open-mindedness of the American editor, as com-<br />
pared with his English fellow. He is infinitely<br />
more receptive, and, on the financial side, generally<br />
more venturesome. There is no air of pontifical<br />
inspiration or Thibetan impenetrability about the<br />
American editorial office. Thanks to our world-<br />
wide traffic we still have a greater range of oppor-<br />
tunity in politics and the more weighty public<br />
subjects ; in the kaleidoscopic representation of<br />
social life we are sadly behindhand. In publica-<br />
tions devoted to bookish affairs America leads the<br />
whole world, with the Critic, the Bookman, Current<br />
Literature, the Reader, the Lamp, the New York<br />
Times’ Saturday Review, the Dial (Chicago), and<br />
the Literary World (Boston), the last two serving<br />
to remind us of the advantage of having more<br />
than one centre of literary production. When we<br />
recall that, in addition, it is no infrequent thing<br />
to find four or six pages of book reviews in a<br />
single issue of any of the twenty leading news-<br />
papers, it becomes evident that the American<br />
publisher has to cater for an appetite which, already<br />
Jarger than ours, is still growing, and growing<br />
under fairly good guidance. Criticism has not the<br />
air of preciosity to which we are accustomed, and<br />
perhaps it sometimes fails of the expertness on<br />
remote subjects which gives certain British journals<br />
their sole value. Ina word, letters are the posses-<br />
sion not of a small cult but of a great democracy ;<br />
a people marked by the limitations, but also the<br />
glorious vigour and sympathies of youth.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
It may be positively said that the American<br />
editor has finished with average British fiction,<br />
short or long. The reasons are obvious ; but it is<br />
only after having received many hard knocks in<br />
the last few years that some accepted English<br />
writers have bowed to the inevitable. Brother<br />
Jonathan is rapidly learning to discriminate. He<br />
is also a very positive person, and, general polite-<br />
ness notwithstanding, very impatient of incompe-<br />
tence. The editor is a man of ideas, not an<br />
amiable Mr. Mantalini. Great names, great deeds,<br />
new ideas, unfailingly appeal to him. He simply<br />
doesn’t want of us what his own public school<br />
children can do, as he would say, ‘‘in their sleep.”<br />
I am inclined to think that he runs to greater<br />
extremes of price in both directions, though it is<br />
difficult to know how our own lower scales can be<br />
outdone ; but the high prices are nearly all re-<br />
served as prizes for a few men and women of<br />
special gifts and achievements. For the rest, the<br />
national tastes and distastes—for instance, the<br />
absorbing interest in material accomplishment, and<br />
the prevalent puritanism—must be carefully re-<br />
garded. For very few authors can the United<br />
States be looked upon as more than a supplemen-<br />
tary field; and then it can only be effectively<br />
attacked through a trustworthy agent. That,<br />
indeed, may be said of all ‘ foreign rights.”<br />
Conditions of book publication still differ con-<br />
siderably on the opposite sides of the Atlantic,<br />
though no doubt they tend to become more homo-<br />
geneous with the growth of literary intercourse.<br />
The work of the Authors’ Society has still to be<br />
done over there. Only a few men have been<br />
tempted into the new and difficult sphere of<br />
literary agency (one of the chief English syndicates<br />
has lately withdrawn its American representative),<br />
and they exist in the main by and for foreign<br />
business. Cost of production has never, so far as<br />
I know, come under public discussion ; and it is<br />
even more difficult there than here to get books<br />
satisfactorily produced on commission. Even the<br />
beginnings of a corporate feeling among craftsmen<br />
of the pen are hardly yet discernible. In a nation<br />
with the heritage of the Old World behind and<br />
immeasurable material tasks before, it is not sur-<br />
prising that native literature has hitherto been a<br />
mere by-product. Now that a thousand more or<br />
less intelligent young men and women have been<br />
tempted to try their hands upon the romance<br />
topographical or historical, we may expect some<br />
esprit de corps to appear. But the terrible indi-<br />
vidualism of the American character is an obstacle ;<br />
the existence of three or four great national<br />
centres is another ; while the greatest of all will<br />
be found in the peculiar character of American<br />
publishing enterprise in its present stage. If it<br />
be possible, the man of art is more completely than<br />
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THE AUTHOR. 179<br />
<br />
we are in the hands of the man of business ;<br />
though he may more often console himself with<br />
the reflection that his publisher really is a man of<br />
business, and not merely a dilettante or a potterer,<br />
Agreements oftener take an arbitrary form ; and,<br />
even with the best firms, accustomed to the more<br />
rigid British methods, it is often necessary, for<br />
the sake of a greater advantage, to pass minor<br />
provisions which are now hardly ever met with at<br />
home. Extraordinary arrangements with authors<br />
are also—if the bull may be permitted—more<br />
frequent, these being generally the outcome of, or<br />
closely connected with, the American advertising<br />
system, and the quest of the “boomster.” The<br />
English publisher rarely gives a substantial<br />
advance on royalties unless previous sale records<br />
justify it. The American of good standing can<br />
apparently draw to a much larger extent upon the<br />
support of the retail trade, and so is enabled to<br />
mortgage the royalties on a larger first edition if<br />
he scents a “big seller.” Thus, a quite uew<br />
author may be offered a very large sum in advance<br />
of what turns out to be—until sales have reached<br />
twenty or thirty thousand—a very small royalty,<br />
the inducement being not only the large advance<br />
payment, but the prospect of an expenditure on<br />
advertisements so heavy that it would be, as the<br />
publisher probably justly contends, impossible<br />
under the normal British system. It will be better<br />
for everyone, I think, when this “boomster ”<br />
business is played out ; and one notes with satis-<br />
faction that some of the best of the newer houses<br />
are following the best of the old ones, by abandon-<br />
ing the plan of an exceedingly reduced list of<br />
meretricious works, designed solely for sensational<br />
advertisement. One wonders how some English<br />
houses meet their newspaper bills; and it is not<br />
surprising to learn that the American publisher,<br />
whose expenditure in this direction has sometimes<br />
reached fabulous proportions, is beginning to learn<br />
that it is a mistake. He may spend much less and<br />
yet set us a needed example of effective display.<br />
The Author has been saying some very severe<br />
things of late about the British bookseller ; and,<br />
without endorsing all of them, I quite agree that<br />
our retailers have much to learn, and that upon<br />
the improvement of their position the improvement<br />
of the outlook for authors and publishers largely<br />
depends. If Transatlantic examples are to be<br />
quoted, however, it must be subject to some under-<br />
standing of the differences of the two cases. In<br />
England, apart from a few central shops in the<br />
large cities, bookselling is a sadly impoverished<br />
business, subsisting largely upon the respectability<br />
that attaches to the skirts of culture in an ancient<br />
society. The fall of incomes of the landowners<br />
and the poverty of the country clergy—classes<br />
which would sacrifice books before other luxuries<br />
<br />
—the extension of the Mudie and Smith libraries,<br />
the increasing habit of buying in London, and the<br />
growth of the discount system have played havoc<br />
with bookshops in the provinces. In America the<br />
circumstances are widely different. The book-<br />
man is respected no more, probably less, than the<br />
engineer ; indeed, no one calling is much more<br />
respectable than another. But solid profit is the<br />
measure of success in all callings ; and the book-<br />
seller expects to get, and does get, solid profits.<br />
Trade discounts run to at least 40 per cent. off<br />
“subject” books, and 25 per cent. on net books,<br />
but the net system now practically covers all but<br />
novels. New York is very far from absorbing all<br />
the wealth and enterprise and interest of the land ;<br />
in every town the readers are much more dependent<br />
than we are upon the local stores, Partly because<br />
of the comparative newness of the trade, and partly<br />
from the American faculty for concentration,<br />
these are fewer and larger than in this country.<br />
McClure’s, for instance, is almost the only con-<br />
siderable bookshop in Chicago, and it is, I believe,<br />
the largest in the world, dealing with every kind<br />
of book from the “Caxton” and the “First Folio<br />
Shakespeare ” to the latest ten-cent reprint. | th<br />
does an immense intermediary trade; and alto-<br />
gether—to say nothing of the publishing depart-<br />
ment—no such organisation exists in this country.<br />
Burrows’s, of Cleveland, is another big concern<br />
holding the strings of the retail trade of a wide<br />
and wealthy region. The recent sale by the pub-<br />
lishing house of Henry T. Coates & Co., in Phila-<br />
delphia, of their retail department marks the progress<br />
of specialisation in this business. Such a firm as<br />
Elder and Shepard’s, in San Francisco, includes<br />
extremes of trade which are divided here by all<br />
that lies between, say, Hatchard and Stoneham ;<br />
and their little periodical, Zmpressions, shows<br />
with how much skill they appeal to what is best<br />
in their vigorous and prosperous community. In<br />
Boston, where the trade is older and competition is<br />
keener, where the community is more critical and<br />
better supplied with libraries, and offers less oppor-<br />
tunity for the merely mechanical adjustment of<br />
supply to demand, than in the West, there is a<br />
greater approximation to English conditions.<br />
<br />
But everywhere in the New World—and this is<br />
the supreme fact—there is a more numerous, more<br />
instructed, and more highly-vitalised public to<br />
appeal to ; and a wider diffusion of wealth makes<br />
effective the universal regard for knowledge as<br />
the only title to honour and authority. Ask any<br />
intelligent American what is the matter with poor<br />
old England, groaning amid her feudal remains,<br />
and he will tell you that Culture, also, if we are<br />
to get the most out of it, must be based upon<br />
Democracy.<br />
<br />
G. H. Perris.<br />
GENERAL MEMORANDA.<br />
<br />
Sg<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to :<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in he Author.<br />
Readers can also work out the figures themselves from the<br />
* Cost of Production.”<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
—_—_—_—_—___o__<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
— +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory, An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
(0.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (i.¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (@.) apply<br />
also in this case.<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5, Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘'hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY<br />
<br />
——————<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
i, VERY member has a right toask for and to receive<br />
K 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. If the<br />
advice sought is such as can be given best by a solicitor<br />
the member has a right to an opinion from the Society's<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member.<br />
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THE AUTHOR.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. ‘Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. ‘The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination,<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6, The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. ‘The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) I'o enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
<br />
Secretary will undertake it on behalf of members,<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
———_—__—_§_o-——____<br />
<br />
THE READING BRANCH.<br />
<br />
—1+~ +<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. heir MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, ‘The term<br />
MSS. includes NoT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientitic works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
———_ +> —____ =<br />
<br />
NOTICES.<br />
ee<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
181<br />
<br />
Communications for Lhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish,<br />
<br />
TT Oo<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED RY THE<br />
EDITOR on all subjects connected with literature, but on<br />
no other subjects whatever, very effort will be made to<br />
<br />
return articles which cannot be accepted.<br />
—+~< +<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bunk of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
——+-~ +<br />
<br />
V E have read with much pleasure the Report<br />
<br />
of the Canadian Authors’ Society for 1902.<br />
<br />
The Society has done good work on<br />
<br />
copyright, and is evidently still anxious to keep<br />
<br />
the right view of the Imperial Copyright question<br />
<br />
before the Canadian authorities. he officers of<br />
the society for 1902 are as follows :—<br />
<br />
Hon. President: Prof. Goldwin Smith, D.C.L.<br />
<br />
President: Hon. G. W. Ross, U.L.D.<br />
<br />
Vice-Presidents: Dr. Bryce (Winnipeg), Dr.<br />
Drummond (Montreal), Dr. Frechette, C.M.G.<br />
(Montreal), Hon. J. W. Longley (Halifax), D. C.<br />
Scott, F.R.C.S. (Ottawa).<br />
<br />
Secretary: Prot. Pelham Edgar, Ph.D.<br />
<br />
Treasurer: John A. Cooper, B.A., LL.D.<br />
<br />
Executive: Messrs. James Bain, jun., Castell<br />
Hopkins, O. A. Howland, Bernard McEvoy, Mac-<br />
donald Oxley, J. 8. Willison, B. E. Walker, and<br />
Professors Davidson, Lefroy and Mayor.<br />
<br />
The society numbers over 100 members, and<br />
although there are still, as in the case of every<br />
society of this kind, some well-known authors out-<br />
standing, the list shows that the society is well<br />
supported.<br />
<br />
The main objects of the society are the same<br />
as our own.<br />
<br />
From such a satisfactory beginning great things<br />
may be expected when the literature of Canada is<br />
us large as its territory.<br />
<br />
One of His Majesty’s Consuls residing in a<br />
distant part of the Continent has forwarded a<br />
<br />
<br />
<br />
<br />
<br />
<br />
182<br />
<br />
<br />
<br />
letter to the office complaining of the extraordinary<br />
advertisement by postcard of a book published by<br />
the firm of Messrs. R. A. Everett & Co.<br />
<br />
The question has been dealt with by letters in<br />
The Times at the beginning of last month.<br />
<br />
We have only taken notice of it because the<br />
Secretary received the correspondence from a man—<br />
personally unknown to him and not a member of<br />
the Society ; one, however, who appeared to be<br />
well aware of the interest the Society takes in<br />
matters relating to books and book advertise-<br />
ments.<br />
<br />
The Consul also reports that other members of<br />
the consular service have received similar post-<br />
cards. This tends to show the terrible extent to<br />
which this peculiar form of advertising has been<br />
carried by the author’s unknown friend, or<br />
enemy.<br />
<br />
We read with pleasure in the letter that appeared<br />
in The Times signed by the publishers, that both the<br />
author and the publishers deny any responsibility<br />
for this method of advertisement.<br />
<br />
Tt still remains a mystery, therefore, who the<br />
enemy may be who has done this serious injury to<br />
the author.<br />
<br />
Has a careful study of the postcards been<br />
made }<br />
<br />
As many members of the Society require advice<br />
on the more difficult subjects connected with copy-<br />
right and the management of their property,<br />
articles have from time to time been printed in<br />
The Author declaring the law and advising on these<br />
special points. In pursuance of these principles,<br />
Agreements from certain houses have also been<br />
exhaustively criticised.<br />
<br />
It has been necessary occasionally to republish<br />
these articles, because former numbers of The<br />
Author have either been sold out or distributed,<br />
and members still require assistance. This is<br />
rendered more easily by a printed article than a<br />
lengthy letter.<br />
<br />
Among the many points of law there is one<br />
which is frequently a cause of disagreement in the<br />
Publishing and Literary world, namely, the law<br />
with reference to titles of books.<br />
<br />
In the September, 1900, issue of The Author an<br />
article was printed dealing with this subject. As<br />
in other cases so in the present, that number of<br />
The Author is entirely out of print. It has been<br />
thought advisable to republish the article.<br />
<br />
<br />
<br />
M. Jules Lermina, perpetual Secretary of the<br />
“Association Littéraire et Artistique Inter-<br />
national,” writes to inform us that the address<br />
of the Association has been transferred to “22,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Rue Chaiteaudun, Paris (9e).” Correspondence<br />
should be addressed to the Secretary at “85,<br />
Boulevard de Portroyal, Paris.” The twenty-fifth<br />
Congress of the Association will take place on<br />
the 3rd of October next, at Weimar, under the<br />
patronage of the Grand Duke of Saxe-Weimar.<br />
The report of the Naples Congress of 1902 is in the<br />
press, and will be shortly distributed.<br />
<br />
——_+—_>_+-__<br />
<br />
AMERICAN NOTES.<br />
<br />
t+<br />
<br />
HE year 1902, was as I anticipated in my<br />
last notes, a record one for its output of<br />
books. It was also remarkable in another<br />
<br />
way. The statistics of the best selling novels<br />
show that, in this department at least, there is a<br />
growing taste for home products. Domestic<br />
fiction claims twenty-three out of the twenty-eight<br />
most-read novels of 1902, as compared with nineteen<br />
out of twenty-nine in the preceding year, “ The<br />
History of Sir Richard Calmady,” “The Hound<br />
of the Baskervilles” and “The Right of Way”<br />
(which last some are inclined to claim as itself<br />
half-American), were the only serious foreign com-<br />
petitors of the champion “Mrs. Wiggs of the<br />
Cabbage Patch,” “The Mississippi Bubble,” “ The<br />
Virginian,” “Dorothy Vernon,’ Mr. Connor's<br />
“The Man from Glengarry,” and the long-lived<br />
“Crisis.” Mr. Whiteing has announced his<br />
opinion that American fiction is being increasingly<br />
influenced by French novels ; but for my part I<br />
should say that there were some indications that<br />
native genius would in time find itself strong<br />
enough to stand alone.<br />
<br />
There is certainly nothing French about “ Mrs.<br />
Wiggs of the Cabbage Patch,” which is now, I<br />
believe, being much read in England. It is prob-<br />
ably the most successful work that the Century<br />
Company have yet issued. Yet the publishers are<br />
quite refreshingly reticent about its sale, declaring<br />
that the book is “ too delicate in its motive to be<br />
handled in that way ”’—that is, as a “big seller.”<br />
At the end of January, however, they did not<br />
object to an announcement that the sales had con-<br />
siderably exceeded two hundred thousand—it was<br />
first issued so long ago as October, 1901—and<br />
were still “going*merrily on.” I note that it<br />
follows Mr. Norris’s posthumous story in the last<br />
lists, still holding second place.<br />
<br />
Surely it is rather new for a publishing company<br />
to have a sentiment against “ working” the public<br />
in the interest of one of their works. A cynic might<br />
suggest ulterior motives; but far be it from the<br />
present writer to make any such base insinuation,<br />
<br />
Meanwhile, I have to congratulate Miss Hegan<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
upon having, like “ Mr. Dooley,” joined the ranks<br />
of those prepared to give hostages to fortune. She<br />
is now the wife of Mr. Cale Young Price, the<br />
Kentucky poet. Her new book, “Lovey Mary,”<br />
is, I gather, in the nature of a sequel to “ Mrs.<br />
Wiggs of the Cabbage Patch.” I infer from the<br />
title of a recent announcement of the Boston<br />
Mutual Book Company—“ Mrs. McPiggs of the<br />
Very Old Scratch” — that the last-named has<br />
attained the distinction of being parodied.<br />
<br />
Undoubtedly, the most remarkable book that<br />
has appeared since my last notes were written is<br />
the literary legacy of Mr. Frank Norris. “The<br />
Pit” was the second part of the wheat trilogy,<br />
planned by the American Zola. “The Octopus ”<br />
had dealt with the growers of the grain ;<br />
“The Pit” is a study of the speculators in it.<br />
The scene is Chicago, where the novelist lived<br />
as a boy. It is probably an improvement even<br />
upon “The Octopus,” and is generally thought<br />
to contain the author’s best female character. It<br />
is sad to reflect that “The Wolf,” which was to<br />
have concluded the trilogy, will never exist but in<br />
name.<br />
<br />
A book which has been exciting much curiosity<br />
in the literary world on this side, is “The Journal<br />
of Arthur Stirling ; or, The Valley of the<br />
Shadow,” published by Appleton. Obituary notices<br />
of the supposed diarist, who was said to have com-<br />
mitted suicide after the rejection of his blank<br />
verse drama by eight publishers, appeared in<br />
prominent papers ; but the work is now supposed<br />
to have been a concoction, and has been attributed<br />
to Mr. Upton St. Clair. If this be true, it is to be<br />
hoped that the veritable author will enjoy the<br />
exceedingly outspoken utterances which some of<br />
its critics have allowed themselves. One re-<br />
viewer, whose name appears at the foot of his<br />
article, roundly declares the “ Journal ” to be “ the<br />
most vulgar and impudent humbug that has been<br />
perpetrated for years,” adding to his censure the<br />
contemptuous remark :—‘‘ But it won’t work.’<br />
From what I have seen of it, I should judge that<br />
his strictures were not without justification.<br />
<br />
The new story by the author of “J. Devlin<br />
Boss” is a romance of the Civil War, and the<br />
titular hero, “ The Captain,” is General Ulysses S.<br />
Grant. That industrious romancer, Dr. Cyrus<br />
Townsend Brady, has also written a new novel,<br />
“Woven with the Ship,” treating of the same<br />
period, which seems to yield inexhaustible<br />
material.<br />
<br />
Raymond L. Bridgman’s “ Loyal Traitors” con-<br />
tains dramatic scenes from the late struggle in the<br />
Philippines, and is written in a vein of strong<br />
sympathy for the Filipinos. Its admirers would<br />
fain have it classed with “ Uncle Tom’s Cabin.”<br />
<br />
Another notable novel which has appeared<br />
<br />
183<br />
<br />
recently is Hamlin Garland’s « Captain of the<br />
Grey Horse Troop,” which tells how a friend of<br />
the redmen not only succeeded in protecting them<br />
in the reservation where he lived as agent but<br />
also won over to his views the lady of his love<br />
who had shared her father’s hostility to the<br />
Indians.<br />
<br />
I do not think I mentioned in my last notes<br />
Ralph Corner’s story of school life ‘in Canada,<br />
which should be read by all those who enjoy boys’<br />
books as well as those who are attracted by “ best<br />
sellers.”<br />
<br />
“The Henchman,” by Mark Lee Luther, is a<br />
cleverly written story of political life in New York<br />
state—distinctly a good specimen of the genre to<br />
which it belongs.<br />
<br />
I have an impression that amidst the crowd of<br />
books from which I had to make selections for<br />
comment in my Christmas notes I passed over a<br />
work which is so much out of the common as “The<br />
Letters of a Self-made Merchant to his Son.” As,<br />
however, Mr. Lorimer’s book is probably by this<br />
time as well known in England as America, it seems<br />
hardly necessary for me to repair the omission<br />
now.<br />
<br />
The flood of fiction is scarcely yet at the full,<br />
and I must pass on to a few weightier, if not so<br />
widely circulated, books.<br />
<br />
Despite the great mass of publications that have<br />
already come forth—a bibliography issued by<br />
authority last year specifies about 450 separate<br />
works—writers are still busy with the Trust<br />
problem. The latest contributions of importance<br />
to the discussion are Mr. George L. Bolen’s “ Plain<br />
Facts as to Trusts and the Tariff,’ and a volume<br />
somewhat quaintly termed “The Trust: Its<br />
Book,” edited by James H. Bridge. The latter is<br />
written by a syndicate in defence of the Trust, the<br />
several departments of the subject being treated of<br />
by specialists. Mr. Bolen, on the other hand,<br />
takes up the position of a judge rather than that<br />
of an advocate, suggests remedies and recommends<br />
tariff reform.<br />
<br />
Another subject of great concern to Americans<br />
is discussed by Professor Fernow, who, in his<br />
“ Kconomics of Forestry,” pleads for a scientific<br />
treatment of the question. A good popular work<br />
about trees, which has been lately written by Miss<br />
Julia Ellen Rogers, ‘“ Among Green Trees,” may,<br />
perhaps, be mentioned in this connection, since it<br />
is not only descriptive, but both scientific and<br />
practical.<br />
<br />
Messrs. Houghton, Mifflin & Co. propose to<br />
celebrate the centenary of Emerson’s birth, which<br />
occurs next May, by the issue of an edition of his<br />
works, which is to include some hitherto unpub-<br />
lished manuscripts. Of what these will consist we<br />
<br />
have as yet been told nothing, but it is announced<br />
<br />
<br />
184<br />
<br />
that the Riverside Press will issue a limited edition,<br />
subscribers to which will be presented with original<br />
sheets (not fac-similes) of Emerson’s own hand-<br />
writing. This “Autograph Centenary Edition z<br />
will be a real treasure to the admirers of the<br />
philosopher poet.<br />
<br />
Dr. Van Tyne’s edition of Daniel Webster's<br />
Letters will also include unpublished matter of<br />
some interest. The editor, it may be noted, has<br />
recently published an interesting little monograph<br />
upon the “ Loyalists of the American Revolution.”<br />
<br />
With the appearance of its fourth volume, Dr<br />
McCrady’s “ History of South Carolina in the<br />
Revolution” has reached its conclusion. It is a<br />
monument of research, but many people will think<br />
that the subject has been treated at somewhat<br />
disproportionate length, and that General Greene<br />
has been rather unnecessarily disparaged.<br />
<br />
Some extracts, and a fac-simile of entries, from<br />
Washington’s private Account Book for 1790-1,<br />
which was rescued from a fire some fifteen years<br />
ago, have been printed in “ The Bookman,” while<br />
the Crific of the same month may be said to have<br />
gone one better historically with an illustrated<br />
“Columbus Codex.” Mr. Herbert Putnam, who<br />
is responsible for the latter article, traces the<br />
history of the manuscript, and adduces reasons in<br />
support of its authenticity. It purports to be one<br />
of the three parchment copies which Columbus had<br />
<br />
prepared at the time of his disgrace, in 1500, of<br />
the various grants that had been made to him by<br />
the sovereigns of Castile and Aragon, of the Bull<br />
accorded him by Pope Alexander VI., and of<br />
<br />
various other documents. The Codex, which has<br />
lately been acquired hy Congress, was bought by<br />
the late Edward Everett at Florence in 1818,<br />
mentioned in print in 1824 in connection with the<br />
printing of another of the transcripts in the pre-<br />
ceding year, and again in Justin Winsor’s “ Lite of<br />
Columbus ” some seventy years later, but not<br />
actually seen by anyone but its possessor until<br />
1898, when Dr. William Everett lighted upon it<br />
by chance. It was submitted by the latter to<br />
experts in England, and by great good fortune was<br />
rescued intact from a fire which broke out in Dr.<br />
Everett’s house two years ago. The seller is said<br />
to have let this precious document go to the<br />
National Library at a practically nominal price.<br />
<br />
Who wrote “Mary had a Little Lamb”? It<br />
appeared that Miss Anne Hollingsworth Wharton<br />
had triumphantly demonstrated that the honour<br />
belonged to Sara Josepha Hale ; when, lo and<br />
behold! there comes a friend of the latter who<br />
declares of her own knowledge that the said Mrs.<br />
Sara Josepha did not pen the first three—the<br />
immortal—stanzas! This is a conclusion too<br />
affecting for words.<br />
<br />
There is now at last to be a first-rate American<br />
<br />
THE AUTHOR.<br />
<br />
art magazine. The aim of the American Connois-<br />
seur, which will be edited by Mr. Charles de Kay<br />
(director of the National Sculpture Society, art<br />
editor of the New York Times, and much else) is<br />
stated to be “ to reflect the various manifestations<br />
of art in America with due reference to the work<br />
of foreign countries, and to contribute to the<br />
tastes of American connoisseurs ”—a commend-<br />
able programme.<br />
<br />
I return for a moment to literature in order to<br />
make mention of a work which deserves com-<br />
mendation as being rather apart from the beaten<br />
track struck out by the national genius. This<br />
is Richard Thayer Holbrook’s “ Dante, and the<br />
Animal Kingdom.” Dr. Holbrook’s work will<br />
appeal not only to the Dante student, but also to<br />
the man of science, and even the general reader<br />
may find it not without interest to him.<br />
<br />
In “ Twenty-six Historic Ships” Mr. Frederic<br />
Stanhope Hill, formerly of the United States<br />
Navy, may also claim to have overstepped con-<br />
ventional limits, even if he has not created a new<br />
subdivision of belles lettres, which is neither<br />
exactly history, science, or biography.<br />
<br />
In the last-named department I have little at<br />
present to chronicle—in fact, Gaillard Hunt’s<br />
“Life of James Madison” is the only book that<br />
occurs to me. But I must add to historical publi-<br />
cations a volume in Appleton’s “Story of the<br />
West” series, A. ©. Lant’s “The Story of the<br />
Trapper,” and the opening volume of the “ Corre-<br />
spondences of the Colonial Governors of Rhode<br />
Island between 1723 and 1775,” edited by Gertrude<br />
Selwyn Kimball.<br />
<br />
My obituary list contains only two names, those<br />
of Mrs. Catherwood and Mrs. Frémont. Mary<br />
Hartwell Catherwood was the pioneer of the present<br />
deluge of historical romance. Under the inspira-<br />
tion of Parkman she first wrote stories of the early<br />
days of the Middle West, but in “The Lady of<br />
the Fort St. John” transferred the scene further<br />
north. Her best and most successful work was<br />
“ Lazarre,” the story of Hleazar Williams, one of<br />
the numerous faux Dauphins, or supposed sons of<br />
Louis XVI. But she also excelled in the short<br />
story and in tales for children.<br />
<br />
Jessie Benton Frémont, besides helping General<br />
Frémont by her masterly inactivity at a critical<br />
moment to conquer California, wrote several<br />
successful volumes of reminiscences, and is said to<br />
have completed at her death biographical studies<br />
of her father and husband.<br />
<br />
—_ > ——_—_<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
A CAPE LETTER.<br />
<br />
++<br />
<br />
VALUABLE contribution to South African<br />
literature has been supplied by Mr. Gardner<br />
F. Williams, M.A., General Manager of<br />
De Beers Consolidated Mines, Limited, in ‘“ The<br />
Diamond’ Mines of South Africa—Some Account<br />
of their Rise and Development,” published by<br />
Macmillan in New York and London. The<br />
scope of this bulky volume is much wider than<br />
might be expected from its title, and the style in<br />
which it is written is flowery and most readable.<br />
After opening with a chapter on “The Ancient<br />
Adamas,” which recounts the adventurous careers<br />
of many famous gems, the author passes to an<br />
historical account of the various treasure-seeking<br />
expeditions which have exploited South Africa,<br />
introducing the subject with some mention of the<br />
Pheenicians and of the first navigators of the<br />
“Cape of Storms.” This leads up to the history<br />
of the Diamond Mines, which is followed by a<br />
detailed description of the industry in all its<br />
branches and aspects, together with a chapter on<br />
“The Formation of the Diamond.” One of several<br />
appendices is devoted to the Defence of Kimberley,<br />
in which the De Beers Company took so pro-<br />
minent a part. There are seven maps, 29 full-page<br />
plates (a few of them coloured), and 420 other<br />
illustrations ; these covering a large variety of<br />
subjects.<br />
<br />
“The Art of Life—An Essay,” by Rev. F. C.<br />
Kolbe, D.D. (Cape Town, J. C. Juta & Co.;<br />
Dublin, The Catholic Truth Society of Ireland),<br />
is described in a prospectus as “an analysis and<br />
development of the principle that life is an art,<br />
and is therefore subject to all the rules of art.”<br />
In his first chapter, Dr. Kolbe analyses the various<br />
fine arts, as thus: “A sculptor (1) by the power<br />
of his hand, (2) working under the guidance of<br />
his mental grasp of bodily form, does (3) with<br />
hammer and chisel (4) shape (5) a block of<br />
marble (6) into a permanent type of beauty ;”<br />
and in the same manner he describes life as<br />
“The art wherein man (1) by the power of grace<br />
(2) working through the Moral Sense illuminated<br />
by Faith, does (3) with the instrumentality chiefly<br />
ot Prayer (4) transform (5) the nature of the<br />
Soul (6) into the Divine beauty of Justice.”<br />
<br />
Another little volume published for a Cape<br />
author by a British firm is “The Children’s<br />
Shakespeare (J/erchant of Venice, Midsummer<br />
Nights Dream, and As You Like It),’ by Miss<br />
Ada Baynes Stidolph, with a preface by the Very<br />
Rev. C. W. Barnett-Clark, M.A., Dean of Cape<br />
Town (London, Allman & Son, Limited). The<br />
<br />
<br />
<br />
<br />
<br />
stories chosen are takingly told in short prose<br />
chapters, and the book is graced with several<br />
<br />
185<br />
<br />
excellent photogravure plates, including a repro-<br />
duction of Faed’s beautiful conception of ‘ Shake-<br />
speare in his study.” The volume is dedicated by<br />
permission to the little daughter of the Governor<br />
of this Colony.<br />
<br />
A remarkably interesting and entertaining story<br />
is contained in the Rev. Wm. Dower’s unpretentious<br />
book entitled ‘Early Annals of Kokstad and<br />
Griqualand Kast” (printed at Port Elizabeth,<br />
C. C.). The author describes himself as the only<br />
one left “of those who took part in the founding<br />
of the town (Kokstad) thirty years ago,” and as<br />
having occupied the position of a sort of “ Pontifex<br />
maximus’ in the little native State. He traces<br />
the development of the Griqua tribe, and the rise<br />
of its “civilisation ’—due partly to an admixture<br />
of half-caste slave blood—and describes its migra-<br />
tions, the cruel wrongs it suffered from both Boer<br />
and Briton, and its unflinching loyalty to the<br />
British flag. The account of the methods of<br />
government is most diverting. There were a<br />
Aaptyn (captain or chief, who was elected), Privy<br />
Council, Volksraad, Magistrates, etc. Dutch was<br />
the official language. ‘‘ Decisions of the Volksraad<br />
were sent up to the Privy Council, and were often<br />
discussed in a free and easy style on the stoep of<br />
the chief’s house,” with the accompaniment of<br />
coffee and tobacco. The delegates were always the<br />
guests of the Government, and the length of the<br />
session depended on the food supply: “No beef<br />
no business, was the unwritten but standing rule<br />
of this assembly!” The country was annexed to<br />
Cape Colony in 1874. A number of good illustra-<br />
tive plates supplement the narrative.<br />
<br />
Messrs. J. C. Juta & Co. continue to repair the<br />
ravages of the fire mentioned in a previous letter,<br />
a number of second editions of South African<br />
legal works have appeared within the last few<br />
months. Among publications of less importance<br />
are “St. Andrew’s College Register,” and the<br />
“Report of the Good Hope Society for Aid to the<br />
Sick and Wounded in War (South African War,<br />
1899—1902),” both illustrated, and the usual batch<br />
of Christmas Numbers; the most notable of these<br />
being that of the Cape Times entitled “ Through<br />
the Transvaal with Pen and Camera.” The<br />
Central News Agency has in projection a large<br />
paper publication entitled, “ With Chamberlain in<br />
South Africa,” which will be contributed to by<br />
many correspondents of English papers, as well as<br />
local Pressmen. It is being compiled by Mr. G. H.<br />
Kingswell, editor of Zhe Owl, and will be fully<br />
illustrated.<br />
<br />
After an existence of little more than half<br />
a year, Zhe Examiner, an ambitious review<br />
published fortnightly at Beaufort West, has<br />
disappeared. It is doubtful whether anything like<br />
it has ever before been attempted here, and the<br />
<br />
<br />
<br />
<br />
186<br />
<br />
<br />
<br />
venture was the more daring in that the paper was<br />
domiciled in a sleepy little country town. Among<br />
its contributors were many eminent English<br />
writers, and its decease is much to be deplored.<br />
All local magazines, save those devoted to very<br />
temporary matters, have an uphill struggle against<br />
the teeming produce of the Mother Country. Of<br />
new monthlies just out or shortly to appear, Zhe<br />
Camera and the South African Freemason are<br />
sufliciently introduced by their names, but the<br />
same can scarcely be said of the Plagiarist, a<br />
sporting journal, which has surely hit upon an<br />
original title, even if the paper’s main purpose is<br />
not therein indicated. Zhe Tribune is a new<br />
weekly, describing itself as a labour paper. Two<br />
or three new dailies are also announced. The<br />
South African Jewish Chronicle now makes a<br />
weekly instead of a fortnightly appearance. Mr.<br />
Jas. Strang, poet, novelist, and journalist, who has<br />
come to this country for health, has been appointed<br />
editor to the Cradock Observer.<br />
<br />
General De Wets’ “‘ Three Year’s War” has had<br />
a phenomenal sale in South Africa, and there has<br />
been a large demand for ex-President. Kruger’s<br />
‘“‘Memoirs,”’ General Viljoen’s ‘ Reminiscences,”<br />
and Sir A. Conan Doyle’s “Great Boer War” ;<br />
all of these appearing in our book shops, both<br />
in English and in Dutch.<br />
<br />
A South African society of artists was a few<br />
months ago formed in Cape Town, having for its<br />
object the fostering of the study and practice of<br />
art in this part of the world. At the imaugural<br />
meeting, Mr. J. S. Morland was elected president,<br />
Mr. G. Crosland Robinson, treasurer, and Miss<br />
Glossop, secretary ; the lady last named has since<br />
been succeeded by Mr. E. C. Mace. In conjunction<br />
with the South African Drawing Club, the society<br />
held its first exhibition of pictures in December,<br />
the results being most satisfactory and encouraging.<br />
<br />
Yet another dispute has occurred between our<br />
rival theatrical managers, Mr. Geo. Edwardes,<br />
through his representatives, Messrs. B. & F.<br />
Wheeler, applying to the Supreme Court for an<br />
interdict to prevent Messrs. Mouillot and De Jong<br />
from producing the comic opera, “ La Poupée,”<br />
in Cape Town. The evidence not being conclusive<br />
on either side, the Court refused the interdict, but<br />
ordered that respondents should keep an account<br />
of receipts, and that costs should be included in<br />
an action for damages. The dispute centres round<br />
the question as to whether a certain South African<br />
right sold by Edwardes was temporary or per-<br />
petual. Apropos of this squabble, one of our<br />
weeklies, Zhe Owl, published a cartoon reproducing<br />
a well-known poster which shows an elderly<br />
gentieman acting as a barrier between “La<br />
Poupée” and a young admirer, but substituting<br />
Messrs. De Jong and Frank Wheeler respectively,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
for the two male figures.<br />
<br />
The case of Sass vy.<br />
Wheeler, concerning the right to play “ Magda”<br />
<br />
in South Africa, which was noticed in The<br />
Author a few months ago, is still awaiting<br />
<br />
settlement, but it has not again been brought into<br />
court. In the subsequent cases of Hdwardes v.<br />
De Jong, in which “A Gaiety Girl” was the<br />
cause of quarrel, negotiations resulted in costs<br />
being paid by plaintiff.<br />
<br />
A certain Dutch attorney, having successfully<br />
sued the Cape Argus, Cape T'imes, and Scotsman, in<br />
connection with asseverations regarding the loyalty<br />
of his conduct at the time of the siege of Kimberley,<br />
not long ago proceeded to take action against Dr.<br />
E. Oliver Ashe, of Kimberley, for defamation of<br />
character contained in that gentleman’s book,<br />
“Besieged by the Boers” (London, 1900). In<br />
this instance the plaintiff assessed his damages<br />
at £1,000, refused an offer of £100, and was<br />
awarded £5 with costs to date of tender only.<br />
Defendant’s counsel remarked that the libelled<br />
one seemed to have created a lucrative business by<br />
such restitution of his character, and was evidently<br />
making the most of it ; but the present transaction<br />
has proved unprofitable!<br />
<br />
Sipney YoRKE Forp.<br />
<br />
Cape Town, January 31st, 1903.<br />
<br />
a a<br />
<br />
“THE LITERARY YEAR BOOK.”<br />
<br />
—— 1<br />
<br />
HE editor of a book has no doubt a large<br />
power to influence the opinions of his<br />
readers. If competition is the life and<br />
<br />
soul of business, so no doubt criticism is the life<br />
and soul of literature. We owe thanks, therefore,<br />
to the former editor of the ‘‘ Literary Year Book”’<br />
for dealing in this, the seventh issue, kindly and<br />
sympathetically with the aims and objects of<br />
the Authors’ Society. Though he may not have<br />
grasped its highest ideals he yet realises that<br />
its work is useful and beneficial, and flatters its<br />
Committee by praising the more recent lines of the<br />
Society’s developments.<br />
<br />
In last month’s Author there was a review of the<br />
book as a whole. It is our duty to look to those<br />
parts which bear on the legal and business aspect<br />
of the literary life.<br />
<br />
We have not had time to compare the articles on<br />
Agreements and Copyright with those in last year’s<br />
issue, but feel—perhaps a more kindly mood is<br />
with us—that the only objection to be raised at<br />
the present is one inherent in the subject, namely,<br />
that it is impossible to deal adequately with these<br />
two difficult questions in the allotted space. A<br />
small volume would not exhaust the former, nor a<br />
large volume do justice to the latter, As in last<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
year’s annual so in the present issue, the most<br />
difficult part is allotted to Mr. Weekes, and<br />
courageously he grapples with his subject.<br />
<br />
On page 72, dealing with the Royalty Agree-<br />
ment, he states, ‘‘a date before which the book<br />
should be issued is sometimes insisted on by the<br />
author,’ and passes the matter by as one of little<br />
consequence, although in his comments on ‘“ The<br />
Author Commissioned,” he insists that “time is<br />
naturally of great importance to the publisher ina<br />
contract of this kind.”<br />
<br />
In truth, time is of no less importance to the<br />
author in a Royalty Agreement. The author may<br />
have other books coming out, and the dates of<br />
publication must not clash. He may have secured<br />
a contract for the United States market, and time<br />
is therefore essential.<br />
<br />
A certain well-known publisher, whose publica-<br />
tions at one time were more notorious than<br />
illustrious, must have failed to secure during the<br />
past year the future writings of many meritorious<br />
authors, owing to neglect in the past of this very<br />
point, and the consequent inconvenience to those<br />
whose works he was handling.<br />
<br />
If time had been made the essence of the con-<br />
tract the publisher would have been forced into<br />
salutary business habits or would have had to bear<br />
the penalty. There are no doubt publishers not<br />
a few who would feel it a point of honour not to<br />
inconvenience an author by unwarrantable delay,<br />
but there are others whose unwritten word is like<br />
an eggshell ripe for the breaking.<br />
<br />
The date of publication then is most important,<br />
and the fact should have been emphasised.<br />
<br />
On page 73, again, the right of making abridg-<br />
ments should not be left with a publisher. The<br />
author may contract under certain circumstances<br />
not to abridge, but should not leave the control<br />
in the publisher’s hands.<br />
<br />
On page 78 Mr. Weekes deals with the profit-<br />
sharing agreement, but in a manner hardly satis-<br />
factory. As this method is most dangerous, the<br />
author ought to have been given a fuller explana-<br />
tion of the snares and pitfalls that surround it.<br />
The mention of its great dangers recalls an epi-<br />
gram that appeared in a recent number of this<br />
magazine :—<br />
<br />
PUBLISHER: The agreement’s signed; the profits we<br />
divide—<br />
A half to each; applaud a just decision.<br />
AUTHOR: Peace and good-will to all this Christmas tide.<br />
Clearly ’twixt you and me there’s no division !<br />
<br />
Under the same heading in the cost of pro-<br />
duction is included, “ catalogueing, warehousing,<br />
prospectuses, and general office expenses.” These<br />
are items not of the cost of production, but of the<br />
cost of publication. To cover these items the<br />
<br />
187<br />
<br />
publisher is receiving half profits. Otherwise the<br />
publisher is obtaining 50 per cent. of the profits<br />
as a reward for sitting still ; or—looking at the<br />
matter from another point of view—if the publisher<br />
has a right to these charges in settling the account,<br />
then the author must also bring into account<br />
many items altogether omitted connected with his<br />
work and labour. There is no doubt that for<br />
an author to be able to obtain sufficient protection,<br />
this agreement and its practical issues should<br />
have been dealt with at greater length with fuller<br />
detail.<br />
<br />
Lastly, why only in the agreement entitled, “ The<br />
Publisher Commissioned,” should the author insist<br />
upon “ the right to examine vouchers” ? Thisisa<br />
Common Law right, and it is best not only in this<br />
but in all contracts to let it remain so. Ifa clause<br />
is inserted, instead of helping the author, it may<br />
curtail his powers. There are clauses, drafted by<br />
publishers in their agreements, not unknown at the<br />
Society’s office, which, while they appear to the<br />
uninitiated to give all that is desired, bind the<br />
author to certain definite forms of proof, and<br />
restrain him from free action.<br />
<br />
On the whole, therefore, it is best to rely on<br />
the Common Law, which is not unfrequently a<br />
synonym for common sense.<br />
<br />
The faults culled from this article on agreements<br />
are faults of commission rather than omission.<br />
It has been our aim to fix on one or two salient<br />
points and insist on their importance. On the<br />
whole, we bestow unstinted praise on the care<br />
and diligence shown by the writer. The same<br />
comment may well be applied to the article on<br />
copyright.<br />
<br />
Here again the fault, if any, lies in the method.<br />
A limit in space must produce many omissions,<br />
and the author who relies on an epitomised state-<br />
ment of one of the most intricate of laws may find<br />
himself surrounded by snares wholly unsuspected.<br />
But still there are some phrases and deduc-<br />
tions concerning which, perhaps, the writer of<br />
the article may be able to offer some more lucid<br />
explanation.<br />
<br />
“There is no copyright at Common Law after<br />
the expiration of the statutory period.”<br />
<br />
Here is a merry confusion of terms: Copyright<br />
is a creature of statute. That which is a creature<br />
of statute is not of the Common Law, and where<br />
in all the statutes or elsewhere is it stated that the<br />
right at Common Law to restrain the publication<br />
or multiplication of unpublished works does not<br />
continue beyond the expiration of the statutory<br />
period ? Such a doctrine is surely wholly untenable,<br />
otherwise the privacy of the individual would cease<br />
to be possible seven years after his death.<br />
<br />
In the paragraph about “ Books,’ Mr. Weekes<br />
states: “The word copyright means the sole and<br />
<br />
<br />
188<br />
<br />
exclusive liberty of printing or otherwise multiply-<br />
ing copies of a book.” This undoubtedly is part of<br />
the meaning of the word “copyright,” but case<br />
and statute law has defined it to cover a wider and<br />
more comprehensive range.<br />
<br />
It is impossible, therefore, to argue “ contrari-<br />
wise,” that an assignment of the sole and exclusive<br />
liberty of printing a book without limitation is<br />
practically an assignment of copyright. It is no<br />
such thing, it is still only “a licence.” To take<br />
one point of difference, a licence is a personal<br />
contract, even though it be for the whole term of<br />
copyright. A sale of copyright is not. It is a<br />
conveyance of a piece of property. Again, a<br />
licensee could not make alterations in an MS.,<br />
but an assignee of the copyright could alter within<br />
non-libellous limits ; and the opinion of an author<br />
as to what is libellous may differ considerably from<br />
that of a judge and jury.<br />
<br />
If we turn to the paragraph on “ Magazines and<br />
Periodicals,” we find the explanation of section 18<br />
is not very clear, but, recognising the difficulty,<br />
forbear from further comment.<br />
<br />
The paragraph that follows on the drama is<br />
unsatisfactory. The author, in his effort to be<br />
<br />
terse, has sacrificed his lucidity, and the same fault<br />
is evident when he talks of paintings, drawings and<br />
photographs ; but the artistic copyright affords<br />
some excuse for incoherence. It is more complicated<br />
<br />
than section 18 of the Act of 1842.<br />
<br />
Let us pass by the rest with a feeling of relief<br />
that our task has been to criticise and not to compile.<br />
Mr. Weekes has made a conscientious effort, and<br />
the result, if not perfect, shows study, knowledge,<br />
and judgment.<br />
<br />
The lists compiled for this book, like all lists in<br />
every annual, are not without faults.<br />
<br />
Some, which might easily have been avoided, were<br />
pointed out in last month’s review. The editor’s<br />
note before the Tables of Royalties is hardly con-<br />
vincing. If the deficiency of the English coinage<br />
forbids giving the exact Royalties, for example, on<br />
a sixpenny book at the rate of 24 per cent., 5 per<br />
cent., 74 per cent. and 10 per cent., it surely would<br />
have been better to have settled the matter in<br />
decimals or omitted to state the result. To give<br />
figures which are absolutely wrong and inaccurate<br />
is an impossible solution of the difficulty. The<br />
sole value of these tables must depend on their<br />
accuracy. And the majority of authors have some<br />
knowledge of the decimal system.<br />
<br />
We hasten to pay a final compliment to the<br />
editor and compilers, and to thank them for the<br />
care and pains bestowed on the production.<br />
<br />
G, i. a.<br />
<br />
THE AUTHOR.<br />
<br />
“OF THE FASCINATION OF THE LIFE<br />
OF LETTERS.”<br />
<br />
1<br />
<br />
[eee about their craft must always have a<br />
peculiar interest for bookmen, and to light<br />
upon one of which the charm is not marred<br />
by any awakening of an entagonistic critical spirit<br />
is a pleasure worth recording. Guide books to<br />
Parnassus, author’s wade-mecums—what is the<br />
plural of vade-mecum?—and most compilations<br />
of hints and suggestions have an irritating effect<br />
upon such of us as may be said to have secured a<br />
foothold upon the ladder that leads to success in<br />
literature ; but books of the Highways and Bye-<br />
ways class, written by men who know the country,<br />
may generally be relied upon to provide gentle<br />
entertainment and food for quiet thought. ~ Two<br />
such books have lately been published, “ Literature<br />
and Life,” by W. D. Howells (Harper and Brothers),<br />
and “‘ The Private Papers of Henry Ryecroft,” by<br />
George Gissing (Archibald Constable & Co.).<br />
<br />
The pleasure afforded by these two books is of<br />
an identical kind, although emanating from two<br />
very different minds. Howells is cheerily optimistic,<br />
Gissing tenderly compassionate, although, relatively<br />
to himself, optimistic too; the former accepts<br />
things as they are with a good-humoured toler-<br />
auce ; he is of the world, and has found it a genial<br />
place upon the whole; the latter looks back upon<br />
his life “with man’s infinitely pathetic power of<br />
resignation, sees the thing on its better side, for-<br />
gets all the worst of it, makes out a case for the<br />
resolute optimist ” ; he has been in the world, but,<br />
partly from temperament, partly from force of<br />
circumstance, has never been of it. The optimism<br />
of the one is congenital, of the other acquired, and<br />
its expression in the one case is transparently<br />
ingenuous, whereas in the other it savours of<br />
special pleading. It follows that the advice given<br />
incidentally to their fellow-craftsmen by these two<br />
writers is conveyed in widely differing manners,<br />
while on essential truths they approximate to<br />
identity of opinion. Both books are full of what<br />
someone has well described as seed thoughts, and<br />
the arm-chair philosopher may water and tend<br />
them with advantage to himself.<br />
<br />
There are authors who write because they can,<br />
and others who write because they must, impelled<br />
thereto by the irresistible force of genius. It is<br />
only with the latter that posterity will have to<br />
deal ; but the former are a mighty host, and it is<br />
with pity for them that Gissing overflows.<br />
<br />
“ Innumerable,”’ he says, ‘ are the men and women now<br />
writing for bread, who have not the least chance of finding<br />
in such work a permanent livelihood. They took to writing<br />
because they knew not what else to do, or because the<br />
literary calling tempted them by its independence and its<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
dazzling prizes. They will hang on to the squalid pro-<br />
fession, their earnings eked out by begging and borrowing,<br />
until it is too late for them to do anything else—and then ?<br />
With a lifetime of dread experience behind me, I say that<br />
he who encourages any young man or woman to look for<br />
his living to literature commits no less than a crime.’<br />
<br />
The fact, of course, is that while the world wags<br />
young men and women will continue to look there<br />
without encouragement, and the old speculation<br />
arises in the mind as to wherein the fascination of<br />
the life of letters exists. ‘The love of books:<br />
the desire of a quiet life: the imaginary freedom<br />
from the ordinary cares ; the joy of composition:<br />
the desire to achieve the love and respect of the<br />
world: their own respect and love for great authors<br />
—these,” wrote Sir Walter Besant, ‘‘ are the chief<br />
among the many determining forces which may make<br />
a young man or a young woman ardently desire to<br />
embrace the profession of letters.” That is the<br />
summary given by one whom experience had<br />
taught, and if not wholly convincing, it will serve ;<br />
and having embraced it, what did he foresee? A<br />
little further on in the same book he wrote : “ The<br />
Literary Life may be, I am firmly convinced, in<br />
spite of many dangers and drawbacks, by far the<br />
happiest life that the Lord has permitted mortal<br />
man to enjoy. ... But I admit that without a<br />
reasonable measure of success it must be a dis-<br />
appointed and a miserable life. 'That reasonable<br />
measure of success is an essential.” It may not<br />
come, and there’s the rub.<br />
<br />
Henry Ryecroft, or George Gissing—even if we<br />
preserve the fiction, it matters not which—gets<br />
nearer to the truth. “It has occurred to me,” he<br />
says, “that one might define Art as: an expres-<br />
sion, satisfying and abiding, of the zest of life.”<br />
And in a thoughtful passage he justifies his defini-<br />
tion. There, probably, is the answer to the question.<br />
* All men are poets if they might but tell” what<br />
stirs within them ; the fascination of the life of<br />
letters is that thereby, albeit with prayer and<br />
fasting, the dumb are taught to speak and the<br />
inarticulate‘learn to give expression to something<br />
of the passion with which their souls are trembling.<br />
Even if the artist, from a modesty too rare or from<br />
whatsoever cause, forebears to communicate to<br />
others the ideas to which he has given expression,<br />
he will, nevertheless, have experienced for himself<br />
something of the fascination of that life; the<br />
charm of literature for the literary man lies in the<br />
fact that it is an art as distinct from a profession,<br />
and brings its own reward apart altogether from<br />
fees.<br />
<br />
Here crops up that everlasting rock—the ques-<br />
tion of financial remuneration for literary work,<br />
and Howells deals with it in no uncertain fashion.<br />
Every man ought to work for his living without<br />
exception, and when he has once avouched his<br />
<br />
189<br />
<br />
willingness to work, society should provide him<br />
with work and warrant him’a living. “I do not<br />
think,” he says, “any man ought to live by an art.<br />
A man’s art should be his privilege, when he has<br />
proven his fitness to exercise it, and has otherwise<br />
earned his daily bread ; and its results should be<br />
free to all.” ... “The work which cannot be<br />
truly priced in money, cannot be truly paid in<br />
money.” There is no affectation of superiority in<br />
his attitude, no blinking of facts as they are ; he<br />
is perfectly aware that the artist is, and must be,<br />
only too glad if there is a market for his wares,<br />
without which he must perish or turn to something<br />
more saleable. ‘All the same, the sin and the<br />
shame remain, and the averted eye sees them still,<br />
with its inward vision. Many will make believe<br />
otherwise, but I would rather not make believe<br />
otherwise ; and in trying to write of Literature as<br />
Business, J am tempted to begin by saying that<br />
Business is the opprobrium of Literature.”<br />
Especially is this true of literature, which “ is<br />
at once the most intimate and the most articulate<br />
of the arts.” The whole article in Mr. Howells’<br />
book is worthy of serious consideration, but enough<br />
has been quoted to support the contention that<br />
quite apart from pecuniary reward, the charm of<br />
the literary life lies in the fact that literature is an<br />
art as distinct from a profession, and that art is an<br />
expression, satisfying and abiding, of the zest of<br />
life.’ It is that satisfaction for which men strive.<br />
If the gods endow you with temporal prosperity so<br />
much the better for you, but if that “reasonable<br />
measure of success” be not vouchsafed, it may be<br />
human, but it is not logical to complain. Henry<br />
Ryecroft, or George Gissing—again, it matters not<br />
which——anticipates the objection :<br />
<br />
* And why should any man who writes, even if he write<br />
things immortal, nurse anger at the world’s neglect? Who<br />
asked him to publish? Who promised him a hearing?<br />
Who has broken faith with him? If my shoemaker turn<br />
me out an excellent pair of boots, and I, in some mood of<br />
cantankerous unreason, throw them back upon his hands,<br />
the man has just cause of complaint. But your poem, your<br />
novel—who bargained with you for it? If it is honest<br />
journeywork, yet lacks purchasers, at most you may call<br />
yourself a hapless tradesman, If it comes from on high,<br />
with that decency do you fret and fume because it is not<br />
paid for in heavy cash? For the work of man’s mind there<br />
is but one test, and one alone—the judgment of generations<br />
yet unborn, If you have written a great book, the world<br />
to come will know of it. But you don’t care for post-<br />
humous glory. You want to enjoy fame in a comfortable<br />
armchair. Ah, that is quite another thing. Have the<br />
courage of your desire, Admit yourself a merchant, and<br />
protest to gods and men that the merchandise you offer is<br />
of better quality than much which sells for a high price.<br />
You may be right, and indeed it is hard upon you that<br />
Fashion does not turn to your stall.”<br />
<br />
<br />
<br />
Reiteration of a truth subtracts nothing from<br />
its essence ; rather does each fresh presentation<br />
<br />
<br />
190<br />
<br />
add something to its force.<br />
ditto to Henry Ryecroft :<br />
<br />
“Art is not produced for artists, or even for<br />
connoisseurs; it is produced for the general, whocan<br />
never view it otherwise than morally, personally,<br />
partially,from their associations and preconceptions.<br />
Whether the effect with the general is what the<br />
artist works for or not, he does not succeed with-<br />
out it. Their brute liking or misliking is the final<br />
test ; it is universal suffrage that elects, after all.<br />
Only,’in some cases of this sort the polls do not<br />
close at four o’clock on the first Tuesday after the<br />
first Monday of November, but remain open for<br />
ever, and the voting goes on. Still, even the<br />
first day’s canvass is important, or at least<br />
significant.”<br />
<br />
Even if in the event the artist be not elected,<br />
he will, if Gissing’s definition be sound, have found<br />
satisfaction in expression. And in his search after<br />
success, what guide shall he follow, at whom shall<br />
he aim his winged words? With Mr. Howells’<br />
reply this article may fitly conclude:<br />
<br />
“There is only one whom he can safely try to<br />
please, and that is himself. If he does this he will<br />
very probably please other people ; but if he does<br />
not please himself, he may be sure that he will not<br />
please them ; the book which he has not enjoyed<br />
writing no one will enjoy reading.”<br />
<br />
Mr. Howells says<br />
<br />
V. HE. M.<br />
<br />
MORE REFLECTIONS FOR A REJECTED<br />
MS.—AND OTHERS.<br />
<br />
a<br />
<br />
T’S no use crying over spilt ink.<br />
<br />
I Too many books spoil the market.<br />
A roving MS. gathers no dross.<br />
<br />
Spare the style and spoil the paper.<br />
<br />
Put a minor poet on Pegasus—he’ll write like the<br />
devil !<br />
<br />
Fine ‘“ puffs” do not make fine books.<br />
<br />
Take care of the agreements;—the publishers will<br />
take care of themselves.<br />
<br />
It’s an ill critique which blows no author any<br />
good.<br />
<br />
Ce n’est que le premier ‘“‘ par” qui cotite (?).<br />
<br />
(For the Magazine Editor.) Bread I win,—Tales<br />
you lose.<br />
<br />
(For Sir Conan.) A botched plot,—never Doyle’s !<br />
<br />
ARTHUR LAYARD.<br />
<br />
THE AUTHOR.<br />
<br />
MR. J. H. SHORTHOUSE.<br />
<br />
E record with regret the death of Mr.<br />
Joseph Henry Shorthouse, which took<br />
<br />
place on the night of Wednesday, March 4th. Mr.<br />
Shorthouse was born in 1834, and was consequently<br />
nearly fifty years of age when “ John Inglesant,”<br />
upon which work his literary reputation deservedly<br />
rests, was published. Mr. Shorthouse’s early sur-<br />
roundings were of a commercial nature. He had<br />
not a public school or university education, and<br />
among the circumstances which combined to make<br />
him a student, an impediment in his speech,<br />
rendering social intercourse irksome, is said to<br />
have played a part. On the other hand, his birth<br />
and education in a Quaker family had some effect<br />
in guiding his studies in the direction of questions<br />
his mastery of which drew universal attention to<br />
his first book. The story of the publication of<br />
“John Inglesant”’ in 1881 is one of considerable<br />
interest. The result of long labour, it was for<br />
some years denied acceptance. Published privately<br />
in 1880 in an edition of 100 copies, it came into the<br />
hands of Mrs. Humphry Ward, then living at<br />
Oxford, whose appreciation secured its production<br />
by Messrs. Macmillan ; after which its success was<br />
largely accelerated by the interest evinced in it by<br />
Mr. Gladstone.. Mr. Shorthouse’s other writings<br />
<br />
include ,“« The Little Schoolmaster Mark” (1883),<br />
“ Sir Percival” (1886), ‘Countess Eve” (1888),<br />
“The Teacher of the Violin, and other Tales”’(1888),<br />
and various literary essays, among which were<br />
articles on Wordsworth and on George Herbert.<br />
His residence was at Lansdowne, Edgbaston,<br />
Birmingham.<br />
<br />
Oe<br />
<br />
THE VERY REY. DEAN FARRAR, F.R.S.<br />
<br />
E have to chronicle with regret the death<br />
<br />
of Dean Farrar. He had been a member<br />
<br />
of the Society since its foundation in 1884, and had<br />
<br />
always shown himself in sympathy wilh its aims<br />
and objects.<br />
<br />
His literary activity was incessant, and to an<br />
extent overshadowed his great and powerful claims<br />
to recognition as a Churchman and a public man.<br />
<br />
His “ Life of Christ ” has had, and no doubt will<br />
continue to have, an enormous sale, although some<br />
have found fault because its passages are too<br />
florid.<br />
<br />
Apart from his theological writings, he will<br />
doubtless be remembered as the author of “ Eric,<br />
or Little by Little,” and other books of a similar<br />
type. These books have also had a large sale, but<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
it is certain that they did not appeal to the class of<br />
boy for whom they were written. Possibly the<br />
public school boy has changed, but we hardly<br />
think this contention is probable. The fault of<br />
the book, as far as it is a representation of<br />
school life, lies with the author rather than the<br />
subject.<br />
<br />
Dean Farrar’s influence has been one of great<br />
power and endurance, and will no doubé last for<br />
many years in the English church.<br />
<br />
<br />
<br />
+ —_____<br />
<br />
CORRESPONDENCE.<br />
Se<br />
“WHETHER OR NO.”<br />
<br />
Str,—The question does not seem to me to be<br />
quite fairly put. Grammar has nothing to do with<br />
logic, but depends upon usage and idiom. If a<br />
phrase has been widely used, it is “correct” for<br />
practical purposes. But if a writer chooses to say<br />
“whether or not” because he thinks that others<br />
do so, I, for one, shall not object ; and if his case<br />
is strong enough, it will prevail.<br />
<br />
When we come to the true test, that of usage,<br />
it can be shown that “ whether or no” has, at any<br />
rate, a long record, and it must be familiar to all<br />
who have read any other English than that of the<br />
present day. Here are a few examples, got together<br />
in a few minutes :—<br />
<br />
“ Whether thou be’st he or no.”— emp. v. 1, 111.<br />
<br />
“Whether one Nym . . . had the chain or no.”<br />
<br />
Merry Wives, iv. 5, 33.<br />
“‘ Whether the three worthies shall come in or no.”<br />
L. L. L., y. 2, 486.<br />
dwell with him or no.”<br />
Merch. Ven. ii. 2, 48.<br />
“Whether Antonio have had any loss at sea or no.”<br />
fd. iii. 1, 45.<br />
<br />
“Whether those peals of praise be his or no.”<br />
Id, iii, 2, 146.<br />
<br />
“Whether one Lancelot .. .<br />
<br />
At least five more examples occur in Shakespeare<br />
alone.<br />
<br />
“ Whethyr will ye come or nay ?”<br />
The Life of Ipomydon, ed, Weber, 1. 1844.<br />
<br />
“ Now whether have I a siker hand or noon?”<br />
Chaucer, C.T., D. 2069.<br />
<br />
‘Is hit alyfed . . . the na?” (i.e. “Is it lawful :.. or<br />
no ?”)—Matt, xxii. 17, Anglo-Saxon version [ A.V. “or not.’]<br />
<br />
An idiom which has been in use for a thousand<br />
years requires no apology.<br />
<br />
Watrer W. SKEAT.<br />
<br />
191<br />
<br />
I.<br />
<br />
Str,—Does your correspondent, “ King’s Eng-<br />
lish,” whose letter appeared in The Author for<br />
March (p. 160), mean seriously to contend that it<br />
is not correct to say or write “whether or no,” or<br />
that “ whether or not” is to be preferred? I am<br />
not enough of a scholar to discuss the origin of<br />
the phrase, but am inclined to suggest that the<br />
‘or no” in modern English, and for that matter<br />
in fairly old English, is superfluous, and that<br />
“or no” may be all that remains of a phrase<br />
“whether, ay or no,” etc. There is tolerably old<br />
and good authority for “whether,” without any<br />
alternative expressed after it.<br />
<br />
Let us, however, consider the authorities for<br />
“‘whether or no,” and leave anyone who suggests<br />
that it is worse English than “ whether or not”<br />
to produce his authorities for the latter. I can<br />
tell him of one which is cited in the Century<br />
Dictionary :—<br />
<br />
“This obscure thorn-eater of malice and detraction, as<br />
well as of quodlibets and sophisms, knowes not whether it<br />
were illegall or not.”— Milton, “Apology.”<br />
<br />
But the same work also quotes :—<br />
<br />
‘Whether they had their charges borne by the Church<br />
or no, it need not be recorded.” —-Milton, * Touching Hire-<br />
lings.”<br />
<br />
“King’s English” refers to the Authorised<br />
Version; I will submit another passage :—<br />
<br />
“Ts it lawful for us to give tribute unto Caesar, or no ?”—<br />
Luke xx, 22.<br />
<br />
Will it be suggested that the word “no” is bad<br />
English here because “not” would be equally<br />
intelligible ?<br />
<br />
To return, however, to the authorities for the<br />
use of “whether or no.” Here are a few from<br />
Dr. Johnson’s Dictionary, or rather from Latham’s<br />
Todd’s Johnson (1870), and from the Century<br />
Dictionary. “ King’s English” can verify them<br />
if he likes :-—<br />
<br />
“ As they, so we have likewise a publick form, how to<br />
serve God both morning and evening, whether sermons<br />
may be had or no,” —Hooker’s “Ecclesiastical Polity.”<br />
<br />
“Resolve whether you will or no.” — Shakespear e<br />
Richard IIT,, Act iv. se. 2.<br />
<br />
“This assistance is only offered to men, and not forced<br />
upon them whether they will or no.”—Archbishop Tennison.<br />
<br />
“To that frere wyll I go And bring him to you, Whether<br />
he wyl or no,” —“ Robin Hood,” Child's Ballads, v. 421.<br />
<br />
“Whether one Nym... had the chain or no.” —<br />
Shakespeare, Merry Wives of Windsor, Act iv. se. 5.<br />
In conclusion, if Shakespeare and Milton are<br />
: ; : : pie.<br />
not of sufficient weight to satisfy “ King’s English,<br />
<br />
<br />
<br />
<br />
192<br />
<br />
<br />
<br />
let me remind him of the opening lines of the<br />
English classic which tells how the long dead, but<br />
none the less immortal batrachian voluptuary—<br />
<br />
“ Would a wooing go,<br />
Whether his mother would let him or no.”<br />
<br />
I am, etc.,<br />
ARcHIE ARMSTRONG.<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
S1r,—Though I have read many articles in<br />
The Author on the trade of bookselling, I do<br />
not recollect having seen any allusion to the<br />
economic principle which seems specially applicable<br />
to the subject. The principle was laid down many<br />
years ago by Babbage in his interesting book, “ The<br />
Economy of Manufactures,” and is essentially as<br />
follows :—<br />
<br />
Whenever competition is effective there is<br />
generally but little profit to be obtained from<br />
retailing articles of such a nature that the pur-<br />
chaser can easily verify for himself that the<br />
article is indeed that which the salesman professes<br />
it to be.<br />
<br />
The sale of ordinary books comes under these<br />
conditions. Any intending purchaser can tell at a<br />
glance whether the volumes which the salesman<br />
calls, let us say, the “ Encyclopedia Britannica ”<br />
do really form that work. As, therefore, the<br />
reputation of the salesman is immaterial, the pur-<br />
chaser may quite safely buy the work from any<br />
cheap dealer in a back street, and therefore will<br />
not willingly pay a higher price to the honoured<br />
owner of an expensive shop.<br />
<br />
On the other hand, how difficult it is to ascertain<br />
whether a horse does possess the qualities which he<br />
who would sell it declares it to possess. The prudent<br />
buyer of a horse must generally shun the dealer of<br />
unknown character. He gives his custom to dealers<br />
of high repute only, and has, very properly, to<br />
pay a high price for doing so. No doubt the<br />
bookseller who deals in rare editions or choice<br />
bindings may still find ample rate of profit on<br />
his turnover, for then Babbage’s principle does<br />
not apply.<br />
<br />
Thus the ordinary bookseller’s difficulty seems<br />
to be the consequence of an economic law, and if<br />
this be so it is irremediable by net prices or any<br />
similar device.<br />
<br />
Yours truly,<br />
<br />
A Constant READER.<br />
<br />
——<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
II.<br />
<br />
Sir,—Seeing that this question is stated in The<br />
Author of March to be ‘the most important of<br />
all accessory literary problems,” perhaps you will<br />
allow me to return to my suggestion in the<br />
January number.<br />
<br />
That the sale of books of all kinds would be<br />
universally increased if the public had real facilities<br />
for inspection, is obvious. The writer of the<br />
article in your March number says, correctly,<br />
“ There is probably not a book in the world which<br />
some one would not purchase on the spot if it were<br />
placed before him.” This may be equally true of<br />
most commodities, but the book trade differs from<br />
all others, in giving the public practically no<br />
chance of ascertaining what it is they are asked to<br />
buy. ‘To obviate this, books must be treated like<br />
other goods, and offered to the public for inspec-<br />
tion. A shop might be opened where books could<br />
be inspected for a fee (in case a purchase was not<br />
made). Books would also be sent by post, and<br />
brought to customers’ houses in carts. The tariff<br />
might be 5 per cent. on the value of the books<br />
inspected, unless 10 per cent. of their value was<br />
bought.<br />
<br />
What a difference it would make if books were<br />
brought to the door! There is a very large public<br />
to be exploited, people who, though well able to<br />
afford it, scarcely ever buy a book, being kept out<br />
of the market by the difficulty of ascertaining what<br />
books are for sale, what the contents of these books<br />
are, and how they are to be obtained. Make these<br />
things easy instead of difficult, and it is quite<br />
certain that the sale of books would be greatly<br />
increased. Make book-buying easy and satis-<br />
factory, and the public will eagerly pay.<br />
<br />
Why not imitate the butcher and the baker, who<br />
bring their wares to the door ?<br />
<br />
Yours, etc.,<br />
Norwoop Youne.<br />
<br />
WANTED A REFERENCE.<br />
<br />
Srr,—Could any reader of Zhe Author be 80<br />
kind as to inform me through its columns the<br />
source of the following quotation ?—<br />
<br />
Qui cessat esse melior, cessat esse bonus.<br />
<br />
I have searched every quotation book and list of<br />
mottoes in vain. I have seen somewhere, but<br />
forget where, that it was Oliver Cromwell’s<br />
motto.<br />
<br />
Yours obediently,<br />
<br />
J. M. Lary. | https://historysoa.com/files/original/5/482/1903-04-01-The-Author-13-7.pdf | publications, The Author |
483 | https://historysoa.com/items/show/483 | The Author, Vol. 13 Issue 08 (May 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+08+%28May+1903%29"><em>The Author</em>, Vol. 13 Issue 08 (May 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-05-01-The-Author-13-8 | | | | | 193–224 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-05-01">1903-05-01</a> | | | | | | | 8 | | | 19030501 | Che Huthor.<br />
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OOS Orn ooocoece<br />
ooocoo oOocooaceg<br />
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me Oo Oo Or COCO So OS Oo > bo<br />
or<br />
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Or Or<br />
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acnc<br />
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es<br />
acounorce<br />
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establish the merit of the applicant’s literary work.<br />
<br />
4, Applications may, if desired, be accompanied<br />
by not more than two testimonials to the appli-<br />
cant’s character, and to merits of the applicant’s<br />
works or either of them, and bya further statement<br />
of the applicant’s financial position from some<br />
person acquainted therewith.<br />
<br />
5. Applications and the contents of all state-<br />
ments relating thereto will be treated as confiden-<br />
tial, the names of the recipients of the pensions<br />
and the amounts granted alone being stated in Zhe<br />
Author.<br />
<br />
6. All communications’ whatever must be ad-<br />
dressed to the Secretary, and to him only.<br />
Canvassing of members of the Committee, either<br />
by or on behalf of the applicant, is prohibited.<br />
<br />
7. The pension created will be granted as from<br />
March 25th, 1903, and will be payable, as to the<br />
first instalment immediately, and thereafter in<br />
quarterly instalments in advance on the usual<br />
English quarter days.<br />
<br />
By order of the Pension Fund Committee,<br />
<br />
G. HERBERT THRING,<br />
Secretary.<br />
4<br />
<br />
OUR BOOK AND PLAY TALK.<br />
i<br />
HE Rev. Edwin A. Abbott, D.D., formerly<br />
Headmaster of the City of London School,<br />
and author of “ The Spirit on the Waters,”<br />
** Newmanism,” “ Through Nature to Christ,” etc.,<br />
has just published (Adam and Charles Black) a<br />
very interesting and scholarly pamphlet, entitled<br />
“ Contrast; or, a Prophet and a Forger.”<br />
<br />
Dr. Abbott is convinced that the author of the<br />
Fourth Gospel is often, historically as well as<br />
spiritually, closer than the Synoptic Evangelists<br />
to the truthful conception of the birth, nature,<br />
life, and resurrection of our Lord. At the same<br />
time he is firmly convinced that the author was<br />
not the son of Zebedee, nor an eye-witness of the<br />
facts he relates. He was one who considered him-<br />
self but the pen of John the son of Zebedee, and<br />
gave unity to the preaching and revelations of<br />
John.<br />
<br />
Dr. Abbott has in the press a work entitled<br />
“From Letter to Spirit; an Attempt to Reach<br />
through Voicesand Words the Man beyond them”’<br />
(Adam and Charles Black).<br />
196<br />
<br />
Sir Lewis Morris has added to the last edition of<br />
his works, to be published immediately, several<br />
poems written last year, including the lines on<br />
“The Peace Thanksgiving in St. Paul’s,” “The<br />
Coronation Ode,” written by the King’s request,<br />
and set to music by command, by Dr. Cowen ;<br />
“ Peripeteia,” or an pode, which appeared in the<br />
Times ; the announcement of the King’s illness ;<br />
the lines on “The Last Pageant,” of October<br />
26th, and the “Ode on the Installation of the<br />
Prince of Wales as Chancellor of the Welsh<br />
University at Bangor.” ‘The new issue comprises<br />
also the lines on “The Jubilee of the Free<br />
Libraries at Manchester,” held as late as the 3rd<br />
of the present month. Sir Lewis, we understand,<br />
is now desirous of bringing his poetical career to a<br />
close, if his friends the public will permit.<br />
<br />
Lieut.-Colonel E. Gunter has published, through<br />
Messrs. Wm. Clowes & Sons, Limited, 28, Cock-<br />
spur Street, S.W., a seventh edition of his military<br />
pocket-book, ‘‘ The Officer’s Field Note, and Sketch<br />
Book and Reconnaissance Aide-Mémoire,” which<br />
was much used by officers during the late Boer<br />
War. This edition, which has been brought up to<br />
date, contains the amendments in war establish-<br />
ments, new sketches, showing the latest designs for<br />
field trenches, etc., as the result of the war experi-<br />
ences, and other matter useful for field training,<br />
<br />
besides materials for Field Sketches and Reports.<br />
The Religious Tract Society has shown its<br />
appreciation of Sir William Charley’s recent<br />
work, “The Holy City, Athens and Egypt,” by<br />
placing in their saloon, 56, Paternoster Row, and<br />
65, St. Paul’s Churchyard, copies of the work for<br />
<br />
sale. This volume is founded on personal obser-<br />
vation and the researches of modern explorers, and<br />
is a vindication of the Bible narrative against the<br />
assaults of the Higher Criticism. Sir William has<br />
written a lecture on “The Higher Criticism and<br />
the Bible,” which he will shortiy deliver.<br />
<br />
Sir William Charley’s legal works, “The Real<br />
Property Acts” (Sweet) and “The Judicature<br />
Acts” (Waterlow), each ran through three<br />
editions and are now out of print. But there<br />
are three of his books still in circulation: “The<br />
Crusade against the Constitution; an Historical<br />
Vindication of the House of Lords” (7s. 6d.,<br />
Sampson Low); “Ending and Mending the<br />
House of Lords” (2s. 6d., Simpkin, Marshall); and<br />
the above-mentioned “The Holy City, Athens and<br />
Egypt” (10s. 6d., Marshall Bros.).<br />
<br />
“The Sword of Azrael,’ Mr. R. E. Forrest’s<br />
latest novel, is a chronicle of the Great Mutiny.<br />
The title-page has it that the writer is Major-<br />
General John Hayman, late Hon. E.I.C.S., edited<br />
by R. E. Forrest. This is, of course, a mere<br />
literary device. We will not divulge the plot<br />
of this vividly written story; our readers can<br />
<br />
THE AUTHOR.<br />
<br />
follow John Hayman’s realistic narrative for<br />
themselves ; they will find it very interesting,<br />
<br />
, Mr. Forrest has published four books, all con-<br />
nected with India. The first one, entitled “The<br />
Touchstone of Peril,” was most favourably re-<br />
viewed. The second, “ Hight Days,” came out<br />
in the Cornhill Magazine, and in book form went<br />
through four or five editions. The third was<br />
“The Bond of Blood” (Little Novels series :<br />
T. Fisher Unwin). It was a small book that<br />
evoked many long reviews; notably it had a<br />
favourable mention in an Ldinburgh Review<br />
article on Anglo-Indian Novelists, known to<br />
have been written by Sir Alfred Lyall.<br />
<br />
Miss Beatrice Marshall has in hand a story of<br />
London in the time of the Commonwealth, which<br />
will be published next autumn by Seely & Co.<br />
Her “ The Siege of York,” a story of the days of<br />
Thomas Lord Fairfax (Seely & Co.), published<br />
last year, proves that she has inherited her<br />
mother’s literary gifts. This was Miss Marshall’s<br />
second historical romance, the first being “ Old<br />
Blackfriars in the Days of Sir Anthony Vandyck.”<br />
<br />
When Mrs. Emma Marshall died in 1899 her<br />
last story was left incomplete. At the request of<br />
her publishers it was-finished by her daughter, and<br />
so successfully finished that Miss Beatrice Marshall<br />
was encouraged to tread further in her mother’s<br />
footsteps. Previous to this she had contributed<br />
articles, chiefly on modern German literature, to<br />
several papers. Two of these, one on Nietzsche<br />
and another on Gerhard Hauptmann, appeared in<br />
the Fortnightly Review.<br />
<br />
After the appearance of her translation of<br />
Sudermann’s great novel “Der Kalzensky”<br />
(John Lane), Messrs. Smith Elder invited her<br />
to take part in the translation of the Bismarck<br />
Memoirs. The biographical sketch of her mother<br />
has gone into a second edition. It contains a por-<br />
trait of that prolific novelist besides twelve illus-<br />
trations (6s., Seeley & Co.). The writing of it<br />
was a real labour of love.<br />
<br />
Mr. William Westall, in spite of ill-health, has<br />
nearly finished a present-day novel which he pro-<br />
poses to call “ Dr. Wynne’s Revenge.” He hopes<br />
soon to begin a long contemplated Lancashire story,<br />
dealing with the stirring period of the cotton famine<br />
and the American Civil War.<br />
<br />
Ian Maclaren (the Rev. John Watson) is not at<br />
present engaged in any literary work owing to<br />
considerations of health.<br />
<br />
Mr. Walter Jerrold is editing a big collection of<br />
Nursery Rhymes for Messrs. Blackie. There are<br />
to be numerous illustrations by Charles Robinson.<br />
Besides this Mr. Jerrold is editing (1) Mrs.<br />
Gaskell’s “Life of Charlotte Bronté” for Dents’<br />
Temple Classics; (2) “ Longfellow’s Poetical<br />
Works” for a new series of Poets to be published<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
by Messrs. W. Collins & Sons; (3) and he is also<br />
editing Dents’ edition of Thackeray’s Prose Works.<br />
<br />
Mr. Robert Machray’s new serial, “ The Mystery<br />
of Lincoln’s Inn,” started in 7%t-Bits on April<br />
11th, where it will appear for the next three or four<br />
months. The story, which Mr. Machray describes<br />
as an ‘“‘experiment in sensation,” will be published<br />
in book form by Messrs. Chatto and Windus in<br />
September. ‘The Mystery of Lincoln’s Inn” is<br />
built round that somewhat familiar fact of every-<br />
day life, the defaulting solicitor.<br />
<br />
Miss Montgomery-Campbell has written a Pre-<br />
face to a volume, shortly to be issued, entitled “ Old<br />
Days in Diplomacy.” It is by the daughter of Sir<br />
Edward Cromwell Disbrowe, En. Ex., Min. Plen.,<br />
G.C.G., and is inscribed to the Honble. Mrs.<br />
Richard Boyle (E. V. B.). This volume, illustrated<br />
with portraits, is 7s. 6d. net—by post 7s. 11d.<br />
The edition is strictly limited, and the price will<br />
probably be raised in the case of those who do not<br />
subscribe for it.<br />
<br />
“Old Days in Diplomacy,” written at the<br />
request of many friends, gives an account of life<br />
at the Courts of Russia, Wiirtemberg, Sweden,<br />
and the Netherlands, during the first half of<br />
the nineteenth century. The ceremonies at the<br />
foneral of the Emperor Alexander and the Coro-<br />
nation of the Emperor Nicholas are described, also<br />
the official visits of the Dukes of Wellington and<br />
Devonshire to St. Petersburg, as well as the inter-<br />
course with Prince Metternich. It contains many<br />
most interesting personal recollections of royalties<br />
and celebrities at home and abroad.<br />
<br />
A fifteenth edition of Lieut-Colonel Sisson C.<br />
Pratt’s “Military Law, its Procedure and Prac-<br />
tice,” was published a short time ago, and a fifth<br />
edition of the “ Military Law Examiner” (Gale and<br />
Polden) will be issued this spring. Before long<br />
Lieut.-Colonel Pratt will have to take in hand the<br />
revision of the official “‘ Précis of Modern Tactics,”<br />
which was re-written by him, and in view of the<br />
recent experiences in South Africa a new edition<br />
will be of general interest.<br />
<br />
Mr. Morley Roberts’ new book, ‘‘ The Promotion<br />
of The Admiral, and other Sea Comedies,” is a<br />
volume of short stories well worth reading. The<br />
first, which gives the book its title, is in two parts,<br />
and tells how Shanghai Smith, of San Francisco,<br />
tries to get even with a sailor who had once given<br />
him a thorough licking; this sailor being now<br />
Rear-Admiral Sir Richard Dunn, K.C.B. How<br />
Shanghai Smith is himself paid out and how the<br />
Admiral comes up top we will not reveal.<br />
<br />
“The Scuttling of the Pandora,” the last in the<br />
book, is a remarkable little tale of an unlucky ship.<br />
Here is a passage from it :—<br />
<br />
‘‘T want to see her sink,” Joe said savagely. “I want<br />
to see ’er go where she’s put so many good men. What<br />
<br />
197<br />
<br />
right ‘as we to save ’er to do more ’arm? It ain’t alone as<br />
she’s drownded my chum or the others, but she ’as a black<br />
record that ain’t finished unless we finish it. She’s strong<br />
and will go on killin’ for twenty years, Geordie. She'll<br />
oa praney for them as doesn’t care, but what of the likes<br />
of us ?*<br />
<br />
He was greatly moved.<br />
<br />
“She’s caulked with men’s lives, and painted with their<br />
blood!” he cried passionately. “I'd rather she sunk with<br />
me than sailed the seas any more.”<br />
<br />
Mr. Charles Whitworth Wynne, author of «Ad<br />
Astra,” &c., has just published through Messrs.<br />
Kegan Paul a drama in five acts, called “David<br />
and Bathshua.” It is founded on the story in<br />
the Bible, and Saul, Jonathan, Abner, Uriah,<br />
Natham, Michal, and Merab are among the<br />
dramatis persone.<br />
<br />
Mr. F. Marion Crawford’s fascinating book “ Ave<br />
Roma Immortalis,” being studies from the<br />
Chronicles of Rome, has gone into a second and<br />
cheaper edition.<br />
<br />
In his “Studies in Contemporary Biography,”<br />
Mr. Bryce gives us twenty graphic impressions of<br />
twenty notable men. Lord Beaconsfield, Mr.<br />
Gladstone, Dean Stanley, Anthony Trollope, Mr.<br />
Parnell, Archbishop Tait, Cardinal Manning, Lord<br />
Acton, are among the personalities presented to us<br />
in these interesting pages of biographies. This is<br />
a book not to be missed.<br />
<br />
Miss May Crommelin’s “Midge” forms No,<br />
51 of the Weekly Telegraph novels. This is<br />
“‘a monthly series of copyright books by the best<br />
authors.” “Midge” is a readable story. Miss<br />
Iza Duffus Hardy has written No. 31 of this<br />
series, ‘‘ Hearts or Diamonds.”<br />
<br />
John Strange Winter has contributed No. 46<br />
of the same series, “Mignon’s Secret.’ No.<br />
48 is “The Dancer in Yellow,” by Mr. W. E.<br />
Norris; No, 47, “The Peer and the Woman,”<br />
is by E. P. Oppenheim. ;<br />
<br />
“Helen” is the name of a new story by Cherry<br />
Rowland—a pleasant tale with a happy ending.<br />
Copies can be had of the writer at Llwyn-y-brain,<br />
Whitland, South Wales.<br />
<br />
Mr. I. Zangwill’s “ The Grey Wig ” (Heinemann)<br />
is a collection of stories old and new. ‘“ Merely<br />
Mary Ann” is an old one, but is none the less<br />
welcome for that. “The Grey Wig,” the first, and<br />
we fancy one of his latest, is very good indeed.<br />
<br />
In his recently published book “The Danger<br />
of Innocence,” Mr. Cosmo Hamilton has given us<br />
asmart Society satire. It is published by Greening<br />
& Co. at 6s.<br />
<br />
Mr. J. Bloundelle Burton’s novel, “A Branded<br />
Name” (Methuen, 6s.), is full of incident. The<br />
name, branded on a woman’s shoulder, was a mark<br />
that would remain upon that shoulder as long as<br />
her life would last.<br />
<br />
<br />
<br />
<br />
198<br />
<br />
<br />
<br />
The “Star-Dreamer,” by Agnes and Egerton<br />
Castle, is full of charm—‘ the story of a woman’s<br />
influence.’ The atmosphere of a herb-garden and<br />
a laboratory respectively permeate the tale.<br />
<br />
In Sydney ©. Grier’s “The Advanced Guard”<br />
(Blackwood, 6s.), the hero is Sir Dugald Haigh,<br />
who was doubtfully blest with an uncomfortable<br />
wife. The story begins in India; the time is, the<br />
‘* Dickens period.”<br />
<br />
Mr. Rider Haggard’s new romance, “Pearl<br />
Maiden” (Longmans, 6s.), is interesting from<br />
start to finish. Miriam, the Pearl Maiden, is born<br />
aboard a Phcenician merchant galley bound for<br />
Alexandria. Miriam is brought up among the<br />
Essenes. She endures many things during and<br />
after the siege and fall of Jerusalem. In this<br />
portion of the romance Mr. Rider Haggard has<br />
surpassed himself.<br />
<br />
Mr. William Archer’s article in the April Fort-<br />
nightly Review has been attracting a great deal of<br />
attention. He advocates the formation of a<br />
Critical Court of Honour to which disputed ques-<br />
tions theatrical should be referred. He suggests<br />
that a body of six delegates should be selected<br />
from the representative societies of the different<br />
classes interested, viz., the Society of Authors, the<br />
Institute of Journalists, and the Actors’ Associa-<br />
tion. ‘These delegates to elect an additional<br />
member as president with a casting vote. Com-<br />
plainants would be expected to appear before this<br />
board, and Mr. Archer says, ‘‘ We may be sure that<br />
a plaintiff who had refused to submit his case to<br />
its arbitration would go into the law courts under<br />
a heavy handicap.”<br />
<br />
We understand that the leading réle in Mr.<br />
Sydney Grundy’s new play, Zhe Gipsy, is to be<br />
played—created, in fact—by Miss Fay Davis.<br />
<br />
—_—— + +-____-<br />
<br />
PARIS NOTES.<br />
<br />
—1—~<—+<br />
<br />
MONG the recent novels which have had<br />
the greatest success here are “ Dona-<br />
tienne,” by M. René Bazin; “L’Inutile<br />
<br />
Effort,” by M. Edouard Rod, and ‘‘ La Nouvelle<br />
Espérance” by the Comtesse de Noailles.<br />
<br />
Curiously enough, in each of these three books<br />
the most prominent feminine character is an<br />
absolutely selfish woman singularly devoid of<br />
conscience.<br />
<br />
Donatienne, in M. Bazin’s story, is the young<br />
wife of a Breton peasant. She is the mother of<br />
<br />
three children and the idol of her husband, but<br />
poverty compels her to leave the little cottage<br />
Just<br />
<br />
home and engage herself as nurse in Paris.<br />
<br />
THE AUTHOR.<br />
<br />
continual presence of the husband’s<br />
<br />
_ details to the end of the volume.<br />
<br />
<br />
<br />
at first she sends her earnings to her husband to<br />
enable him to keep the little home together until<br />
better times. Gradually, however, she becomes<br />
accustomed to the luxuries and amusements of her<br />
new life Her letters to her husband are rare and<br />
finally cease altogether.<br />
<br />
The poor Breton peasant is somewhat slow of<br />
comprehension, but when it dawns upon him that<br />
his wife hus no intention of returning to her<br />
family, the little home, with its memories, becomes<br />
unbearable to him, and with his three children he<br />
sets out with a vague idea of seeking his fortune<br />
elsewhere.<br />
<br />
The story is most pathetic and the dénouement<br />
both touching and tragic. It is told with a<br />
simplicity that adds greatly to the pathos. There<br />
is not a word too much, not a line of any descrip-<br />
tion which could be omitted, and the book is<br />
certainly one of the finest of M. Bazin’s novels.<br />
<br />
“L’Inutile Effort” is a. masterly study of<br />
character. Leonard Perreuse is the ambitious<br />
man of our modern society, the man whose one<br />
object in life is to succeed. He is seconded by a<br />
wife who is narrow-minded, selfish and unscrupu-<br />
lous. They are both somewhat hampered by the<br />
brother<br />
Raymond, a man who has not advanced or rather<br />
degenerated with the times, and who is old-<br />
fashioned enough to have a conscience. The<br />
story of the book turns on the trial of a French<br />
girl in London, who has been arrested on the<br />
charge of murdering her child by pushing it into<br />
the Thames.<br />
<br />
On reading the account in the newspaper both<br />
brothers are convinced that the child is Leonard’s,<br />
and they are equally convinced that the poor girl<br />
whom he deserted is incapable of the crime of<br />
which she is accused. Raymond, who had always<br />
blamed his brother’s conduct in this matter, had<br />
taken an interest in the girl, kept up a corre-<br />
spondence with her for some years, and helped her<br />
when, through illness, she had been in difficulties.<br />
He persuades Leonard that their duty now is to go<br />
to London and give their evidence in favour of the<br />
prisoner. Leonard’s wife, fearing the consequences<br />
of ascandal for herself and her children, insists that<br />
her husband must relinquish this plan. Raymond,<br />
in his indignation, refuses to enter his brother's<br />
house again. “Ihe unfortunate girl is condemned<br />
to death, and from that moment Leonard’s punish-<br />
ment begins. His conscience is aroused at last,<br />
and in desperation he leaves everything and goes<br />
with Raymond to London to see if anything can<br />
now be done.<br />
<br />
We will not spoil the story by telling all the<br />
It is a book in<br />
which all the characters live, and it is undoubtedly<br />
the strongest of M. Rod’s novels.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
As regards ‘La Nouvelle Espérance,’ by the<br />
Comtesse de Noailles, the title is quite misleading.<br />
From the first page to the last of the book one<br />
searches in vain for the “new hope.” With such<br />
a fine title one naturally expects some elevated<br />
thoughts and ideas, but the whole book is “ of the<br />
earth, earthy,” with a woman as the principal<br />
character who is positively repulsive. ‘‘ The<br />
Degenerates’”’ would have been a more suitable<br />
title for such a novel, as, with the exception of the<br />
unfortunate husband of the heroine, all the cha-<br />
racters are more or less unwholesome. There is<br />
very little plot or even story to the book. It is<br />
merely the account of an idle, selfish, luxurious<br />
woman, who imagines herself ultra-refined and<br />
who has no aim or object in life. She has<br />
a devoted husband whose chief fault appears to<br />
be his blindness to his wife’s defects. Having<br />
absolutely nothing to do, she is naturally bored to<br />
death, and being an extremely self-centred person<br />
she spends hours brooding over her own feelings<br />
and sensations.<br />
<br />
She then endeavours to make love to various<br />
friends of her husband. Her third attempt, only,<br />
is a success, and this liaison with a married man<br />
relieves the monotony of her life until the new<br />
lover discovers that he has a conscience and retires<br />
with his wife to the country.<br />
<br />
The extraordinary feature of this book is the<br />
<br />
absolute depravity of the woman, which, consider-<br />
ing her education and surroundings, makes the<br />
whole story appear unreal. When her lover goes<br />
away she decides that she cannot live without him,<br />
and without the slightest compunction as far as her<br />
husband is concerned, she prepares a strong dose of<br />
morphia, writes a farewell letter to the recreant<br />
lover, which she leaves for her husband’s sister to<br />
forward, and when the clock strikes midnight<br />
takes her departure from this world. In this<br />
farewell letter she says, “Vous m’aimiez et vous<br />
€tes parti parce que votre femme et votre fils yous<br />
Pont demandé. . . . Vous avez fait ce que vous<br />
deviez faire : les hommes ont de la conscience. Les<br />
femmes, mon ami, n’ont pas de conscience ; elles<br />
ont une épouvantable volonté de n’étre pas plus<br />
malheureuses qu’elles ne peuvent.”<br />
_ On closing the book one can only wonder why<br />
it should have been written. As a great French<br />
eritic said about the works of another author:<br />
“ When such things are read and meet with success,<br />
eritics can only write a page of history on the<br />
Manners and customs of a society which reads such<br />
00ks,”<br />
<br />
“La Bastille des Comédiens ” is the title of the<br />
new book by M. Frantz Funck-Brentano, the well-<br />
snown author of “ Le Drame des Poisons” and<br />
L’ Affaire du Collier.”<br />
<br />
In January, 1902, the Société de I’Histoire du<br />
<br />
199<br />
<br />
théatre opened a competition for a study on For<br />
PEvéque, the famous prison in which so many<br />
comedians, dramatic authors and critics were incar-<br />
cerated. So little was known about this old prison<br />
that it has been no easy task to collect the necessary<br />
information from the various libraries and the<br />
national archives.<br />
<br />
M. Funck-Brentano’s work was unanimously<br />
declared to be the best, and the volume now pub-<br />
lished, illustrated with eleven engravings, is a most<br />
interesting study of Old Paris and its history and<br />
customs. About a third of the book is taken up<br />
with a description of the prison itself and its<br />
history, while the remaining two-thirds tell us of<br />
the strange customs of those bye-gone days, when<br />
prisoners were notified that they were sentenced to<br />
a few days’ seclusion, and accordingly wended their<br />
way to the prison unescorted.<br />
<br />
The author tells us amusing stories, too, of the<br />
way in which fathers could have their sons im-<br />
prisoned for a short time. In 1744 a M. Thibaut,<br />
of Bordeaux, writes to the police-lieutenant of<br />
Paris to the effect that his son, aged thirty, is in<br />
the gay capital. ‘He is leading a dissipated life,”<br />
writes the anxious father, “and the result may be<br />
that he will disgrace his family.” All that’ the<br />
father asks is that his son may be detained in<br />
prison for a short time and he is quite willing to<br />
pay the expenses. The police-lieutenant investi-<br />
gates the case, and signs a paper on the 5th of<br />
April, “ Bon pour prison, aux dépens du pere.” The<br />
son objects to the hospitality provided for him and<br />
appeals for a release. The father’s consent to this<br />
is necessary, and on the 25th of April, evidently<br />
considering that the lesson has had time to be<br />
beneficial, he signs the paper for the release of<br />
his son.<br />
<br />
Comedians who were wanting in respect either<br />
to the king or to their public were detained at For<br />
l’Evéque for a time, and we are told many amusing<br />
anecdotes about them. Life in this prison was by<br />
no means monotonous, and some of the inmates<br />
entertained their friends in the most hospitable<br />
manner. ‘The celebrated actress, Mlle. Clairon,<br />
gave “des soupers divins et nombreux,” and<br />
carriages filled the street from morning till night<br />
as long as she was in prison.<br />
<br />
When the artistes of the Francais were im-<br />
prisoned they were always allowed liberty for their<br />
performances and rehearsals, as the Comédie could<br />
not dispense with their services.<br />
<br />
In the magazines there are some excellent<br />
articles this month.<br />
<br />
In the International Theatre M. Max Nordan<br />
writes on “Theatrical Censorship.” The authorities<br />
in Berlin have forbidden the production of Paul<br />
Heyse’s “Mary of Magdala,” and M. Nordau<br />
thinks that “all civilised Europeans should blush<br />
<br />
<br />
200<br />
<br />
to tolerate the existence of that degrading vestige<br />
of feudal despotism : theatrical censorship.”<br />
<br />
The English are specially favoured in the cur-<br />
rent number of this theatrical paper.<br />
<br />
M. Sardou has allowed the editor to publish<br />
photographic reproductions of the principal scenes<br />
of his new play “ Dante,” which is to be produced<br />
soon by Sir Henry Irving. About eight of these<br />
scenes are reproduced, accompanied by an excellent<br />
article giving an idea of Dante’s original concep-<br />
tion of the Inferno.<br />
<br />
Madame Réjane has had to postpone until next<br />
season the new play she was rehearsing: “ La<br />
Meilleure Part.”<br />
<br />
“Ta Rabouilleuse” is a success at the Odeon.<br />
It is a four-act play cleverly adapted by M. Emile<br />
Fabre from Balzac’s “ Ménage de Garcon.”<br />
<br />
Ouida’s “ Two Little Wooden Shoes ” has been<br />
produced at the Opéra Comique as “ Muguette.”<br />
The music is by M. Missa.<br />
<br />
“Tyes Affaires sont les Affaires,” by M. Octave<br />
Mirbeau, is the event of the moment at the<br />
Francais. It is an extremely up-to-date satire on<br />
the omnipotence of wealth. The piece is a literary<br />
triumph, the dialogue brilliant and the interest<br />
well sustained.<br />
<br />
“T’Autre Danger,” by M. Maurice Donnay, is<br />
still a success at the Francais. It is admirably<br />
put on, but the subject is a very delicate one—of<br />
the same nature as that of M. Paul Bourget’s novel,<br />
“Le Fantome.”<br />
<br />
“Lucifer” was the title of the last piece of this<br />
season produced by M. Bour at his International<br />
Theatre. It is a very strong play in four acts,<br />
translated by M. Monnier from the Italian of<br />
M. Butti.<br />
<br />
Lucifer is the name given to a free-thinker, who<br />
was formerly a priest, by the students to whom he<br />
lectures. This ex-priest has married and has a<br />
son and daughter, whom he has brought up as<br />
atheists. An old friend of his comes to live near<br />
him as Professor at the University. This friend is<br />
a religious man, and has an only daughter. The<br />
ex-priest’s son falls in love with her, but her father<br />
refuses his consent to their marriage on religious<br />
grounds. The lovers elope, and after their marriage<br />
return to the ex-priest’s home. In the last act the<br />
young wife has taken a severe chill and is dying.<br />
Her husband, in the presence of Death, implores<br />
his atheist father to teach him a prayer, as in his<br />
desperation he suddenly feels the need of religion<br />
and the certainty that there is something beyond<br />
this life. The struggle between his pride as a<br />
savant and atheist and his family affection is very<br />
terrible, and the scene between the father and son<br />
is most dramatic.<br />
<br />
M. Bour was remarkably fine in this réle.<br />
“Lucifer” and “ Alléluia” are undoubtedly his two<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
best creations. M. Bourny, as the son, was also<br />
excellent. M. Bauer had only a small part, but he<br />
was as fine as usual in it.<br />
<br />
M. Bour has also produced another play by M.<br />
Robert Bracco, a one-act piece entitled “Don<br />
Pietro Carusi,” which is quite a chef d’wuvre.<br />
<br />
ALys HALLARD.<br />
<br />
9<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
es<br />
Literary Larceny.<br />
<br />
R. HARTLEY ASPDEN, the Editor of the<br />
Sunday Companion and Sunday Circle, has -<br />
laid before the Secretary of the Society of 7 iw<br />
<br />
Authors a case of literary larceny of a very serious |<br />
character. |<br />
<br />
As it is probable that similar cases may have oe:<br />
occurred, and as it has always been the object of —F<br />
the Authors’ Society to maintain the rights of<br />
authors against all comers, members of their own<br />
profession or not, it has been thought right to<br />
publish the facts in detail.<br />
<br />
In January of this year, Mr. Aspden, as Editor<br />
of the papers mentioned, received from a Mr.<br />
Reginald Nash, a story entitled “Through Great f°. *<br />
Tribulation.” This story he was inclined to accept,<br />
and wrote to the author as follows :— B iyky<br />
<br />
DEAR S1R,—My reader has reported favourably on your :<br />
story “Through Great Tribulation.” Please tell me if you<br />
are the author of the story, and if you are willing to accept<br />
£15 (our usual price for these stories) for it.<br />
<br />
Yours faithfully.<br />
THE EDITOR.<br />
<br />
The author’s reply was on a post card, to the<br />
<br />
following effect.<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Dar SrR,—Received offer for story entitled ‘Through _<br />
<br />
Great Tribulation,’ which I accept.<br />
Believe me, I am,<br />
Yours faithfully,<br />
(Signed) R. NASH.<br />
<br />
By chance Mr. Aspden discovered that the story<br />
had already been published about two years pre-<br />
viously in another of his publications entitled Golden<br />
Stories. The story was word for word the same,”<br />
with the exception that the title had been changed<br />
and the name of one of the characters. He<br />
thereupon wrote a second time to the author, and —<br />
requested to know whether the story was his own<br />
production.<br />
<br />
In answer, he received a letter stating it was the<br />
author’s own production, and implying that he was”<br />
a contributor to many other magazines. . :<br />
<br />
The original story was written by Mrs. H. B.<br />
Welch. If Mrs. Welch had been a member of the”<br />
Society of Authors the Committee would, no doubt,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
have gladly taken up the case on her behalf and<br />
exposed the matter in the courts, but the Com-<br />
mittee had no locus standi, and left it therefore to<br />
Mr. Aspden to bring the affair before the public.<br />
Further correspondence made it clear that this<br />
was not the only story that had been taken from<br />
other papers and forwarded to editors as the anthor’s<br />
own work, and we are indebted to Mr. Aspden for<br />
having thrashed out the matter carefully. In con-<br />
sequence Mr. Nash has written, signed and published<br />
<br />
+<br />
<br />
in the Norwood Free Press the following apology :<br />
<br />
I, Reginald Nash, of No. 1, Dassett Road, Knight’s Hill,<br />
West Norwood, beg humbly to apologise to the Editor of<br />
Sunday Stories and Golden Stories for having, without his<br />
knowledge and consent, taken stories published in those<br />
journals, and endeavoured to dispose of them for payment<br />
as my own original compositions, and I hereby promise not<br />
to repeat this offence in the case of Golden Stories or<br />
Sunday Stories or any other paper.<br />
<br />
(Signed)<br />
Witness, H. Brown,<br />
Dated 18th Mareh, 1903.<br />
<br />
The matter is of serious interest to all members<br />
of the Authors’ Society, and we think it expedient<br />
to publish in full this apology, which has already<br />
appeared in one newspaper.<br />
<br />
REGINALD NASH.<br />
<br />
1<br />
<br />
An Unwarrantable Infringement.<br />
<br />
ANOTHER case has been brought to the notice of<br />
the Secretary. In the autumn of last year a paper<br />
entitled the Science and Art of Mining gave a<br />
prize for the best answer to certain questions<br />
concerning mining.<br />
<br />
One of the questions was :<br />
<br />
‘« What are the chief causes of boiler explosions ?<br />
—What precautions would you take ?”<br />
<br />
The prize was awarded to John R. Ford.<br />
<br />
Mr. Powis Bale, who is a member of our Society,<br />
an engineer, and a writer of some valuable books on<br />
the subject, discovered in a roundabout fashion that<br />
the answer to the prize question was copied directly,<br />
without any acknowledgment, out of his book<br />
“Steam Engineering,” although one of the rules of<br />
the competition especially forbade this.<br />
<br />
If those who enter prize competitions are in the<br />
habit of competing on these lines the sooner the<br />
fault is exposed the better.<br />
<br />
Mr. Bale placed the matter in the hands of the<br />
Secretary, who at once wrote to the editor of the<br />
paper.<br />
<br />
It is quite clear from the answer of the pro-<br />
prietors that they were unaware of Mr. Ford’s<br />
methods. They have at once taken steps to express<br />
their regret in a public manner, by publishing in<br />
their paper a statement of the facts approved by<br />
the author whose copyright they had unwittingly<br />
infringed.<br />
<br />
201<br />
<br />
Mr. Ford’s mistake has been acknowledged, and<br />
Mr. Powis Bale has kindly consented to refrain<br />
from taking any further action on the publication<br />
of the apology set forth below :—<br />
<br />
In the autumn of 1902, the Science and Art of<br />
Mining proposed a prize competition, one of the<br />
conditions of which runs as follows :<br />
<br />
“Original answers are specially desired. In all cases<br />
where quotations or extracts are made. the source and<br />
authority must be stated. Any breach of this regulation<br />
which comes to our notice will debar the offender from all<br />
future competitions in these columns.”<br />
<br />
Contrary to the rule quoted, I copied my answer<br />
—consisting of 205 lines—to Question 5, entitled,<br />
“What are the Chief Causes of Boiler Explosions ?<br />
—What Precautions would you take?” from Mr.<br />
Powis Bale’s well-known book, “A Handbook for<br />
Steam Users,” published by Messrs. Longmans,<br />
Green & Oo.<br />
<br />
As my answer won the Prize, it was published in<br />
the issue of the above periodical on October 11th,<br />
1902, infringing Mr. Powis Bale’s copyright.<br />
<br />
I tender my sincere regret to the Author of the<br />
Book and the Editor of the Paper, and in order to<br />
make my apology public, I give leave that you<br />
should publish it in the Engineer, Engineering, and<br />
the Mechanical World, and in any two others you<br />
may think fit.<br />
<br />
(Signed) Joun R. Forp.<br />
<br />
To M. Powrs Bats, Esq.,<br />
16 & 17, Appold Street,<br />
London, E.C.<br />
<br />
eo<br />
<br />
THE AUTHORS’ ASSOCIATION.<br />
<br />
Oe<br />
<br />
N last month’s Author a short article was pub-<br />
I lished referring to this association. One of<br />
the statements contained in that article was<br />
<br />
as follows :—<br />
<br />
‘Every member, we must mention, has the right<br />
to have one MS. of 5,000 words criticised each<br />
year, free of charge.”<br />
<br />
We have had a letter from Mr. Galloway Kyle<br />
in which he points out that we have misquoted the<br />
words of his prospectus, which run as follows :—<br />
<br />
‘Hach member is entitled to have one novel, or<br />
three shorter MSS. of not more than 5,000 words<br />
each, dealt with thoroughly per year.”<br />
<br />
Weare glad to correct this inaccuracy, and express<br />
our regret that it should have occurred.<br />
<br />
The publisher, whose offices are situated at 62,<br />
Paternoster Row, E.C., which was referred to in the<br />
same article as the temporary address of the Asso-<br />
ciation, writes to inform us that this address is no<br />
longer connected in any way with the Association.<br />
202<br />
<br />
AN AMERICAN POINT OF VIEW.<br />
<br />
ee a<br />
<br />
(This Article is taken from the American Book and<br />
News Dealer, March, 1903).<br />
<br />
Of Interest to Authors, Publishers, Booksellers,<br />
Printers, Compositors and Electrotypers.<br />
<br />
+ NDER the heading “ A Plea for the Abolition<br />
<br />
of the Duty on Books,” Mr. George F,<br />
<br />
Brett has recently written a pamphlet for<br />
<br />
private circulation, which was published for the<br />
author by the Macmillan Company.<br />
<br />
Mr. Brett says :<br />
<br />
“Tf it be conceded that a duty on books was<br />
needed in the early development of our country,<br />
either for purposes of revenue or to protect the<br />
printing and allied trades, or, more important<br />
still, for the purpose of fostering and encouraging<br />
the original work of our native authors, it must be<br />
clear that such a duty is no longer for any of these<br />
reasons either necessary or expedient.”<br />
<br />
The argument here used is precisely<br />
ment used by all Free Traders to show why<br />
protective tariffs should be abolished.<br />
<br />
It is possible that the next Presidential campaign<br />
will be fought on the Tariff issue ; but if so it is<br />
not probable that the Free Trade party would be<br />
willing to wage the campaign against a special<br />
branch of trade or industry that<br />
<br />
the argu-<br />
all<br />
<br />
would directly<br />
antagonise ail American authors, publishers, book-<br />
sellers, printers, compositors and electrotypers.<br />
<br />
It is certain that the Ways and Means Com-<br />
mittee of the Congress would give a hearing to<br />
representatives of these important industries before<br />
reporting to the House a Bill that would strike<br />
down all protection they now enjoy under the<br />
protective tariff.<br />
<br />
The undertaking to carry such important legis-<br />
lation through the Congress is worthy of one who<br />
is credited with the overweening ambition to<br />
publish all of the books for all of the American<br />
people.<br />
<br />
But Mr. Brett continues :<br />
<br />
« When we turn to the matter of protection for<br />
<br />
the printing and allied trades, the duty is unneces-<br />
sary, as these important trades can no longer be<br />
called ‘infant industries’ in any sense of this<br />
‘much-abused term, and in the production of the<br />
cheaper classes of books this country may, without<br />
doubt, I think, claim to lead all English-speaking<br />
countries, both in the amount of material produced<br />
and in the cheapness of its costs of manufacture.<br />
«Tf protection to these trades, moreover, were<br />
still needed, it is already provided, and in a much<br />
more effective form, by the provision of our Inter-<br />
national Copyright Act, which makes a copyright<br />
<br />
THE AUTHOR.<br />
<br />
in this country depend upon the manufacture of<br />
the article copyrighted within the limits of the<br />
United States.”<br />
<br />
If it be true that the International Copyright<br />
Act affords ample protection for the manufacturing<br />
branches of the book trade, then why repeal the<br />
protective tariff laws that protect and foster these<br />
trades? If they are amply protected under the<br />
one law, why not give them the benefit of both ?<br />
<br />
Does not Mr. Brett seek to have this law<br />
repealed in order that he may import still more<br />
English-made books without paying any revenue<br />
into the United States Treasury ?<br />
<br />
Would not the repeal of the tariff law materially<br />
lessen the amount of work now done by the<br />
American book-manufacturing trades, in setting<br />
up the type, making the paper, electrotyping the<br />
plates and printing the English books that are now<br />
reprinted in this country ? If not, then why<br />
repeal the law ?<br />
<br />
Again, Mr. Brett continues :<br />
<br />
«When we turn to the more important reason<br />
for the existence of the duty, the only reason, if<br />
there be one, worthy of serious attention, 7¢., the<br />
necessity of fostering a native literature, a litera-<br />
ture which shall echo the needs and voice the<br />
sentiments of our national life, it still appears that<br />
we may with entire safety abandon the duty on<br />
books, a duty which has been often and aptly<br />
termed ‘a tax on knowledge.’<br />
<br />
“ Here, again, the workings of our International<br />
Copyright Act, an act of ‘justice to foreign<br />
authors, has had results of great importance to<br />
our own people. Our younger and less known<br />
authors have, since the passage of the Act, found a<br />
much more ready welcome and appreciation at the<br />
hands of American publishers, who are no longer<br />
able to appropriate and exploit the works of<br />
foreign authors without payment.<br />
<br />
“ Let us, then, remove the duty on books as ‘a<br />
tax on knowledge’ and freely welcome what<br />
English authors may have to offer us that is<br />
worthy of acceptance, in order that we may move<br />
forward to our manifest destiny as the greatest<br />
nation the world has yet seen, whether we are<br />
judged by the standards of finance, commerce,<br />
literature or art.”<br />
<br />
Here, again, it is urged that the International<br />
Copyright Act affords ample protection to American<br />
authors ; but if so, why repeal the law? Would<br />
not its repeal again result in flooding the American<br />
market with the product of English authors, manu-<br />
factured and published in England ? Are American<br />
authors prepared to make the test ?<br />
<br />
Do American booksellers wish again to have<br />
the American market flooded with cheaply-made<br />
English books ?<br />
<br />
There is bu} little profit in the sale of cheap books,<br />
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<br />
THE AUTHOR. 203<br />
<br />
especially when the trade discount afforded by the<br />
importer is so short that it allows a sales profit<br />
less than the actual cost of handling the books.<br />
Would not such a measure directly antagonise all<br />
American booksellers ?<br />
<br />
It is pertinent to enquire whether the publication<br />
of this pamphlet by a house of English publishers<br />
is the beginning of a Free Trade propaganda ‘to<br />
break down the American industry of writing,<br />
publishing and selling books. If this is not<br />
true, it would be well for the English house of<br />
Macmillan & Co. to disavow such purpose before it<br />
estranges the goodwill of all American booksellers,<br />
<br />
If the impression created is allowed to go un-<br />
disputed, it will be necessary for all English<br />
authors, who hope for a fair measure of patronage<br />
in the American market, to take to cover in self-<br />
defence.<br />
<br />
Neither English authors nor English publishers<br />
can afford to have their books sold in this country<br />
by booksellers who would be compelled to band<br />
together in self-defence, and to sell only so many<br />
of such books, from under the counter, as may be<br />
necessary to hold their favourite customers. In<br />
such case it would be necessary for English authors<br />
to place their books with such English publishers as<br />
have American connections of such character as can<br />
command the goodwill and patronage of the American<br />
bookselling trade !<br />
<br />
It will be recalled that William McKinley was<br />
exalted to the Presidential chair, in Opposition to<br />
the combined influence of the leading politicians<br />
of New York, New England and Pennsylvania, by<br />
the American people, simply because he had become<br />
recognised as the leading apostle of the American<br />
policy of protective tariffs.<br />
<br />
Since the enactment of the Dingley Law, the<br />
American people have been enjoying a great wave<br />
of prosperity, that has been constantly accelerated<br />
by cumulative energy, until our thriving industries<br />
have made this great nation the cynosure of all<br />
eyes and the object of envy by our European rivals.<br />
This is the priceless heritage left to the American<br />
people by our late martyred President. Can it be<br />
supposed fer a moment that we will lightly cast<br />
it aside ?<br />
<br />
9<br />
<br />
LITERARY COPYRIGHT: THE PERIOD<br />
OF PROTECTION.<br />
Se<br />
<br />
ONSIDERABLE differences of opinion exist<br />
as to what should constitute the period of<br />
protection for literary matter. Some con-<br />
<br />
sider that the existing period of protection is not<br />
<br />
long enough; others contend that literary pro-<br />
perty should be regarded like other forms of<br />
property, and that copyright should be perpetual.<br />
Authorities differ, and distinguished authors dis-<br />
agree, as to the expediency of permitting the period<br />
of protection to be indefinite. It has been said<br />
that an author’s right to his work is, on every<br />
ground of reason and justice, absolute ; and that<br />
in the whole sphere of property, there is probably<br />
no right which rests on such solid foundation, as<br />
that of creation.<br />
<br />
Mr. Edward Jenkins, a member of the Copy-<br />
right Commission of 1876-8, appointed to consider<br />
the chaotic condition of the existing Copyright<br />
Acts, in his report said: “The statute law creates,<br />
it does not recognise, copyright. There is no such<br />
thing as an inalienable natural right to the form<br />
in which a man has embodied his ideas. The<br />
copyright law is, like the patent law for inven-<br />
tion, a creation of a temporary monopoly, for the<br />
encouragement of learning. It is the outcome of<br />
expediency and not of principle.”<br />
<br />
Sir James Stephen, a member of the Copyright<br />
Commission, said: “ The law of copyright ought,<br />
in my opinion, to protect money interests only ;<br />
and I think that the only money interests which<br />
it should protect are those which it creates—that<br />
is to say, the money interest of the author of a<br />
work of literature or art which is capable of being<br />
reproduced by mechanical means in such a manner<br />
that every copy is as valuable as the original. I<br />
approve of copyright in books, because the MS.<br />
has no value till it is printed, and because when it<br />
has been printed, every copy is of equal value, so<br />
that unless a copyright law existed the author of<br />
the most valuable book would have no money<br />
reward for writing it.”<br />
<br />
Sir Louis Mallet, who was also a member of the<br />
Copyright Commission, in the course of his report,<br />
said : “I do not consider that a copyright law, or,<br />
in other words, a law which enables a copyright<br />
owner to prevent other persons from copying pub-<br />
lished works, rests on the same grounds of public<br />
expediency as those which justify the recogni-<br />
tion by law of proprietary rights generally. Nor<br />
does it appear that in modern times it has been<br />
ever so regarded by the legislation of the countries<br />
where it exists. The right conferred by a@ copy-<br />
right law derives its chief value from the discovery<br />
of the art of printing ; and there appears no reason<br />
for giving to authors any larger share in the value<br />
of a mechanical invention, to which they have con-<br />
tributed nothing, than to any other member of the<br />
community. It is not even claimed that an author<br />
should have a right of property in ideas, or in<br />
facts, or in opinions. It is impossible ever to<br />
ascertain or to define how far these are the product<br />
<br />
<br />
204 THE AUTHOR.<br />
<br />
of his own thought or of his own labour. It<br />
is merely the form in which they are presented for<br />
which this claim is advanced, and for this all that<br />
is in principle required appears to me to be that<br />
he should be protected in any contract which he<br />
desires to make once for all in the original publi-<br />
cation of his works. Some of the witnesses whose<br />
evidence has been received have urged the claim<br />
of authors to perpetual copyright, on the ground<br />
that the right of an author to property in his<br />
published works is as complete and extends as far<br />
as the right of any person to any property what-<br />
ever. If this analogy were admitted, it appears to<br />
me that it would be difficult to dispute the claim<br />
of an author to perpetual copyright ; but I ven-<br />
ture to submit that the claim of an author to a<br />
right of property in his published work rests upon<br />
« radical economic fallacy, viz., a misconception of<br />
the nature of the law of value. . . . Property exists<br />
in order to provide against the evils of natural<br />
scarcity. A limitation of supply by artificial<br />
causes creates scarcity in order to create property.<br />
To limit that which is in its nature unlimited, and<br />
thereby to confer an exchangeable value on that<br />
which, without such interference, would be the<br />
gratuitous possession of mankind, is to create an<br />
artificial monopoly which has no warrant in the<br />
nature of things, which serves to produce scarcity<br />
where there ought to be abundance, and to confine<br />
to the few gifts which were intended for all. It is<br />
within this latter class that copyright in published<br />
works must be included. Copies of such works<br />
may be multiplied indefinitely, subject to the cost<br />
of paper and of printing, which alone, but for copy-<br />
right, would limit the supply, and any demand,<br />
however great, would be attended not only by no<br />
conceivable injury to society, but on the contrary,<br />
in the case of useful works, by the greatest possible<br />
advantage. .. . The policy, then, of copyright<br />
laws must be sought in another order of ideas, and<br />
be made to rest on some ground other than that<br />
which is the foundation of rights of property in<br />
whatever is the subject to a natural limitation of<br />
supply.”<br />
<br />
Mr. Farrer, now Lord Farrer, secretary to the<br />
Board of Trade at the time of the Copyright<br />
Commission, in a paper prepared by him_ for<br />
the members of the Commission, said: ‘“‘ Pro-<br />
fessor Huxley, and I think Mr. Spencer and<br />
Professor Tyndall agree with him, states in<br />
the strongest and clearest terms his view that<br />
the foundation of copyright law is the absolute<br />
right of the author once and for ever to the<br />
form in which he has uttered his thoughts, and he<br />
ingeniously suggests that this law is merely a<br />
convenient substitute for a sale by the author of<br />
each copy, with a condition attached that the<br />
purchaser shall not copy. It is needless to say<br />
<br />
that this suggestion is as fictitious as it is<br />
ingenious. A chattel going about the world with an<br />
implied covenant by every one, who with or with-<br />
out consideration gets possession of it, that he<br />
will not imitate it, would certainly be a legal<br />
novelty. The real history and fact of copyright<br />
law are very different. As to the absolute and<br />
perpetual right, not only has it never been recog-<br />
nised as a matter of fact, but analogies are against<br />
it. Words, thoughts, and actions, when uttered or<br />
done, pass, as a general rule, into the common<br />
domain, and it is thus that human life is carried<br />
on. In those productions of the human mind which<br />
are most essentially original, and which are at<br />
the same time the most useful to mankind ; in such<br />
things as the moral doctrine of the Sermon on the<br />
Mount, the intellectual theory of gravitation, of<br />
evolution, or of the conservation of energy, there<br />
is and can be no exclusive right. Nor, again, is<br />
there, as a matter of practice, any exclusive right<br />
in more ephemeral matters, ¢.g., in the news,<br />
information, or articles of a newspaper, or in a<br />
political speech. It is only when put into the<br />
particular form of a book, or a lecture, or a picture,<br />
that an exclusive right over the productions of the<br />
human mind has been recognised, and that with<br />
certain limitations and for a certain specified<br />
purpose.”<br />
<br />
It has since been decided that for copyright<br />
purposes the author of the report of a speech is<br />
the “ author” of the speech within the meaning of<br />
the Act.<br />
<br />
The existing period of protection according to<br />
the Act of 1842, passed ‘‘to afford greater<br />
encouragement to the production of literary works<br />
of lasting benefit to the world,” is forty-two years<br />
from the date of publication, or life and seven<br />
years, whichever term may be the longer. As to the<br />
adequacy or otherwise of this term we might very<br />
well refer to the report of the Copyright Commis-<br />
sion. The particular paragraphs read as follows :<br />
<br />
‘““ We have already stated that we consider some<br />
kind of protection in the nature of copyright<br />
desirable ; and it appears to us that the existing<br />
terms are not more than sufficient, if indeed they<br />
are sufficient, to secure that adequate encourage-<br />
ment and protection to authors which the interests<br />
<br />
of literature, and therefore of the public, alike —<br />
<br />
demand from the State. We proceed, therefore,<br />
to call attention to the three objections to the<br />
present duration of copyright :<br />
<br />
“ First, the period is said not to belong enough.<br />
The chief reasons for this assertion are that many<br />
works, and particularly those of permanent value,<br />
are frequently but little known or appreciated for<br />
many years after they are published, and that they<br />
do not command a sale sufficient to remunerate<br />
the authors until a considerable part of the term<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
of copyright has expired. Some works, as, for<br />
instance, novels by popular authors, command an<br />
extensive sale and bring to the authors a large<br />
remuneration at once, but the case is altogether<br />
different with others, such as works of history,<br />
books of a philosophical or classical character, and<br />
volumes of poems. In some instances works of<br />
these kinds have been known to produce scarcely<br />
any remuneration until the authors have died and<br />
the copyrights have nearly expired. It is also<br />
urged that in the case of many authors who make<br />
their living by their pens, their families are left<br />
without provision shortly after their deaths, unless<br />
their works become profitable very soon after they<br />
are written.<br />
<br />
“These arguments and others of a like kind,<br />
which will be found not only in the evidence we<br />
have taken, but in the debates in Parliament, are<br />
in our opinion of great weight, but on the other<br />
hand, we do not lose sight of the public interest<br />
which, it has been urged upon us, would be<br />
prejudiced by prolongation of copyright. Greater<br />
freedom of trade and competition are said to be<br />
desirable that books may be more abundant and<br />
cheaper in price.<br />
<br />
‘The second objection to the present duration of<br />
copyright is, that copyrights belonging to the same<br />
author generally expire at different dates. That it<br />
-is well founded is manifest, for if an author writes<br />
several works, or one work in several volumes<br />
which are published at different times, as is<br />
frequently the case, the copyrights will expire<br />
forty-two years from the respective dates of pub-<br />
lication, unless the author happens to live so long<br />
that the period of seven years after his death is<br />
beyond forty-two years from the publication of his<br />
latest work or volume.<br />
<br />
“ Under the present system, moreover, copyright<br />
in an earlier edition expires before copyright in<br />
the amendments in a later edition of the same<br />
work. We have had evidence that in one case the<br />
first and uncorrected edition of an important work<br />
was republished before the expiration of the copy-<br />
tight in the later and improved editions. But<br />
if the alteration in the existing term of copyright,<br />
which we suggest hereafter, were adopted, namely,<br />
that it should be for the life of the author and a<br />
fixed number of years after his death, all the<br />
copyrights of the same author would expire at the<br />
same date, and it would then be open to any pub-<br />
lisher to put out a complete edition of all the<br />
author’s works, with all the improvements and<br />
emendations which have appeared in the last<br />
edition, in a uniform shape and at a uniform price.<br />
<br />
“The third objection to the present duration of<br />
copyright is that it is frequently difficult, if not<br />
impossible, to ascertain its termination, owing to<br />
the fact that the expiration of the period depends<br />
<br />
205<br />
<br />
upon the time of publication. It is in most cases<br />
easy to ascertain the date of a man’s death, but<br />
frequently impossible to fix with any certainty the<br />
date of the publication of a book. Under the<br />
present law it is uncertain what constitutes pub-<br />
lication; but whatever may be a publication<br />
sufficient in law to set the period of copyright<br />
running, it generally takes place in such a manner<br />
that the precise date is not noted even if known.<br />
It is sometimes said that the date printed in the<br />
title page of a book should be considered the date<br />
of publication, but books are frequently post-<br />
dated, and in many cases bear no date at all.<br />
This objection is one which, in our opinion, should<br />
be removed.”<br />
<br />
The above, I think, is a fair presentment of the<br />
points considered by the Royal Copyright Com-<br />
mission. Many years have elapsed and we still<br />
find that little has been done to co-ordinate the<br />
various Copyright Acts which were considered by<br />
the Royal Commissioners to be in a chaotic con-<br />
dition, and frequently unintelligible.<br />
<br />
In the Bill drafted by Lord Thring, based on<br />
the recommendations of the Copyright Commission,<br />
it was proposed that “the copyright in a book<br />
shall begin with the publication thereof, and shall<br />
subsist for the term of the author's life and thirty<br />
years after the end of the year in which the author<br />
dies, and no longer.” The effect of such an Act<br />
would obviously be that, although the copyrights<br />
of authors’ works would expire simultaneously,<br />
immature efforts would enjoy a longer term than<br />
works of greater value, though, of course, it does<br />
not thereby follow that the sales of the former<br />
would be the greater. Some time ago, the writer<br />
approached several of the leading publishers for<br />
their opinions as to the duration of the period of<br />
protection.<br />
<br />
Mr. John Murray considers that a new Copy-<br />
right Act is urgently needed in this country. He<br />
thinks the period of protection ought to be life<br />
and fifty years. Perpetual copyright, though it<br />
would be equitable, is impossible, he considers.<br />
<br />
Messrs. Macmillan think that the present period<br />
of protection is insufficient ; life and thirty years<br />
would be more satisfactory. They see no reason<br />
to dissent from the view taken by Mr. Alexander<br />
Macmillan, a former head of the firm, in his evi-<br />
dence before the Royal Commission in favour of<br />
perpetual copyright.<br />
<br />
Mr. William Heinemann, while favouring the<br />
fullest protection possible for literary property,<br />
thinks it would be a matter of serious national<br />
loss, if literary productions were not, after some<br />
time, made popularly accessible.<br />
<br />
Mr. E. Marston considers perpetual copyright an<br />
impossible idea. He thinks that life and thirty<br />
years would prove a satisfactory term.<br />
<br />
<br />
208<br />
<br />
Messrs. Kegan Paul & Co, remark that un-<br />
doubtedly the limitation of copyright tends to the<br />
general diffusion of good literature, though they<br />
think it hard that a man of outstanding genius,<br />
having produced property of value calculated to<br />
survive his own life, should not have the privilege<br />
of leaving the interest in the property to his<br />
descendants.<br />
<br />
Messrs. George Bell & Sons certainly think the<br />
present period of protection insufficient. They<br />
favour the proposed extension to thirty years<br />
from the author's death. They are also inclined<br />
to think favourably of a suggestion that has been<br />
made, that direct descendants of an author should,<br />
on certain conditions, have the privilege of obtain-<br />
ing further extensions for successive terms of years<br />
so that a valuable copyright might be kept alive<br />
for an indefinite time.<br />
<br />
Mr. A. Nutt can see no reason why literary<br />
property should be placed in a different category<br />
trom other property. In any case, copyright, he<br />
thinks, should have a clear hundred years’ run<br />
from the death of the author.<br />
<br />
Another publisher, who has issued a large number<br />
of charming reprints, thinks that the present period<br />
of protection is long enough, except in exceptional<br />
cases ; he does not think that anyone can argue<br />
that the time presses hardly upon any relatives of<br />
a man’s family if, after forty-two years and seven<br />
years, the copyright is given to the public. In all<br />
patented works, it is acknowledged that the public<br />
have rights, and in books, it seems to him that so<br />
long as a man has been comfortably paid for his<br />
labour, the books belong to the public more than<br />
even matters of invention.<br />
<br />
Thus we have a variety of opinions upon an<br />
interesting and somewhat complicated subject.<br />
We can assume that the life of the average book<br />
is not forty-two years. Novels which have an<br />
<br />
immense sale at the time of first publication have<br />
their day and practically cease to be, in many<br />
instances. How many of them will be in demand<br />
thirty years after the decease of the authors or in<br />
some cases the manufacturers of them ?<br />
<br />
Text books, of course, get out-of-date. Similarly<br />
with works of reference. Comparatively few books<br />
are absolutely original in every respect. In the<br />
majority of cases, the authors are dependent to a<br />
more or less degree upon the labours of their pre-<br />
decessors. And literary matter would be of com-<br />
paratively little commercial value in the absence<br />
of any method whereby 1t could be rapidly repro-<br />
duced in quantity. ‘he peculiar nature of literary<br />
property is obvious. In the course of the life of the<br />
author, plus thirty years, it ought to be possible to<br />
find a sufficient demand to make most worthy<br />
books remunerative to author and publisher, if<br />
the field is properly worked, But in special cases,<br />
<br />
THE AUTHOR.<br />
<br />
such as in regard to books which have involved<br />
special labour and expense to produce, and which<br />
have not proved sufficiently remunerative during<br />
the period of protection, it ought to be possible<br />
for the publisher, or author, to obtain an extension.<br />
If it were practicable the period of protection<br />
should depend on the degree of originality of the<br />
matter. This would obviously be a difficult question<br />
to decide.<br />
J. A, Ret.<br />
<br />
ee<br />
<br />
THE PUBLISHERS’ ASSOCIATION.<br />
<br />
Oo ¢<br />
<br />
The Annual Meeting.<br />
<br />
HE screeds Association has held its annual<br />
general meeting, under the presidenc of<br />
Mr. C. J. Longman, and has batted its<br />
<br />
report to its members.<br />
<br />
The Authors’ Society has already had note of the<br />
steps that were taken last year with a view to<br />
dealing with the question of copyright. It is<br />
unnecessary, therefore, to repeat the extent to<br />
which the Association also rendered its valuable<br />
assistance in endeavouring to push forward legis-<br />
lation. :<br />
<br />
The President, in his speech, dealt with one or<br />
two interesting points, and, in addition to the<br />
questions connected with the report, mentioned<br />
the contract for serial rights. He stated as<br />
follows :—<br />
<br />
“Of course a good many matters come up at the<br />
Council meetings which it is not desirable to<br />
trouble you with or to put into the report, but here<br />
and there one comes up which may be of interest.<br />
Now there was a subject mentioned not long ago—<br />
a small affair if you will, and only of interest to a<br />
certain section of the members who are novel<br />
publishers. Buta case came up in regard to the<br />
question of serial rights. It has been not infre-<br />
quently the practice, particularly with literary<br />
agents, to sell not only what are known as serial<br />
rights, but what are known as second serial rights.<br />
Unless there is some limit in time put as to when<br />
these second serial rights are to run out, it may be<br />
an intolerable nuisance, and I know cases in my<br />
own business where it has become a nuisance.<br />
There are certain syndicates who buy serials for<br />
circulation in the Press. They buy absolute serial<br />
rights, which is understood to mean that so long<br />
as the term of copyright exists they go on cireu-<br />
lating the novel, or any other work, in the columns<br />
of newspapers, magazines, and so on. A publisher<br />
buys the copyright, but this spectre is never laid.<br />
You never know where it may turn up, and the<br />
thing gets out of control. Sometimes, as in the<br />
case which I have in my mind, the work gets<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
published under another title, or is abridged. The<br />
only reason I have in mentioning it is that I think<br />
it very desirable, in the interests of publishers,<br />
that they should decline to buy a novel in which<br />
the serial rights are sold without limit of time-—<br />
that is to say, the serial rights should cease when<br />
the book is published. If there is any question of<br />
the book being circulated again, which may possibly<br />
be done occasionally, that should be a matter<br />
decided by the copyright owner, who may be the<br />
publisher or author, or both, but I think it very<br />
undesirable either to buy or publish a novel with<br />
these indefinite rights hanging over it. That is<br />
not, perhaps, a very important point, and it only<br />
refers to one section of our members.”<br />
<br />
This question may be a small question to pub-<br />
lishers, and only touch a certain section of them,<br />
but to authors, to those who write fiction, is of<br />
great import.<br />
<br />
Firstly, we have always insisted, and now insist<br />
again, that it is absolutely essential that contracts<br />
with regard to the sale of serial rights should be<br />
clear and limited, and should not be general or<br />
indefinite ; that when serial rights are sold they<br />
should be sold either to one paper or to a limited<br />
circle of papers for one issue only, or for a limited<br />
time.<br />
<br />
Secondly, that under no circumstances should<br />
fiction writers sell the copyright of their works to<br />
the publisher for a sum down or otherwise; and,<br />
thirdly, if, contrary to all advice, they do sell the<br />
copyright, they are bound to disclose to the pur-<br />
chaser a contract of this kind for the sale of serial<br />
rights. If this is the case, then the publisher<br />
buys with full knowledge, and has no cause for<br />
complaint.<br />
<br />
From Mr. Longman’s statement it would appear<br />
that either the publisher has not taken the trouble<br />
to enquire into the point, or that the author has,<br />
unwittingly maybe, refrained from giving full<br />
information.<br />
<br />
Another important question was dealt with by<br />
the publishers.<br />
<br />
The matter was brought forward by Mr. Frederick<br />
Macmillan, of the firm of Macmillan & Co.<br />
<br />
It refers to the supply of educational books to<br />
the educational authorities. This matter is of no<br />
little consequence to the providers of educational<br />
books, and it is hoped that the cutting of prices<br />
which at present rules will not be allowed to con-<br />
tinue, and that the publishers will refuse to supply<br />
the educational centres direct, but will supply only<br />
through booksellers and retail agents. The question<br />
is one that affects the educational author very<br />
closely, as the following example may serve to<br />
show :—<br />
<br />
A certain member of the Society made his living<br />
out of the writing of educational books, and was<br />
<br />
207<br />
<br />
paid a fixed royalty by the publisher under a hard<br />
and fast agreement. Large orders were gent in to<br />
the publisher for the purchase of his books, and a<br />
demand was made that as the order was large<br />
special terms should be stated. ‘The publisher<br />
wrote to the author and asked him to accept half<br />
the royalty that he was being paid under the<br />
agreement, or otherwise it would be impossible<br />
for him to supply the orders mentioned, and a<br />
large sale would thereby be lost to the author.<br />
If the author’s profits had been reduced pro-<br />
portionately to the publisher’s profits it ig<br />
possible that the publisher's request might have<br />
been willingly acceded to, but the figures showed<br />
that this was not the case, and it lay with the<br />
author to decide whether he would yield to this<br />
extraordinary pressure of the publisher or whether<br />
he would lose the sale. In this special instance,<br />
the royalty on these books was, unfortunately, the<br />
bread and butter of the author, and he was obliged<br />
to give way. Thus the publisher procured a large<br />
sale at a reduced but not inadequate profit, while<br />
the author received starvation wages. The other<br />
alternative was for the author to refuse to yield, and<br />
Insist on the publisher keeping to his contract ; 0<br />
that case the publisher would have refused to supply<br />
the market, and the author would have had no<br />
remedy.<br />
<br />
It is hoped, therefore, if this question is satisfac-<br />
torily solved as far as authors are concerned, that<br />
it will be impossible for such a case to occur again<br />
or for undue pressure to be brought to bear upon<br />
an author to yield up even the small returns that<br />
some of the publishers are willing to pay him for<br />
his work.<br />
<br />
After some discussion it appears from the report<br />
of the general meeting of the Publishers’ Associa-<br />
tion, that the original question put forward was<br />
somewhat modified, and that the following amend-<br />
ment was passed :—<br />
<br />
“That a special committee be appointed to deal<br />
with questions affecting educational publishers,<br />
and that its first business be to consider the<br />
situation created by the Education Act, 1902.”<br />
<br />
We must congratulate Mr. C. J. Longman on<br />
his re-election to the Presidency of the Association<br />
—which now represents all the important houses of<br />
England.<br />
<br />
G. oy T.<br />
<br />
pn *—~>—_+ :<br />
<br />
SOME FREE LANCE EXPERIENCES.<br />
<br />
—+—>+—<br />
<br />
OME little time ago I set forth in these pages<br />
S certain experiences that had fallen to me<br />
while pursuing the calling of a free lance<br />
journalist. Since then a good deal of water has<br />
<br />
<br />
<br />
<br />
208<br />
<br />
flowed under Westminster Bridge, and, as during<br />
this period I have continued on my career, further<br />
experiences have naturally come my way.<br />
number of these, it seems to me, are worth jotting<br />
down on the present occasion, for they are not<br />
altogether uninstructive, while a proportion of<br />
them have the additional virtue of breaking<br />
comparatively new ground.<br />
<br />
Those coming within this latter category have<br />
been gathered mainly in America. The United<br />
States, indeed, forms a virgin field for the English<br />
free lance. I know that there is a deeply-rooted<br />
impression to the effect that the Press on the other<br />
side of the Atlantic is a close preserve to all but<br />
those over whom the Eagle spreads its protecting<br />
wings, but I am convinced that, this isa fallacy.<br />
Speaking generally, every paper is open to every-<br />
body, and to a wide-awake editor (such as those in<br />
New York) the nationality of a potential con-<br />
tributor is, like his opinion on conscientious<br />
objections, the superiority of the American boot,<br />
or the educational value of musical comedy, a<br />
matter of complete indifference. Were it not for<br />
this fact, the path of the unattached free lance<br />
would be a good deal thornier than it is at<br />
present.<br />
<br />
My connection with American papers originated<br />
in rather curious fashion. About a year ago I<br />
wrote a short article dealing with a theatrical<br />
subject in which I was interested. This [ for-<br />
warded, together with a number of photographs,<br />
to a magazine which had just been started in<br />
London with rather a flourish of trumpets for the<br />
express purpose of “ministering to the best<br />
interests of the Drama.” My effort, however, to<br />
promote this high intention was evidently an ill-<br />
conceived one. At any rate, the article was<br />
returned, with a a curt note to the effect that it<br />
failed to reach the standard of “ literary excellence”<br />
insisted upon by, let us say, the Footlights Maga-<br />
zine. The intimation was also accompanied by<br />
an ingenuous suggestion that I should forthwith<br />
enrol myself as an annual subscriber to this some-<br />
what exigeant periodical, “ and thereby familiarise<br />
myself with the editorial requirements.”<br />
<br />
On receiving back my MS. (in a condition, by<br />
the way, that pointed strongly to its having been<br />
used as a doormat during the interval), I decided<br />
that the English market’ was too limited for it. A<br />
voyage across the Atlantic would, I thought, do<br />
the article good. I accordingly looked through an<br />
American newspaper directory, and, with the airy<br />
confidence that is part of the equipment of all free<br />
lances, despatched it to the most widely circulated<br />
magazine in the United States, and sat down to<br />
await the result. This came in three weeks’ time<br />
and took the form of a polite letter of acceptance,<br />
accompanied by a cheque for seventy-five dollars.<br />
<br />
altogether.<br />
<br />
THE AUTHOR.<br />
<br />
The discriminating periodical in question was<br />
Frank Leslie’s Popular Monthly.<br />
<br />
Another American magazine which I have<br />
approached with even more success is Munsey’s.<br />
Within the past few months the editor has<br />
purchased five articles from me, paying in each<br />
instance at a rate that is at least equal to that<br />
obtaining among the leading periodicals of the<br />
same nature in this country. As my work has<br />
appeared in the Pall Mall, Strand, Windsor,<br />
and Cassell’s, I may claim to know something<br />
on this most important of points. The Cosmo-<br />
politan, too, of New York, has proved itself<br />
enterprising enough to print work of mine. In<br />
respect of weekly journals of Transatlantic origin,<br />
my most satisfactory dealings have been with<br />
Collier’s Weekly. This, which is also published<br />
in New York, has given hospitality to at least half-<br />
a-dozen contributions from me in recent numbers.<br />
The daily papers, however, have as a rule shown<br />
themselves disinclined to permit me to illumine<br />
their columns at space rates. They appear to<br />
prefer to insert bodily articles of mine which take<br />
their fancy when they make their début in English<br />
publications. As in doing so such journals seldom<br />
go through the formality of either acknowledging<br />
their origin or remunerating me for the same, the<br />
practice only meets with my qualified approval.<br />
Occasionally, I have expressed my views of the<br />
matter: so far, however, the result has not been<br />
satisfactory. One editor, indeed, relying appa-<br />
rently on the fact that the broad Atlantic rolled<br />
between us, replied on a type-written postcard as<br />
follows: ‘Sir, if you don’t like it, lump it!”<br />
<br />
Speaking generally, however, I am firmly of<br />
opinion that American editors transact their work<br />
in a manner that tends to promote the pleasantest<br />
possible relations between themselves and their<br />
<br />
contributors. To this end they are courteous,<br />
prompt, reliable, and business-like in their<br />
dealings. Whenever I have made a_ proposal<br />
<br />
for an article, or submitted a manuscript for<br />
consideration, the matter has been attended to<br />
without delay. Non-acceptances have been notified<br />
in so charming a fashion that the pangs of<br />
rejection have been in great measure removed<br />
As often as not such communications<br />
are almost apologetic in tone, and might reasonably<br />
give the novice the impression that his work is<br />
returned merely because its publication would set<br />
too high a standard of excellence. Of course, it<br />
merely amounts to the curt “declined with<br />
thanks” in vogue in this country; at the same<br />
time, however, it has decided points in its favour.<br />
<br />
The cordiality of the average American editor<br />
towards his unknown contributors is quite remark-<br />
able. The atmosphere of aloofness which is<br />
generally observed on this side of the Atlantic<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 209<br />
<br />
seems to have no existence in the United States.<br />
““My dear Sir,” is apparently the most formal<br />
opening ever employed in inaugurating a corre-<br />
spondence, while before two letters have passed<br />
this probably becomes “My very dear Sir.” It is<br />
the same thing with the terminations. When you<br />
are not assured that the editor is « Sincerely<br />
yours,” you are begged to regard him as “ Yours<br />
most cordially.” One of those to whom I once had<br />
occasion to write on a strictly business matter<br />
subscribed himself mine “ In all sincerity in every-<br />
thing calculated to foster what is best and brightest<br />
in contemporary literature.” This somewhat<br />
effusive individual conducted a society journal in<br />
Chicago.<br />
<br />
An American editor frequently uses terms that<br />
strike English ears a little strangely. I remember,<br />
for example, on an occasion when I had written to<br />
point out that payment for a certain contribution<br />
was overdue, receiving a “ check ” accompanied by<br />
a hope that “we should not run up against such<br />
snags in future.” A second editor, to whom I<br />
applied for a proof before publication, excused him-<br />
self on the grounds that I might “rely with<br />
confidence on his lynx-eyed compositors.” Another<br />
expressed his opinion of my capabilities in this<br />
fashion : “ Dear Sir, I like your stuff. It is real<br />
spry! Send me some more blocks of it as soon as<br />
you please. You are a live news-getter.”’ Occa-<br />
sionally, however, a wholesome corrective is<br />
administered. One such, sent in answer to a<br />
request for a decision respecting an article submitted<br />
several weeks earlier, ran as follows : “Dear Sir,<br />
your work doesn’t suit us. Our office-boy could<br />
write better copy blind-fold.”<br />
<br />
On the subject of returning unsuitable manu-<br />
scripts forwarded them from this country, American<br />
editors have a good deal to learn, They appear,<br />
for example, to be under the impression that all<br />
that is necessary is to put the article into an<br />
envelope and affix a one-cent stamp to it. Of<br />
course, it then travels as letter-post and is sub-<br />
jected to a considerable surcharge on delivery.<br />
Even when I have taken the precaution to send a<br />
properly stamped uewspaper-wrapper when sub-<br />
mitting a contribution, it is very seldom that any<br />
notice has been taken of it.. Once or twice I have<br />
ventured on a mild expostulation, but the only<br />
reply that this has elicited is that “the editor cf<br />
the prefers to use envelopes.” He also seems<br />
to prefer that their recipients should pay double<br />
postage on the same.<br />
<br />
It must not be thought from the preceding<br />
observations that I have permitted the English<br />
Press to languish for want of attention on my part<br />
during the last few months. So far from this<br />
being the case, I have conducted my campaign in<br />
this country contemporaneously with my American<br />
<br />
<br />
<br />
one, and with equal vigour. The periodicals in<br />
which work of mine has seen the light within this<br />
interval range from the « serious” monthlies to<br />
the more frivolous dailies, from magazine articles<br />
and stories in Cassell’s and the Windsor, to<br />
“Celebrities at Home” in the World, and para-<br />
graph matter in Punch. [ wrote columns of<br />
Coronation matter in June and August, and did<br />
my best to keep alive public interest in the Boer<br />
War long after the declaration of peace. I also<br />
furnished for some weeks—in the absence of the<br />
regular correspondent—a “ London Letter” for a<br />
well-known Indian paper. After the second of<br />
these contributions appeared the editor was<br />
removed from office by his proprietors. I should<br />
be sorry to think that my connection with the<br />
paper had anything to do with this, but candour<br />
compels me to admit that I was not invited to<br />
continue my contributions.<br />
<br />
The greater portion of my output of late has<br />
been published in the different periodicals which owe<br />
their existence to the enterprise of Messrs. Pearson<br />
and Newnes. The host of “ Bits” journals which<br />
emanate from the offices of these Liptous of Litera-<br />
ture are a veritable gold-mine to the unattached<br />
free lance. They have an insatiable appetite for<br />
informative articles on the private lives of dis-<br />
tinguished personages, and give a ready welcome to<br />
anyone who can write thereon with an appearance<br />
of authority. At the same time, I must place it on<br />
record that Queer Bits, while expressing itself as<br />
pleased to consider a proposed series on “ Duchesses<br />
I have Dined with,” uncompromisingly rejected a<br />
second on “ Countesses I have Kissed.”<br />
<br />
The rate of payment obtaining among periodicals<br />
of this description is usually the fixed one of a<br />
guinea per column of about 750 words. As the<br />
standard of literary excellence insisted upon therein<br />
is not lofty, the scale is quite a fair one. Indeed,<br />
it is superior to that in force in many decidedly<br />
more ambitious journals. To one of these, for<br />
example (which grandiloquently describes itself as<br />
reflecting politics, literature, science, and art—and,<br />
no doubt, many other matters as well), I once sub-<br />
mitted an article on a military subject. A couple<br />
of months afterwards (no proof for revision, or<br />
notification of acceptance having been forwarded in<br />
the meantime) the contribution appeared. It was<br />
set up, however, in the form of a “ Letter to the<br />
Editor.” This struck me as a little frigid. Yet<br />
worse was to follow, for when—at the end of five<br />
weeks—I mildly pointed out that the cheque due<br />
to me had not yet reached me, I received a<br />
dignified intimation to the effect that “it was not<br />
the practice of the to pay for correspondence.”<br />
<br />
<br />
<br />
To this I naturally replied that it was not my prac-<br />
tice to write articles for publication as “corre-<br />
spondence.” I mentioned, however, that I would<br />
210<br />
<br />
be prepared to relax my rule in this partieular<br />
instance in so far that I would write a letter<br />
embodying my views on the conduct of periodicals<br />
which filled their columns without expense by the<br />
simple expedient of treating articles as “ Letters<br />
to the Editor” without the sanction of their<br />
authors. The offer still remains open.<br />
<br />
I have frequently heard it contended that when<br />
ladies conduct periodicals they do so in an un-<br />
pusinesslike fashion. For myself, I am disinclined<br />
to take this view, for I have always found that<br />
they are quite businesslike enough in their methods<br />
to get as much as they can for nothing. For<br />
instance, the editress of a monthly magazine called<br />
—let us say, the Perfect Lady—once stipulated<br />
that she could only accept an article of mine on<br />
the condition that I should induce the people<br />
referred to therein to bear the expense of having<br />
their photographs reproduced. The offer did not<br />
appeal to me. It was the same lady, by the way,<br />
who on the second occasion that I submitted -a<br />
contribution, offered me two guineas for three<br />
thousand words and nine photographs, the copy-<br />
right to belong to her. When I sent a district<br />
messenger boy to the office to say that I was not<br />
in the business for my health, she replied on a<br />
postcard, “ There is no oceasion to be rude.”<br />
<br />
This question of payment is a delicate one. Not<br />
even the most brazen of free lances likes to haggle<br />
over the matter, but when he receives an experi-<br />
ence such as the one just recounted he would<br />
scarcely be human if he did not venture on a<br />
protest. For myself, I have two working rules.<br />
One of them is to take all I can get, and the other<br />
is to cash a cheque first and draw attention to its<br />
inadequacy afterwards. I applied this latter on<br />
one occasion when a certain weekly journal, called,<br />
let me say, Our Girls, commissioned me to write a<br />
three-thousand word article (entailing the interview-<br />
ing of six different people, and the supplying of eight<br />
photographs), and then sent me four guineas for the<br />
same. On receipt of my letter of polite expostula-<br />
tion, the proprietors curtly informed me that if I<br />
was dissatisfied I might return the cheque and<br />
they would return the article. I explained that<br />
my system prevented me sending back the original<br />
cheque; I accordingly forwarded one of my own<br />
instead.<br />
<br />
Notwithstanding these little rebuffs I recently<br />
approached a third journal, the editorial direction<br />
of which was also in the hands of a lady. The<br />
paper was a weekly one, and had only just been<br />
started. It was, in fact, from reading its initial<br />
number that I conceived the idea that it contained<br />
an opening for some one who had a slight acquaint-<br />
ance with practical journalism. In “Number<br />
One,” for example, a prominent feature was made<br />
of “Answers to Correspondents,” although no<br />
<br />
THE AUTHOR.<br />
<br />
explanation was given as to how “ Constant<br />
Reader,” ‘Subscriber from the First,” and the<br />
other seekers after enlightenment had written their<br />
letters of inquiry before the. paper had even<br />
appeared. Several other points in the general<br />
make-up and management of Cackle—as I will call<br />
the bantling—also struck me as betraying the hand<br />
of the amateur.<br />
<br />
To the office of Cackle, therefore, I went, armed<br />
with a selection of articles and an assortment of<br />
ideas to be submitted diplomatically if occasion<br />
offered, and taking with me a letter of introduction<br />
provided by an acquaintance of the editor. At the<br />
top of avery long flight of stairs was a door marked<br />
“QackLE, Lrp. Srricrty Private.” Having<br />
negotiated a hundred and twenty steps, a little<br />
matter like this was not going to stand in my way.<br />
Accordingly, I rapped on the door and was bidden<br />
by a feminine chorus to enter. On doing so, I<br />
found myself in a small room occupied by five<br />
ladies, sitting round a table littered with manu-<br />
scripts and making a light luncheon off; a bag<br />
of mixed biscuits and a box of chocolates. I<br />
tendered one of them my card together with<br />
the letter of introduction, requesting her to<br />
convey it to the editor, and then sat down on<br />
the only unoccupied chair. While the messenger<br />
was absent her colleagues continued an animated<br />
discussion which my arrival seemed to have<br />
interrupted. From fragments that caught my<br />
ear it seemed evident that press-day was at hand.<br />
“ What is a stick, Gertie ?”” inquired one peroxide<br />
of hydrogen-tinted young woman of another.<br />
“Why do you want to know, Maudie?” “Oh,<br />
the horrid printer says that he is a stick short,”<br />
was the reply, “and I’m sure I don’t know what<br />
he means. Yesterday he sent to ask if I wanted<br />
galleys or page proofs? Why on earth can’t<br />
printers talk English ? "<br />
<br />
At the end of ten minutes or so the messenger<br />
returned. I rose expectantly. “ The editor says<br />
she can’t see you,” was the rather disconcerting<br />
announcement that met me.<br />
<br />
“That is sufficiently obvious,” I remarked,<br />
blandly, “unless she is looking through the<br />
keyhole.”<br />
<br />
“The editor of Cackle only interviews visitors<br />
by appointment,” explained a member of the<br />
staff, in the tone that would be adopted when<br />
referring to the Times. “ Perhaps you will call<br />
again.” There was no mistaking the hint con-<br />
veyed in the last observation. I took it without<br />
delay. Since then, ladies’ papers as a class have<br />
not received any great amount of attention from<br />
me. Iam unable to think, however, that this has<br />
had that adverse effect upon their circulation that<br />
it ought to.<br />
<br />
H. W.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
amt<br />
<br />
<br />
<br />
THE AUTHOR, 211<br />
<br />
GENERAL MEMORANDA.<br />
1<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained, But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to :<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for ‘office expenses,”<br />
unless the same allowance is made to the author,<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in Zhe Author.<br />
Readers can also work out the figures themselves from the<br />
“Cost of Production.”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :-—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
————_—_+—~»@—,______<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
IES:<br />
EVER sign an agreement without submitting it to the<br />
\ Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—_<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
This is unsatisfactory, An author who enters<br />
ito such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
(0.) SALE oF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS oF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES Ge,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (4.) apply<br />
also in this case,<br />
<br />
4, PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important,<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform, The legal distinction is<br />
of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘Yhey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY<br />
<br />
_ HO?<br />
HOW TO USE THE SOCIETY.<br />
<br />
—+~—<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
<br />
advice sought is such as can be given best by a solicitor<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member.<br />
<br />
<br />
212<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not seruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. ‘The information thus<br />
obtained may prove invaluable.<br />
<br />
4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No confract 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 submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
—_—_—_———__+—__+—__—_<br />
<br />
THE READING BRANCH.<br />
<br />
—_——<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
—_—_———__+——_o—__———_<br />
<br />
NOTICES.<br />
<br />
—<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
THE AUTHOR.<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
—_——_—_—\§|o—< > __——<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
Eprror on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
— a<br />
<br />
Tur SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—-——s—_<br />
<br />
N the case of Judge Parry against Mr. Israel<br />
Gollancz, which dealt with the publication of<br />
<br />
“ Dorothy Osborne’s Love Letters,” a general<br />
injunction was granted to the plaintiff. Various<br />
views of the questions involved have been put<br />
forward in the papers during the past month<br />
In a letter to the Zimes, dated April 238, 1908,<br />
the plaintiff's solicitors state that the proceedings<br />
are not concluded. We must therefore defer any<br />
comment both on this ground and also because<br />
the matter has not yet come before our Committee.<br />
<br />
Mr. Loneman in his “ Notes on Books” (an<br />
interesting trade circular published by his firm)<br />
gives the following definitions :—<br />
<br />
DEFINITION OF THE TERMS “IMPRESSION,”<br />
“ EDITION,” “ RE-ISSUE.”<br />
ImprReEssron.—A number of copies printed at any one time.<br />
When a book is reprinted without change it should be<br />
called a new “impression,” to distinguish it from an<br />
<br />
“ edition,” as defined below.<br />
<br />
EpDrrron.—An impression in which the matter has under-<br />
gone some change, or for which the type has been<br />
reset.<br />
<br />
ReE-IssuE.—A re-publication at a different price, or ina<br />
different form, of part of an impression which has<br />
already been placed on the market.—From Longman’s<br />
“ Notes on Books.”<br />
<br />
We believe these definitions have been approved<br />
by the Publishers’ Association.<br />
<br />
There is one point, however, which has not been<br />
settled. It appears to us to be the most important<br />
point of all.<br />
<br />
We ask Mr. Longman if it is not possible to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Cees<br />
<br />
&<br />
<br />
THE AUTHOR. 213<br />
<br />
settle the unit of an edition or impression? In<br />
every other trade involving weights, measures, and<br />
numbers units have been settled long ago. It is<br />
only necessary for the Association to come to some<br />
conclusion and bind its members to recognise some<br />
definite system. A thousand copies seem to be a<br />
reasonable number to fix. Thus, if a limited issue<br />
of five hundred copies was produced, the publisher<br />
could state that he was about t6 produce half an<br />
edition, or that the issue would be limited to half an<br />
edition. Again, instead of seeing the advertise-<br />
ments of the large sales quoted in numbers, it<br />
would be sufficient merely to say twenty, thirty, or<br />
forty editions or impressions. We draw attention<br />
to this special point, as in one case that came<br />
before the Secretary of the Society the author com-<br />
plained that although his publisher was advertising<br />
his book as in its third edition, only twenty-five<br />
copies had been sold.<br />
<br />
This was naturally very annoying to the author,<br />
but he had no legal position, and could not claim<br />
damage, as the sole control of the issue of the book<br />
was left, by the agreement, in the hands of the<br />
publisher.<br />
<br />
Again, there is the guarantee agreement not in-<br />
frequently before the Secretary of the Society from<br />
another publishing house that states : “* This edition<br />
shall be the property of the publisher,” or that<br />
“The author shall receive 10 per cent. royalty after<br />
the sale of the first edition.” In neither case is the<br />
amount of the edition mentioned.<br />
<br />
It is important, therefore, to all those who trade<br />
in books that some settlement of the unit of an<br />
edition should be obtained, and when that unit is<br />
settled the Publishers’ Association should enforce<br />
observance of it on its members.<br />
<br />
It is well known that some of the editions of the<br />
daily papers are little more than formal issues, but it<br />
would be unfair to publishers and authors to put the<br />
publication of books on the same level as the issue<br />
of journalistic editions.<br />
<br />
Members of the Society will no doubt recall to<br />
mind that a discussion occurred not long ago in<br />
the Literary Supplement to the Zimes, on the<br />
subject of the payment for articles by a cheque<br />
with a copyright receipt printed on the back.<br />
<br />
The discussion arose out of the fact that a<br />
banker, acting on the instructions of his client,<br />
had refused payment in those cases where the<br />
receipt form was altered.<br />
<br />
It would be interesting to have a list, complete<br />
as far as possible, of those magazines and those<br />
firms which issue this form of cheque.<br />
<br />
We should be obliged if those members of the<br />
Society who have received such cheques within the<br />
<br />
last six months will forward to the Secretary the<br />
name of the magazine or publisher.<br />
<br />
In the early days of printing, when literary<br />
property began to have a bre definite aan<br />
value, there were two forces acting to obtain the<br />
profits of the author’s labour—(1) the power of<br />
the Crown, which was inclined to adopt printing as<br />
a monopoly for its own benefit; and (2) the<br />
power of the trade, which was inclined to think<br />
that the labour of authors should be for its private<br />
advantage,<br />
<br />
Accordingly, by degrees, legislation was evolved,<br />
primarily, for the protection of the Crown monopoly<br />
and the printing trade. :<br />
<br />
As printing developed and literature expanded,<br />
the public gradually came to view the matter in a<br />
different light, and to consider, after all, that the<br />
author might have some right in his own property.<br />
Legislation was then introduced, not on behalf of<br />
the trade, but to protect the author.<br />
<br />
In all the civilised countries of Europe modern<br />
legislation has tended to give a wider basis and<br />
firmer security to the author. Surely to this he is<br />
entitled. He is as much the owner of his property<br />
—perhaps more so—as the man who buys a piece<br />
of land is the owner of that land.<br />
<br />
In another column of The Author we have<br />
much pleasure in printing an article headed “ An<br />
American Point of View.” We see with some amuse-<br />
ment, not unmixed with sadness, that the American<br />
printing trades are still inclined to consider that<br />
legislation dealing with literary property should<br />
not be passed with a view to the protection of the<br />
author, but rather with a view to fostering the:<br />
trade. They have headed the article “ Of Interest<br />
to Authors, etc.” There is irony in this remark,<br />
no doubt suitable to the American humour.<br />
<br />
1<br />
<br />
THE LATE LIEUT.-COLONEL G. F. R.<br />
HENDERSON, C.B.<br />
<br />
——~ +<br />
<br />
N the March number of Zhe Author we<br />
I expressed regret that the name of this officer<br />
had been inadvertently included among those:<br />
members who had died in 1902. We were un-<br />
happily only premature in the announcement, for<br />
he died on the 5th March, at Assouan, Upper Egypt,.<br />
where he had gone for the benefit of his health,.<br />
which had for some time been precarious. This<br />
was largely owing to his unremitting work. He<br />
never allowed himself proper rest from his literary<br />
labours, and so anxious was he to push on with the:<br />
official history of the Boer War, which had been<br />
entrusted to his able pen, that he insisted on taking.<br />
<br />
<br />
<br />
<br />
<br />
<br />
214<br />
<br />
his work with him, and had nearly completed the<br />
first volume, when he died, in his forty-ninth<br />
year. This much lamented officer was the eldest<br />
son of the Dean of Carlisle. He was educated at<br />
Oxford and entered the Service in 1878. He was<br />
appointed an Instructor at the Royal Military<br />
College in 1890, and in 1892 had become so well<br />
known by his studies and writings on Military<br />
History and Tactics that he was given the<br />
Professorship of Military History and Art at the<br />
Staff College in succession to Colonel F. Maurice.<br />
He obtained a brevet majority for his services<br />
in the Egyptian War of 1882. He distin-<br />
guished himself by his admirable tactical studies,<br />
“The Campaign of Fredericksburg,” “ The<br />
Battle of Spicheren,” and “ The Battle of Worth,”<br />
which were characterised by insight and power of<br />
analysis and a knowledge of men, as well as by a<br />
literary style to which such works seldom aspire.<br />
But his best known work is “Stonewall Jackson and<br />
the American War,” which was speedily translated<br />
into many European languages, and will ever<br />
remain as a model of military biography. Its<br />
publication stamped Colonel Henderson as one of<br />
the most important military writers since Sir<br />
William Napier, and had he lived he would un-<br />
doubtedly have had his name inscribed very high<br />
up on the roll of fame. He worked indefatigably<br />
in South Africa as Director of Intelligence, and<br />
was of the greatest assistance to Lord Roberts ; but<br />
his health, which had been undermined by over-<br />
work, broke down after Paardeberg, and he was<br />
invalided home. After an all too brief rest he<br />
began the History of the War, and travelled<br />
over to South Africa again to revisit the scenes<br />
of the battles he was describing as was his con-<br />
stant practice. This, though fatiguing, was of<br />
benefit to him as giving some little respite from<br />
work ; but when he resumed his writing and heavy<br />
brain work, it was seen that the strain was too<br />
great, and a winter in Egypt was prescribed. His<br />
splendid example of constant devotion to his<br />
profession, and his high character, exercised a<br />
lasting influence upon the officers of the present<br />
generation ; and his literary work, though pic-<br />
turesque and classical in style, was thoroughly<br />
practical in its aims. His descriptions were vivid,<br />
and he never ceased to search out the why and the<br />
wherefore of events. One of his latest efforts was<br />
the admirable and characteristic preface he wrote<br />
to Count Sternberg’s “ My Experiences of the Boer<br />
War” (Berlin: Reimer, 1901), which was trans-<br />
lated into English (Longmans), and which, though<br />
in the main a lively and amusing account of<br />
adventures as a war correspondent, contains many<br />
reflections upon modern war that are at least worth<br />
consideration. In every way—as an officer, as<br />
a strenuous and clear-minded instructor, and as a<br />
<br />
THE AUTHOR.<br />
<br />
writer—Colonel Henderson, who was of a most<br />
unassuming and amiable character, will be long<br />
regretted in the British Army, and, as a well-<br />
known writer of descriptions of foreign armies and<br />
their characteristics in his excellent letters written<br />
to the Zimes while attending foreign manceuvres,<br />
his loss will be much felt by the general public.<br />
<br />
—___+—>__+____<br />
<br />
OF COLLABORATION.<br />
<br />
+<br />
<br />
I WONDER if it is a confession of weakness to<br />
acknowledge that I find something agreeable<br />
in a state of indecision—not with regard to<br />
matters of prime importance, be it understood, but<br />
with regard to those smaller matters of which the<br />
friendly discussion gives point to the conversation<br />
of cultivated men. To be poised between two<br />
friendly disputants, inclining now this way and now<br />
that as one or the other drops fresh crystals of<br />
reason into the scale, and finally to attain a state<br />
of rest midway between the two, thus testifying to<br />
all the world that once more much may be said<br />
upon both sides, and that where there is six of the<br />
one there is again half a dozen of the other, is a<br />
condition in which I like to be, a function I am<br />
ever happy to perform. Yet, the function dis-<br />
charged, I like to draw the disputants aside and<br />
with deference submit to their consideration such<br />
points about the matter of debate as I think they<br />
may have ignored or failed to see. It has been my<br />
invariable experience that I thus acquire some<br />
reputation of being an intelligent fellow, one with<br />
brains in his pate, sir, open to reason, and not too<br />
proud to learn. If I may thus achieve renown as<br />
being a clever man, I am well satisfied to let my<br />
ears do all the work, and give my tongue a rest.<br />
Others may dogmatise: I am content to suggest ;<br />
and if, when all is over, captious critics say it<br />
has been much ado about nothing. I can quote<br />
Shakespeare too, and say ‘“‘all’s well that ends<br />
well.”<br />
<br />
It was thus with me the other day, when the<br />
conversation turned upon collaboration in fiction.<br />
I found that most of those present had in their<br />
early days collaborated with some friend, being<br />
induced to do so by the old argument that two<br />
heads are better than one, or by their observation<br />
of the fact that babies frequently teach themselves<br />
to walk by holding on to chairs. I was interested,<br />
however, to find that the general vote was adverse<br />
to collaboration. Isolated instances of good novels<br />
written in collaboration were, of course, known<br />
and cited, but it was suggested that there was<br />
something in our national temper, or temperament,<br />
unfavourable to the method, and the suggestion<br />
was supported by the assertion that, with the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
exception of Besant and Rice, there was no instance<br />
of British authors working together continuously<br />
and producing such happy results as did MM.<br />
Erckmann-Chatrian and Paul and Victor Mar-<br />
gueritte.<br />
<br />
With this view Besant himself agreed. “If I<br />
were asked for my opinion as to collaboration in<br />
fiction,” he says, “it would be decidedly against<br />
it, Isay this without the least desire to depreciate<br />
the literary ability of my friend and collaborateur.<br />
‘The arrangement lasted for ten years, and resulted<br />
in as many successful novels. I only mean that,<br />
after all, an artist must necessarily stand alone.<br />
- +. There will come atime when both men fret<br />
under the condition; when each desires, but is<br />
not able, to enjoy the reputation of his own good<br />
work ; and feels, with the jealousy natural to an<br />
artist, irritated by the loss of half of himself, and<br />
ready to accept the responsibility of failure in order<br />
to make sure of the meed of success... . The<br />
collaboration would have broken down, I believe,<br />
amicably. It would have been far better if it had<br />
broken down five years before the death of Rice, so<br />
that he might have achieved what has been granted<br />
to myself—an independent literary position.”<br />
<br />
The modesty and sincerity of Sir Walter Besant<br />
were such that it is absurd to try to read between<br />
these lines and discover any little-mindedness in<br />
roserve. That “jealousy natural to an artist ” is<br />
the quality which he discovers in the British<br />
temperament unfavourable to the method of joint<br />
production, and, so far as collaboration in fiction<br />
is concerned, there cannot be much dispute that<br />
his point is well taken.<br />
<br />
Sir Walter always declined to offer any explana-<br />
tion or give any account of the method on which<br />
he collaborated with Rice, although this was a<br />
matter with regard to which he was pestered for<br />
information. Why people should be so anxious to<br />
find out how collaboration is conducted is a form<br />
of curiosity that always inspires me with amused<br />
wonder. It seems to me that it should bea reason-<br />
ably easy matter, provided proper provision is made<br />
at the outset for the ‘personal equation.” For<br />
those, however, who desire light upon the subject,<br />
and have not had the passage brought before their<br />
notice, I may, perhaps, quote a couple of paragraphs<br />
from a recent issue of the Daily Mail having<br />
reference to Mr. and Mrs. Egerton Castle.<br />
<br />
“The collaboration of husband and wife is rare<br />
and interesting. Mr. and Mrs. Castle plan out<br />
their work together, talk it over thoroughly, and<br />
finally write it in unison, so that it is almost<br />
impossible in the end to decide with whom any<br />
particular idea originally started. The authors<br />
<br />
<br />
<br />
never write of places or people they do not know<br />
familiarly. Mr. Castle states that he never begins<br />
to write out a romance until it has been complete<br />
<br />
215<br />
<br />
in his mind (as discussed and elaborated with his<br />
wife) for a very long time. It is only when both<br />
character and incident and the reciprocal influence<br />
of one on the other have become familiar that the<br />
story is begun.<br />
<br />
“After that the writing goes fast enough at an<br />
average rate of 2,000 words a day—writing in the<br />
morning and revising at odd moments of the day.<br />
Thus a long novel will be written in three months ;<br />
but, of course, the period from its conception is<br />
much longer—generally a year or more.”<br />
<br />
The obviousness of that explanation detracts<br />
not a whit from its interest, and any difficulty<br />
which other people may experience in applying the<br />
principle to practical use themselves will be found<br />
due to their own personality and that of the writer<br />
with whom they work. The old simile of cog-<br />
wheels applies to collaborators as well as to friends ;<br />
while it is essential that each party to the partner-<br />
ship should supply the other’s deficiencies, the<br />
wheels must be oiled if they are to run smoothly,<br />
and the kind of oil most suitable to the par-<br />
ticular machinery will be ascertained without<br />
difficulty.<br />
<br />
This sort of partnership between husband and<br />
wife is not, however, so rare as might be supposed.<br />
I know of several instances among writers of serial<br />
stories for the cheap newspapers. The editor of<br />
one of these told me he found the system worked<br />
admirably in practice, the wife generally supplying<br />
the battle, murder, and sudden death, while the<br />
husband supplied the tender passion and what one<br />
of Mr. Morley Roberts’s characters describes as<br />
“ideal poppycock.” The information struck me<br />
as being very illuminating.<br />
<br />
Upon the question of collaboration in fiction I<br />
thus remain in a state of, to me, agreeable inde-<br />
cision. With regard to collaboration in the other<br />
forms of literary work, I am, perhaps, less vague.<br />
In the writing of plays the association of two<br />
minds seems very often desirable—one to supply<br />
that brilliant superficial cleverness which modern<br />
playgoers seem to require at the hands of drama-<br />
tists, the other to construct the play on the practical<br />
lines necessary to make it effective from the front<br />
of the house and practicable from behind. One<br />
very well known novelist, and part author of<br />
several very successful plays, told me he could<br />
never get his people on the stage, If they were<br />
put there for him he could make them dazzling in<br />
their wit. “You put them in the right place,” he<br />
said, “at the right time, and I'll put the right<br />
things in their mouths. It’ll be terrific!” Un-<br />
fortunately my peculiar genius also runs in the<br />
direction of “cackle,” while I am as ignorant of<br />
“osses”” as the Jubilee Plunger, so that play is<br />
still unwritten. I did, however, write a play once<br />
in collaboration with a man whose forte was<br />
<br />
<br />
216<br />
<br />
construction. We had an agreement drawn up and<br />
engrossed and stamped; I almost decided to have<br />
my copy of it framed. My friend was to supply<br />
the bones and see that they were all properly<br />
articulated, and I was to put the meat upon them<br />
and clothe the finished article in the latest mode.<br />
The work was done, upon the whole, without<br />
excessive loss of blood, and in due course the play<br />
began its round of the managers. Writing a play,<br />
by the way, is the easiest part of the business ; the<br />
dramatist’s trouble does not begin until that is<br />
done.<br />
<br />
The first manager wrote very civilly to say he<br />
had read it with interest; and, whilst it was<br />
admirably constructed, it was written in so dull<br />
and illiterate a fashion that he was afraid he could<br />
do nothing with it. My friend explained that he<br />
was only responsible for the construction, and<br />
produced the agreement to prove his words and<br />
attest his competence to construct another play<br />
for the manager to be written by some one else<br />
than me.<br />
<br />
The second manager also wrote very civilly. He<br />
found the dialogue amazing in its brilliance ; the<br />
wit was pungent, the satire refined, and the whole<br />
writing in perfect taste. The construction, how-<br />
ever, was so amateurish, and showed such ignorance<br />
of stage technique, that he, too, was afraid he<br />
could do nothing with it. My friend explained<br />
that the writing was his, the construction mine ;<br />
and if the manager would supply him with a<br />
scenario, upon whatsoever subject, he would be<br />
happy to write it up. His explanation on this<br />
occasion was uncorroborated by documentary<br />
evidence.<br />
<br />
The third manager wrote more civilly still.<br />
Construction and dialogue were both superlatively<br />
good—far above the average. The story, how-<br />
ever, did not appeal tohim. He thought so highly<br />
of the work that he would like to consider the ques-<br />
tion of commissioning a play by the same authors.<br />
Would my friend explain the terms of the collabo-<br />
ration, and give him some information as to my<br />
position as a writer for the stage? My friend wrote<br />
by return of post to explain that the play was<br />
entirely his; he dictated it to me, and my name<br />
appeared as part author because, in the then state<br />
of his finances, it was inconvenient for him to pay<br />
me a weekly salary as secretary, and I agreed to be<br />
paid by a percentage of his royalties provided he<br />
would allow my name to be published on all pro-<br />
grammes and bills of the play.<br />
<br />
I do not think there is any moral in this<br />
anecdote. I tell it because it relates to my only<br />
experience of joint authorship, and is, therefore,<br />
not mal apropos in an article upon collaboration.<br />
<br />
V. E. M.<br />
<br />
THE AUTHOR.<br />
<br />
AUTHORS AND MODERN THRIFT.<br />
<br />
es<br />
By Bass BLAKE.<br />
I. The Best Provision for Age.<br />
<br />
HATEVER the advantages may be of the<br />
career of a successful writer, a uniform<br />
income is not one of them. The merit<br />
<br />
of his work may show uo falling off ; but all the<br />
same, his profits are materially affected by changes<br />
in the public taste, and the various moods and<br />
maladies peculiar to readers. A commercial man,<br />
once his position is assured, in many cases produces<br />
his income by repetition of those faculties to which<br />
he owed its commencement; but with a writer,<br />
each year brings with it the necessity for origi-<br />
nality, and for the initiation and working out of<br />
fresh ideas. A prudent business man will each<br />
year set aside a sum for the depreciation of his<br />
machinery, with a view in a certain number of<br />
years to replace it by a new plant. It is upon far<br />
more delicate machinery that the bulk and quality<br />
of a writer’s work depends, and it is machinery<br />
which can never be replaced ; yet it is common to<br />
find that no provision is made for its depreciation.<br />
In most cases the writer lacks that foresight which<br />
teaches the commercial man to conserve a certain<br />
proportion of his income against bad times. The<br />
author frequently lives at the top of his income,<br />
disburses his capital as it arrives, and whilst being<br />
peculiarly at the mercy of changes and depressions,<br />
makes little or no preparation for them.<br />
<br />
A common reason for this omission is that the<br />
author’s circumstances and habit of mind do not<br />
bring him into touch with those means of thrift<br />
with which the man of business ig more or less<br />
familiar. That well without water which is termed<br />
“the City” is but a name to him, and his financial<br />
experiences are often confined to some chance<br />
scheme which falls in his way, or to disastrous<br />
incursions into the Stock Exchange. He may<br />
possess some vague notion that in insurance, pro-<br />
viding as it does co-operative protection for the<br />
individual, there are some elements of attraction ;<br />
but the number of policies are so many, and in<br />
their nature so complicated, that he is repelled<br />
from the subject. He has small experience of<br />
finance, and in the multitude of schemes, each<br />
purporting to be the best in the market, he sees<br />
only confusion.<br />
<br />
Modern life insurance nevertheless offers to the<br />
author perhaps the only means of providing his<br />
family with means at his death, or himself with a<br />
provision in age. The popular idea of the question<br />
is, that if a man happens to die young it is a good<br />
bargain for himself and a bad one for the company,<br />
but, should he happen to live, insurance becomes a<br />
very poor investment. A policy, however, suited to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
a man who is dependent wholly upon his own<br />
powers as a means of income, must be one which<br />
guarantees to him not only life insurance, but a<br />
capital sum when his powers of production may be<br />
expected to be on the wane, and is therefore<br />
strictly a life, and not a death policy, as in<br />
ordinary insurance.<br />
<br />
The form of policy which on the whole is most<br />
suited to authors is that known as endowment<br />
assurance. This provides capital to his family at<br />
his death, as in ordinary insurance, but it also<br />
guarantees to him a sum in cash a stated number<br />
of years hence, when, it may be expected, it will be<br />
very necessary to him. ‘This contract is simple.<br />
The assured pays to the company a yearly premium<br />
for a stated number of years, at the end of which<br />
the policy matures and his premiums cease. If in<br />
the meantime he should die, the sum assured<br />
(together with profits attaching to the policy)<br />
is paid to his estate. But should he survive to the<br />
age stated, the sum assured (with the total profits)<br />
is paid to him in cash. Endowment assurances<br />
are effected for any term of years—say ten, twenty,<br />
thirty, or forty—and, of course, the shorter the<br />
term the higher the premium percent. Twenty or<br />
thirty years is, however, a suitable term, as being<br />
sufficient time to allow the profits allotted to his<br />
policy time to accumulate at compound interest to<br />
a material sum.<br />
<br />
A man with any sum to fifty pounds per annum<br />
to set aside has very limited channels for invest-<br />
ment. In financial circles the advantages are all<br />
with the capitalists who pull the strings, and to<br />
the profits of whom the small investor cheerfully<br />
contributes from his small income. But the<br />
author cannot afford to run risks. With a good<br />
British company the security is equal to that of a<br />
State institution, and an endowment assurance<br />
therein offers the best secure investment which,<br />
so far as I am able to judge, it is possible to<br />
obtain. An instance is provided by a man of<br />
thirty who sets aside twenty pounds per annum as<br />
apremium. For this he obtains a profit-sharing<br />
endowment assurance for £600. At the age of<br />
sixty the policy matures and he will receive,<br />
with accruing bonuses according to last declara-<br />
tion, a total sum of £1,000 in cash. He will<br />
have paid in by this time a sum of £600, and he<br />
receives £1,000, besides a life insurance cover<br />
provided during the whole of the term during<br />
which the policy has been maturing. But as a<br />
fact, the policy has been even more advantageous<br />
to him, as the Government allows a rebate of<br />
income tax, alone among all investments, upon<br />
life insurance premiums. Reckoning the tax at<br />
one shilling in the pound, his £20 premium is<br />
reduced to £19, and the amount therefore he<br />
actually disburses in thirty years is £570 instead<br />
<br />
217<br />
<br />
of £600. The return of £1,000 is close upon<br />
4 per cent. compound interest, with the addition<br />
of the cover provided of the sum assured, with<br />
profits to date, should he die in the interim.<br />
<br />
Compound interest is a result not achieved<br />
without some element of compulsion. There are<br />
few men with sufficient strength of mind to<br />
compel themselves faithfully to set aside each year<br />
in a bank such asum as £20 or £50, and allow it to<br />
accumulate at compound interest. Besides, such<br />
savings provide no life insurance in the event of<br />
early death. The form of a policy provides what<br />
may be termed obligatory thrift, inasmuch al-<br />
though, after a few years, there is a surrender<br />
value to the policy should it be discontinued, by<br />
far the best bargain is to be made by following<br />
out the policy to maturity.<br />
<br />
An author with a sense of his responsibilities<br />
must see in endowment assurance a matter of<br />
some importance. It provides for his family in<br />
the event of his death or for his own future in his<br />
age. But he is ill-advised to embark upon any<br />
scheme without some study and inquiry. Gener-<br />
ally, it may be said that a good British office of<br />
established reputation offers the best investment,<br />
but the results in some companies are decidedly<br />
better than in others, and care in selection will be<br />
amply repaid.<br />
<br />
I have shown above the result of an endowment<br />
payable at sixty with a premium of £20. The<br />
following table shows more completely the results<br />
of an endowment payable at fifty with a yearly<br />
premium of £50.<br />
<br />
Cox’s TABLE SHOWING THE WORKING OF AN ENDOW-<br />
MENT ASSURANCE. AGE AT ENTRY, 30. AMOUNT<br />
oF Poxicy, £1,000.<br />
<br />
Plan of policy : Twenty-year endowment assurance, viz.,<br />
payable at age 50 or previous death.<br />
<br />
£ s. da.<br />
<br />
Annual premium for twenty years ... 50 8 4<br />
Less income tax at ls, in the £ 210 4<br />
. ninteainamneonnae poet<br />
<br />
Net cost ... £47 18 0<br />
<br />
WORKING OF POLICY.<br />
<br />
C. At death of insured before age 50.<br />
<br />
<br />
<br />
| | In return for net |<br />
<br />
At end of year. | The company | premiums paid | Return for cost.<br />
<br />
<br />
<br />
| will pay— ORE<br />
| _ —<br />
3 | £1,045 £143 | £902<br />
5 1,095 239 | 856<br />
io im ae<br />
15 1,313 718 595<br />
19 1,378 910 463<br />
<br />
<br />
<br />
<br />
<br />
<br />
218<br />
<br />
B. Inevent of surrender of policy before age 50 the company<br />
will grant—<br />
<br />
<br />
<br />
)<br />
In return for<br />
premiums paid<br />
<br />
Or cash sur-<br />
<br />
lA paid-wp policy render value<br />
<br />
At end of year. She.<br />
<br />
<br />
<br />
| of— of—<br />
3 | 8195 ( Ane eka<br />
5 tb ee 139 | 229<br />
9 | «on oo we fe<br />
15 1,063 [ce 510 718<br />
19 1,323 | ons 677 | 910<br />
<br />
death. |<br />
<br />
<br />
<br />
‘A. On survival to age 50.<br />
<br />
The company will pay (including bonuses) £1,438<br />
In return for total premiums paid of... 958<br />
<br />
<br />
<br />
Return over cost ee bo £480<br />
<br />
<br />
<br />
<br />
<br />
The subject of modern insurance is one of some<br />
complexity, but the cardinal facts are straight-<br />
forward. There are other forms of endowment<br />
assurance, but the simple with-profit policy is<br />
found to be the most profitable to the assured.<br />
It provides life insurance, and, what is very<br />
material, the largest possible sum in cash when his<br />
policy matures. For the rest, if there is any<br />
point which, to an author interested in the subject,<br />
is not sufficiently clear, the writer of this article<br />
is at his service.<br />
<br />
The above figures are those of a first-class<br />
representative British office.<br />
<br />
Se<br />
<br />
THE LAW OF COPYRIGHT.<br />
<br />
— t-—~— 9<br />
<br />
M* SCRUTTON has got tired of waiting, and<br />
no wonder. We welcome heartily the 4th<br />
Edition of his able work on Copyright.<br />
<br />
It has been needed for some time.<br />
<br />
Mr. Scrutton’s sound and careful deductions, the<br />
result of exhaustive and diligent labour, come as<br />
a “boon and a blessing” to those who have studied<br />
the intricacies and difficulties that surround all the<br />
questions of Copyright. °<br />
<br />
No writer has presented the subject so clearly<br />
and distinctly, has gone so thoroughly to the heart<br />
of the question, and swept away all those side<br />
issues that might tend to obscure any given point.<br />
The work is so ably written that it would be<br />
possible for a layman, after perusal of its pages,<br />
to deceive himself with the idea that he was an<br />
authority on the subject.<br />
<br />
The chapters dealing with Literary Copyright<br />
treat this division of statute and case law from<br />
every aspect, and bring forward the very latest<br />
decisions. The chapters dealing with Artistic Copy-<br />
right are perhaps not quite so full, ‘There are one<br />
or two points on which we should have been pleased<br />
<br />
THE AUTHOR.<br />
<br />
if Mr. Scrutton had turned his discriminating<br />
powers with more freedom. Take as an example<br />
the difficult question of Artistic Copyright and<br />
Book I]lustration. :<br />
<br />
With regard to Canadian Copyright (an exceed-<br />
ingly involved and difficult matter) the author has<br />
not brought together the very latest information.<br />
He makes no reference to the last Act of the<br />
Canadian Legislature, or the refusal of the Canadian<br />
Government to collect the royalties under the<br />
Foreign Reprints Act. Although the author has<br />
not dealt in any of the former editions with the<br />
subject of Copyright in foreign countries, it is a<br />
pity that he did not take it up now.<br />
<br />
As Copyright under the Berne Convention is<br />
almost universal it is of great importance to all<br />
those who hold literary property to have an epito-<br />
mised statement of the limits that surround their<br />
property in those countries included in the Con-<br />
vention. Mr. Copinger, in his able book, under-<br />
took this work, but since the last edition was pro-<br />
duced there has been considerable alteration in the<br />
laws of the different countries.<br />
<br />
With Mr. Macgillwray’s book and with Mr.<br />
Scrutton’s 4th edition, and we hope—at no distant<br />
date—a supplement containing the further informa-<br />
tion, Copyright has been lucky in its exponents.<br />
<br />
Whilst touching on these minor faults of omission,<br />
we must pay Mr. Scrutton every compliment and<br />
thank him for his labours, which are so amply<br />
justified by the result.<br />
<br />
———————E<br />
<br />
HOMES FOR WANDERING MSS.<br />
<br />
+<br />
<br />
HE second volume of the “ Writers’ Year<br />
Book” is before us. The price is 1s. 6d.<br />
net. Itis published from Granville House,<br />
<br />
Arundel Street, Strand, W.C.<br />
<br />
The great point in a book of this kind must<br />
necessarily be its accuracy, and on looking care-<br />
fully through the lists compiled they seem to be<br />
satisfactory, though, no doubt, in the publication<br />
of all lists there are bound to be a few mistakes.<br />
The book is for the assistance of those authors<br />
who desire to find the proper channel for their<br />
talented productions. It puts before them the<br />
names and addresses of five hundred papers that<br />
receive MSS., photographs or drawings, and at<br />
the same time explains as far as possible the<br />
conditions on which these commodities are accepted.<br />
<br />
The book opens with three articles: “‘ How to<br />
Write for the Press,” “Journalism for English<br />
and American Women,” and “ Writing for the<br />
Magazines.”<br />
<br />
It is not our desire to criticise these articles, but<br />
it is our opinion that in a book of this kind they<br />
<br />
<br />
<br />
USO PRRSOS IES<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
are out of place. It should confine itself entirely<br />
to one object, and make its sole aim to be as<br />
practical and as perfect as possible on the points<br />
it undertakes to elucidate. Articles on the ‘‘ How<br />
To” in literature are in evidence in many other<br />
works. It is not necessary to multiply them.<br />
<br />
Ifthe editor had been ambitious to deal with<br />
the legal and technical questions surrounding the<br />
marketing of MSS., drawings and photographs, a<br />
book at least three times the size of the present handy<br />
volume would hardly have exhausted his ambition.<br />
<br />
The book, however, cannot fail to be of use to<br />
those literary and journalistic tyros who are<br />
anxious either to widen their market or increase<br />
their income.<br />
<br />
<br />
<br />
a se<br />
<br />
THE IRRITABILITY OF AUTHORS.<br />
<br />
es<br />
HE irritability of authors is proverbial.<br />
What is proverbial may be, in a rough<br />
way, assumed to be not very far from the<br />
truth. Why the author should be a_ peculiarly<br />
touchy and snappish animal does not so clearly<br />
appear. The phenomenon can hardly be ex-<br />
plained in the latest fashionable way of<br />
accounting for everything by the single word<br />
‘heredity.’ Perhaps, however, in the secrets of<br />
Nature’s workshop there is some trick of warp and<br />
woof that, of necessity, occasions the peculiar com-<br />
plexion which constitutes irritability of nature to<br />
be a part of the composition of an author’s brain,<br />
just as it has been said that all nervous people are<br />
monarchists, and all melancholy people democrats ;<br />
which, after all, may not he true. Or, a more<br />
likely explanation may be sought in the fact that<br />
the exercise of an author’s profession, one which<br />
induces a nervous sensibility of a peculiarly com-<br />
plicated kind, possibly tends to nervous tension<br />
that causes the fibre of an author’s brain to jar<br />
under circumstances incapable of producing, in<br />
more slackly-strung natures, any vibration at all.<br />
Be all that as it may, this is indisputable, that<br />
only too many people, who have had a good deal<br />
to do with authors, are more than ready to bear<br />
witness to their being a very captious and touchy<br />
species, anything but delightful to their personal<br />
friends, and often trying in the extreme to the<br />
patience of those whom they ought to treat with<br />
forbearance and regard.<br />
<br />
All this is sufficiently unfortunate. Yet, perhaps,<br />
after all, no one is so bitterly punished by the<br />
author’s proclivity to snappishness as the author<br />
himself. For the only happy aspect of this sad<br />
failing of literary people is, that the culprit is not<br />
ignorant of his own excessive irritability.<br />
<br />
Only, seeing that literary people are fully con-<br />
scious of this weakness, why are not penmen of all<br />
<br />
219<br />
<br />
classes constantly on their guard against it ? Why<br />
do they not frequently ask themselves, in all serious-<br />
ness, ‘‘ What is the use of losing one’s temper ? ”<br />
It might have been supposed that a man, when<br />
meditating turning author, would recollect amongst<br />
other things, that one of the results of his enter-<br />
prise, whether successful or unsuccessful, must<br />
inevitably be a vast increase of whatever share of<br />
natural irritability Nature had put into him. But<br />
it is a well-known fact that men mostly become<br />
authors either without knowing it, or, at the best,<br />
without thinking at all definitely about what they<br />
are doing. And one of the consequences of this<br />
is, that when the hardships and difficulties of<br />
literary enterprises begin to appear, authors are<br />
enormously astonished, and not a little out of<br />
humour and out of heart. How people can<br />
suppose that any human enterprise can exist not<br />
beset with difficulties and disillusions is really<br />
inexplicable. Yet it is certain that no one thinks<br />
much beforehand of difficulties in authorship. The<br />
soldier and the sailor must run risks and encounter<br />
trials. The lives of solicitors, of medical men, of<br />
merchants, all imply many restrictions and much<br />
self-denial. Every calling in life has its draw-<br />
backs and its dangers. No one is ignorant of the<br />
fact. In making choice of a profession men reflect<br />
upon its hardships, and prepare themselves to face<br />
them. Seldom, however, in the case of literature.<br />
<br />
Qui nihil scripsit nullum putat esse laborem.<br />
<br />
Almost every man is persuaded that he could<br />
write a book well enough if he chose to take the<br />
trouble. After he has begun writing the difficulties<br />
appear, and then ensue the phenomena of the<br />
author’s peculiar irritability and proclivity to lose<br />
his temper.<br />
<br />
The first person with whom the author gets<br />
into a rage is himself. Little harm enough in<br />
that, it will be said—a just retribution! Only<br />
it is no jesting matter to the man conscious of<br />
possessing all the abilities and powers requisite for<br />
success—saviny the knack of keeping his temper.<br />
The story will not shape itself. The characters<br />
will not come out well defined. The scenario is a<br />
tangle. The pen will not obey the behests of<br />
imagination. So the author gets into a passion<br />
with them all. He smashes the pen, curses his<br />
dramatis persone, and pitches his manuscripts into<br />
the fire. And then, what is his work the for-<br />
warder for that ? No difficulties are surmounted by<br />
getting into a rage with them, but by taking time<br />
and pains patiently to effect what has to be done.<br />
<br />
The persons with whom the author next gets<br />
into a passion are invariably editors and publishers.<br />
After many holocausts, some manuscript is at last<br />
completed, often more by good luck than by good<br />
management. The editor or publisher, to whom<br />
<br />
<br />
220<br />
<br />
it is offered, then refuses it. In nineteen cases<br />
out of twenty the author is absolutely ignorant<br />
why it is refused—whether because it has been<br />
sent to the wrong place, or because it is really<br />
worthless, or because the publisher has just<br />
accepted a similar work, or for which of fifty<br />
other reasons. That does not prevent his form-<br />
ing hypotheses. “There is a clique.’ © Ebe<br />
publisher’s readers never look at manuscripts,<br />
unless they are written by their own friends.”<br />
“Nothing but bosh is ever accepted now.” And<br />
so forth. The author himself scarcely believes all<br />
these things that he says. But—suppose they<br />
were true. Then they would be facts about<br />
literary work with which he must reckon ; just as<br />
the market gardener must reckon with the fact<br />
that a single frost may ruin his peach crop for the<br />
year. Getting into rages will not alter the case.<br />
Why not think of the difficulties with which men<br />
contend in other professions? Why not have<br />
patience, learn wisdom from failure, and try to offer<br />
saleable work in the markets where it is wanted ?<br />
Later on the author is in a rage with the critics.<br />
Why ? Because they tell him disagreeable truths ?<br />
If they do, he is a lucky man. And seeing how<br />
<br />
difficult a thing it is, under any circumstances, to<br />
accept adverse criticism wisely, of what use is it<br />
for the author to complicate matters by losing his<br />
<br />
temper ?<br />
<br />
But the critics tell him nothing. They are<br />
asses! Be it so. And is not a man himself an<br />
ass who loses his temper with asses ?<br />
<br />
Still there remains the public—who have no<br />
discrimination ; and “ that great beast the general<br />
reader ’—whose Philistine tastes are ruining<br />
literature; and “the young person” whose<br />
mamma is the occasion of mawkishness marching<br />
triumphant through the land ; and the “ idiots ”—<br />
who persist in preferring some other man’s books ;<br />
and the general “‘ cussedness ” of everything. With<br />
all these the author is unceasingly getting into<br />
passions of different kinds.<br />
<br />
And of what use to him are his rages? Do<br />
they alter anything ?<br />
<br />
He says that he cannot help getting into a rage.<br />
But he ought to learn to be able to help it. And<br />
this is certain, if he would learn, he would have<br />
an enormous advantage over the other authors<br />
<br />
who will not.<br />
—_—____—_e—>_+___—_—__-<br />
<br />
SHAKESPEARE AND LONDON.<br />
<br />
——— +<br />
<br />
HE regret for the loss of Sir Walter Besant,<br />
which was touchingly expressed by Lord<br />
Rosebery at the last meeting of the London<br />
<br />
Topographical Society, might well apply to a recent<br />
project for the celebration of Shakespearein London.<br />
<br />
THE AUTHOR.<br />
<br />
This movement has no fortuitous origin, it is<br />
the unfolding of a silent growth, and there has<br />
been no writer of equal influence and power so well<br />
fitted to be its exponent as Sir Walter Besant.<br />
His knowledge of history and of historical criti-<br />
cism would have enabled him to perceive that the<br />
recognition, in a special sense, of Shakespeare in<br />
London is the inevitable result of a process of<br />
development. A few words of explanation on this<br />
point will be, I think, the best means by which to<br />
recommend the matter to the attention of the<br />
Soviety of Authors and the readers of this<br />
journal.<br />
<br />
That Shakespeare spent his working life as poet<br />
and dramatist in London, and that his plays were<br />
published to the world in London theatres and<br />
printed at a London press are facts which have not<br />
penetrated the public cognisance. Why is this ?<br />
<br />
After the death of Shakespeare his vogue as a<br />
dramatist in London increased rather than dimi-<br />
nished under James and Charles; we can trace<br />
in the records of the Restoration period that the<br />
influence of Shakespeare was competing vigorously<br />
with new modes and a different dramatic con-<br />
vention; in the literary age of Queen Anne,<br />
Shakespeare was promoted from the theatre to his<br />
status as a literary classic, and his first biographer,<br />
Rowe, turned the attention of readers from the<br />
playhouse to the birthplace, Stratford-on-Avon.<br />
Ina later generation we find Dr. Johnson, who<br />
might almost be considered an embodiment and<br />
living-type of London, continuing the editorial<br />
labours of Pope and Theobald without a thought<br />
for the London associations of the plays in their<br />
origin and theatrical history. This example was<br />
improved upon by his great theatrical con-<br />
temporary, Garrick, who, inheriting the traditions<br />
of Davenant and Betterton, in a direct line from<br />
the time of Shakespeare himself, showed his<br />
unconsciousness of ‘history by becoming the most<br />
active promoter of that celebration at Stratford-<br />
on-Avon which served only too effectually to<br />
divert the minds of the dramatic world away from<br />
London, and ultimately, during the last century,<br />
to establish the Birth-place as the Mecca of the<br />
vast public of Shakespeare’s admirers. The<br />
recoil from this position has been slow and sure :<br />
its stages may be marked by a succession of<br />
literary investigators, from Malone at the beginning<br />
of the nineteenth century until the present time.<br />
The History of the Stage, which we owe to him; the<br />
investigations of Francis Douce ; the History of<br />
Shakespeare, and his Times by Drake ; the labours<br />
of John Payne Collier and the publications of the<br />
Shakespeare Society ; the works of Wright and of<br />
Halliwell ; the more popular expositions of Charles<br />
Knight and Walter Thornbury; the work and the<br />
influence of F. J. Furnival and the publications of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the New Shakspere Society ; the History of the<br />
Stage by F. G. Fleay; the recent biography by<br />
Sidney Lee; and, perhaps I may add, my own con-<br />
tributions to the snbject. These may serve to outline<br />
a progressive study of conditions and environment,<br />
by which Shakespeare has become visualised as a<br />
working playwright, in a London not too remote<br />
for realisation from historical evidence.<br />
<br />
With this brief introduction the prospectus of<br />
the London Shakespeare League may be read with<br />
a due perception of its significance. The first five<br />
paragraphs are as follows :—<br />
<br />
For long years past there has been an enthusiastic<br />
feeling among many Englishmen that the 23rd of April,<br />
the day of England’s Patron Saint, should be revived as<br />
an annual Festival in honour of the ever-living memory<br />
of England’s greatest son and noblest pride—William<br />
Shakespeare. “Certainly it was St. George for merry<br />
England,” wrote Dr. George Macdonald in 1864, “ when<br />
Shakespeare was born. But had St. George been the best<br />
saint in the calendar—which we have little enough ground<br />
for supposing he was—it would better suit our subject to<br />
say that the Highest was thinking of His England when He<br />
sent Shakespeare into it, to be a strength, a wonder, and a<br />
gladness to the nations of His earth.’’ The 23rd of April<br />
was the death-day, and, traditionally, also the birthday of<br />
the poet.<br />
<br />
At the birthplace an annual festival is held, and the<br />
“Shakespeare Week” is worthily celebrated ; but few can<br />
avail themselves of the celebration there, and many<br />
Londoners haye expressed the hope that an organised effort<br />
might be made, duly to observe in London by various<br />
festivals the greatest day in our calendar, so that the<br />
example of the capital might eventually be followed by the<br />
Empire generally, and “‘ Shakespeare Day’ become anational<br />
and Imperial celebration, helping to re-vivify the sentiments<br />
associated with the day in bygone times.<br />
<br />
The movement which has culminated in the formation of<br />
“The London Shakespeare League” took shape during<br />
“Shakespeare Week’ last year, and, as the outcome of<br />
careful consideration, the League places in the fore-front<br />
of its aims an annual celebration to be held in London ;<br />
but the celebration is to be merely one manifestation of the<br />
work it proposes to carry through for advancing the true<br />
knowledge and appreciation of the poet’s works. It is<br />
hoped in course of time to secure a permanent habitation<br />
for the League available for its many purposes.<br />
<br />
The accompanying programme is a first attempt at a<br />
London celebration, and indicates the manner in which the<br />
various learned and dramatic societies may rally round the<br />
League and observe the day.<br />
<br />
An even more effective celebration will, it is hoped, result<br />
if the managers of the London theatres, and ultimately<br />
theatrical managers throughout the Empire, may be pre-<br />
vailed upon to regard as their duty the performance of<br />
Shakespearian plays on or about the 23rd of April. Simi-<br />
larly, organisers of concerts may be induced to devote<br />
the day to Shakespearian music. The League commends its<br />
aims to the attention of Shakespeare societies and reading<br />
unions,*<br />
<br />
When this notice appears in 7e Author the<br />
celebration will have been held, and whether<br />
success or failure attends this first attempt, I<br />
<br />
<br />
<br />
* The Annual Subseription to the League is, at present,<br />
5/-. Application for Membership should be made to the<br />
Hon. Secretary, Dr. W. Martin, 2, Garden Court, Temple.<br />
<br />
221<br />
<br />
venture to think the objects of the London Shake-<br />
speare League are worthy of the active support of<br />
all literary craftsmen. Next year I hope the<br />
Society of Authors and the Authors’ Club. will<br />
associate themselves with the London Shakespeare<br />
Commemoration. The leadership of Sir Walter<br />
Besant need not be absent if his patriotism, his<br />
devotion, his love for London, his reverential<br />
attachment to the memory of Shakespeare, his<br />
desire to assist any movement having for its object<br />
and effect the awakening of the public mind to the<br />
treasures of its intellectual heritage, if his example,<br />
in a word, yet lives in the memory of his<br />
associates and contemporaries to inspire a resolute<br />
belief in the power of an idea.<br />
<br />
T. FarrmMan OrDISH.<br />
<br />
> +<br />
THE WORLD BEYOND!<br />
E<br />
<br />
HO over that gulf a bridge can throw,<br />
Which fearfully yawns between<br />
The world of Sense that we think we know<br />
And the other that is unseen ?<br />
Are there some nerve-cells in the brain,<br />
Seemingly fashioned all in vain,<br />
Where the sole path may lie ?<br />
A lesion slight in the matter grey!<br />
Those cells arranged in another way,<br />
And solved is the mystery !<br />
<br />
Il.<br />
<br />
Then—only then, will a flash of light<br />
Spring forth from the brain to span,<br />
Like a bridge of glory, that realm of night,<br />
Which shrouds ‘‘ the beyond ” from man !<br />
Yes, then the real world shall we see<br />
With eyes unsealed, and ‘iis dream shall flee,<br />
And we shall know at last<br />
That the things of Sense are but shadows all,<br />
Veiling the Spirit-land like a pall—<br />
But, we should stand aghast !<br />
<br />
III.<br />
Yea, happy for us that few will dare<br />
To span for us that profound,<br />
For nameless terrors may wait us there,<br />
Where horrors unguessed abound !<br />
Satyrs and Fauns of ancient Rome<br />
In that pale realm may have their home,<br />
And things never named by man !<br />
In opened eyes would a wonder strange<br />
Amoment dawn ! then to dread would change—<br />
We should see the Great God Pan !<br />
F. B. Doveton.<br />
Norre.—Suggested by Mr. Machen’s “The Great God<br />
Pan,”<br />
<br />
\<br />
<br />
<br />
<br />
<br />
2:22,<br />
<br />
SOME NOTES ON METHODS OF REJEC-<br />
TION AND REVIEW.<br />
<br />
i<br />
<br />
WO years ago I sent an article to a well-<br />
known monthly magazine. It was returned,<br />
with an unusual variant of the customary<br />
<br />
enclosing letter. I was told that the MS. was in-<br />
teresting, but that the editor was already supplied<br />
with material enough to last for six months. At the<br />
end of six months I again submitted the MS. Again<br />
it was praised, but 1 was informed that for several<br />
months to come there would be no vacancy for<br />
anything. I then dealt with the MS. in other<br />
ways, and at the end of a year from the date of the<br />
second rejection I submitted another article to the<br />
same periodical. On this occasion a similar but<br />
intenser form of reply was adopted. ‘ With sin-<br />
cere regret the Editor returns the enclosed, not<br />
because he fails to appreciate its interest and value,<br />
but because, for a few months at any rate, he can<br />
accept nothing whatever.”<br />
<br />
Naturally, it is not my intention to wait until<br />
this river goes by. But the system of laudatory<br />
indefinite postponement is not frank. No writer<br />
ought to complain of rejection after submitting a<br />
MS. to an editor who considers it, for an editor, if<br />
not always a good literary judge, is presumably<br />
the best authority as to the requirements of his<br />
periodical. If, however, an editor has a staff upon<br />
whom he exclusively relies, he should state plainly<br />
that he does not want outside help. I have no<br />
reason to complain of the staff system, since for<br />
many years a gentleman who controls a certain<br />
paper of somewhat humble and restricted scope,<br />
has habitually printed and paid for everything I<br />
have sent him, thus, indeed, obliging me in honour<br />
to edit my own contributions, and prepare them<br />
with exceptional care. But in this case outside<br />
work is freely admitted when it is suitable, and I<br />
suppose that in a world of competition the open<br />
door is the best policy. An editor who shuts the<br />
gates of consideration on mankind may discover<br />
that his readers, as well as his contributors, are a<br />
small group, and even the potent advertiser may in<br />
time adopt the principle of laudatory indefinite<br />
postponement.<br />
<br />
It may be that it is considered ‘‘neat”’ to<br />
reject with praise under colour of surfeit, or it<br />
may be that in some cases there is an “inner<br />
circle.” But I prefer an editor who will have<br />
the courage to say—‘ Not of the slightest<br />
use,” or “ Don’t want it. Please don’t send any<br />
more.”<br />
<br />
Rejections by publishers stand on another foot-<br />
ing. It is curious, however, that nowadays if you<br />
mention poetry to them they shudder as at pesti-<br />
lence. One is prepared for reluctance. The<br />
<br />
THE AUTHOR.<br />
<br />
commercial objections, based on wide and calami-<br />
tous experience, are well known. But what is<br />
happening to-day is that the hint of verse causes a<br />
fit. To such a miserable depth, of the fatuous and<br />
factitious, has this art been dragged by innumerable<br />
professors, that the publishing fraternity have<br />
generalised, and assume that the human race is no<br />
longer capable either of producing or of hearing<br />
language in its higher powers. It is assumed that<br />
your product will be, at best, of the well-known<br />
machine-made variety, to which even the greatest<br />
names in the last century not infrequently de-<br />
scended, and of which people are tired. Conse-<br />
quently, though for aught the publishers know to<br />
the contrary you may speak with the tongues of<br />
men and of angels, their ears are already filled with<br />
wax. Originality is supposed to have exhausted<br />
itself in Whitmanism, a product (by the way) of<br />
morbidity and American convention, differentiated<br />
from other alleged poetry mainly by chaotic manner.<br />
In the general Dunciad are included the raw<br />
amateur, the maker of dead mosaic, and the pos-<br />
sible genius who may be trying to utter some new,<br />
important truth, and whose work, designed to<br />
transcend all conventional types in matter and<br />
form, may bear the same relation to current poetry<br />
as the Marconi system of telegraphy bears to the<br />
<br />
penny post. 7<br />
<br />
This is not a wail. The hypothetical genius, of<br />
course, confronted by such difficulties, would find<br />
a way of overcoming them. He might go to some<br />
place where there is a tub, and, mounting thereon,<br />
give forth his verse orally to the world at large,<br />
thus incidentally creating a public that no book-<br />
seller would ignore. It would save much trouble,<br />
however, and many fits, if the state of affairs I<br />
have indicated were clearly recognised.<br />
<br />
The perpetration, some years ago, of a small<br />
book of verse (amongst other printed writings) is<br />
admitted by the present writer, who hastens to<br />
disclaim for it any pretence of transcendent revela-<br />
tion. But with regard to criticism, one further<br />
complaint may be made. The general racket of<br />
criticism any man ought to be able to stand “ with-<br />
out turning a hair,” especially as the critics are so<br />
often mutually destructive. Nor do I much mind<br />
the half-educated critic, a common variety, of<br />
which a specimen (writing in a newspaper of<br />
patrician, professional and fashionable readers)<br />
took me to task on a point of grammar. I had<br />
used a word in its strict etymological sense, and in<br />
such a way as would have given no offence either<br />
toa highly-cultured reader or to an uncultured one<br />
of simple perception. My usage was denounced,<br />
<br />
in a superior way, as proof of rusticity. Happily<br />
the context was quoted, and I was content that<br />
many readers would perceive the true state of the<br />
case.<br />
<br />
In fact, I felt something of the quiet joy of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 223<br />
<br />
an angler who has landed a big trout—a trout that<br />
complacently generalised, and gobbled everything<br />
muscoid within view.<br />
<br />
* Different were the reviewers (unfair critics, I call<br />
them) who, after “faint praise,’ observed that,<br />
despite my efforts and certain similarities, I did<br />
not at all come up to the level of ‘‘ Mr. Henley”<br />
and “ Mr. Watson.” Curiously enough, I had never<br />
up to that time read a line of either Mr. Henley or<br />
Mr. Watson, but I proceeded to look into their<br />
work, and soon found that what they burned I<br />
adored and what they adored I burned. I could no<br />
more think of imitating those gentlemen in matter<br />
or style than (I am sure) they would think of<br />
imitating me. Beyond a possible genial sense of<br />
human fellowship consistent with a determination<br />
to continue gaily on our respective paths, there<br />
could be nothing in common between us—certainly<br />
the suggested straining and rivalry was absurd.<br />
And there is no likeness in the styles. I and my<br />
distinguished contemporaries certainly do not write<br />
in the language of the critical Press, but that does<br />
not constitute a mutual resemblance. Now, my<br />
indictment of these reviewers is this, that with the<br />
fullest range of good and bad adjectives at their com-<br />
mand—they might have pelted me to their hearts’<br />
content either with flints or with flowers—they<br />
chose to mislead their readers, and my possible<br />
readers, by a foolish comparison. It was much the<br />
same as telling the author of an astronomical treatise<br />
that he was not Chaucer, and was fairly outclassed<br />
by Horace. When will critics learn their trade ?<br />
<br />
Ruo.<br />
<br />
CORRESPONDENCE.<br />
<br />
——~+—<br />
<br />
THE ABSURDITY OF MODERN REVIEWING.<br />
<br />
Sir,—May I call attention to the inconsistency of<br />
the modern reviewer, who seems to do his level best<br />
to “boom” any book that strikes him as worthless.<br />
In a certain daily paper last week a criticism<br />
appeared of a certain book that has roused the ire<br />
of critics. It began by calling this book “ stupid,<br />
vulgar and offensive”; it ended with a recom-<br />
mendation that the volume should be thrown in<br />
the dustbin, “‘whence we can only hope that the<br />
female servants may not by any unlucky chance<br />
rescue it for unwholesome consumption at the<br />
kitchen supper table.” In the middle of this was<br />
<br />
a good half column about the book, which was<br />
freely quoted in large chunks for the whole world,<br />
“female servants” included, to read and digest !<br />
Could inconsistency and absurdity go further? If<br />
<br />
the book in question is only fit for the dustbin, is<br />
it fit to be quoted at length in a family newspaper<br />
with a large circulation ? :<br />
<br />
Other critics have spluttered in the same way, but<br />
nearly all have written columns about the book,<br />
showing their intense interest in it. Why can they<br />
not be candid and say, ‘“ This is the sort of stuff T<br />
like, and anyone who wants to be amused should<br />
read it”? instead of turning up their eyes to<br />
heaven over its iniquity, and, at the same time,<br />
advertising it for all they are worth. It is imbe-<br />
cility and it is humbug, this way of reviewing. If<br />
a book is “stupid, vulgar and offensive,” why hold<br />
it up as a lure for the public to run after; why<br />
spend hours of time and columns of print over it ?<br />
Let it die, or be honest enough to confess that it<br />
is vital and deserves to live.<br />
<br />
Mi Ee.<br />
<br />
———>—+ —_<br />
<br />
THE SOCIETY’S DINNER.<br />
A> Protest.<br />
<br />
Sir,—My annual shock in the form of an official<br />
intimation of the price at which is fixed the yearly<br />
dinner of the Society of Authors has just been<br />
experienced by me. I note that the amount on<br />
this occasion is to be half a sovereign, exclusive<br />
of any more exhilarating vintage than cold water,<br />
while the scene of the function is once more to be<br />
a leading hotel.<br />
<br />
Now, Sir, this is altogether wrong ; it is entirely<br />
opposed to the manner in which such a function<br />
should be organised. Would Shakespeare (or<br />
Bacon, if you prefer it) or Dr. Johnson have<br />
contemplated with equanimity the prospect of<br />
incurring this outlay for the mere privilege of<br />
eating a meal in the company of their fellow-<br />
writers at a big restaurant ? Assuredly no. They<br />
would have had souls above the gilded splendours<br />
of the Hotel Cecil and the ten shilling menus.<br />
Who are we, pray, that we cannot be equally<br />
moderate in our requirements? What, too, is<br />
gained by disbursing this sum? Nothing, I am<br />
convinced, that is at all commensurate therewith.<br />
I speak, Sir, from experience, for I have attended<br />
several of these annual orgies (each, I grieve to<br />
say, at an increased cost). On each occasion the<br />
poor but honest author has been conspicuous by<br />
his absence ; in his place have been serried ranks<br />
of uninteresting nonentities, whose sole claim to<br />
being present is that they have been able to pay<br />
for their seats. A ten-shilling dinner is for our<br />
Pierpoint Morgans, and; the number of these<br />
enrolled in the ranks of the Society is, I take it,<br />
limited.<br />
<br />
Then again, it is not as though the dinner were<br />
a good one ; on the contrary, it is a remarkably<br />
<br />
<br />
<br />
<br />
224<br />
<br />
bad one when the cost thereof is taken into con-<br />
sideration. On one memorable occasion, indeed,<br />
-the price was a guinea, while the meal served.<br />
would have been dear at eighteenpence. -It seems<br />
to me, Sir, that we are making a great“mistake in<br />
this matter. I am no advocate for the chaste<br />
simplicity of Lockhart’s or Lyons’, but I am<br />
certainly of opinion that the gorgeous saloons of<br />
a first-class hotel are not necessary for the proper<br />
application of a feast of reason—such as should<br />
mark the annual dinner of our Society.<br />
<br />
I object, too, to the practice of the Committee<br />
in inviting guests of their own selection. ‘* Who<br />
pays the piper calls the tune” is a sound com-<br />
mercial axiom. As the members of the Society<br />
meet the bill for the same they should have a<br />
voice in inviting those on whose account it is<br />
incurred. It is the more excellent way. For<br />
myself, I am so constituted that it affords me no<br />
particular joy to pay for the dinner of an individual<br />
IT do not know (or want to) from Adam. I fancy<br />
that Iam not alone in this view. For the Com-<br />
mittee to invite outside guests at all is, in my<br />
opinion, a mistake. It reduces the annual dinner<br />
of the Society of Authors to the level of that of a<br />
charitable organisation touting for money. Surely<br />
we have enough members among ourselves to<br />
secure a satisfactory attendance—in point of num-<br />
bers at any rate. Of course, if the Society were<br />
on a proper basis it would give its members an<br />
annual dinner as a bonus ; failing the realisation<br />
of this pleasant state of affairs it ought at least to<br />
organise a dinner which should not cost those<br />
attending more than five shillings at the outside.<br />
<br />
I am, yours faithfully,<br />
<br />
HoracE WYNDHAM.<br />
April, 1903.<br />
<br />
“WHETHER OR NOT.”<br />
<br />
Srr,—Surely it is disappointing that even such<br />
an authority as Prof. Skeat can only refer one to<br />
“usage,” though it be the usage of a Shakespeare.<br />
Why should not a Scotchman also plead usage when<br />
he says, “I will drown and no one shall save me” ?<br />
What is sauce for the goose is sauce for the gander.<br />
And the people who of late years have affected<br />
to be a “trifle” sorry, a “trifle” thoughtful—a<br />
erowing band, I fear—are fast making “usage”<br />
of a noun as the modifier of an adjective. If<br />
acknowledged as usage, one has nothing to say<br />
save that there is correct usage and incorrect<br />
usage.<br />
<br />
Your other correspondent, A. Armstrong, also<br />
quoting Shakespeare, at least suggests “whether<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
or no”’ might be a curtailed idiom, “ whether ay<br />
or no.” But when I say, “ Whether I go or not,”<br />
what is suppressed is not an imaginary “ ay,” bat<br />
the repetition of the verb.<br />
<br />
I suppose it is “usage” which makes nine out of<br />
ten, if not ninety-nine out of a hundred, of modern<br />
authors write “whether or not.” Why have we<br />
arrived at that usage ? And I doubt the English<br />
school examiner could be found who would pass<br />
“whether or no.” in a boy’s exercise book without<br />
at least telling him he had better say “or not.”<br />
Why so ?<br />
<br />
hat my inquiry of 7'he Author resulted in such<br />
answer (I had asked for good reason) only shows<br />
what weak legs our poor King’s English—beloved<br />
and beautiful withal—has to stand on! Our<br />
language, being so largely the spoil of other<br />
languages, is not securely founded in its own con-<br />
struction. All foreigners, at least every Frenchman<br />
and German learning English, know that. They<br />
have been well grounded in their grammar, and<br />
when they come to acquire our tongue, behold they<br />
find ‘usage ”—too often usage minus reason.<br />
<br />
Sorrowfully,<br />
Kine’s ENGLISH.<br />
<br />
TYPEWRITING.<br />
<br />
Sir,—If any of your readers want to know of a<br />
really good typewriter I shall be most happy to<br />
recommend one: she is a lady, very highly educated,<br />
with literary experience, and is thoroughly to be<br />
trusted with valuable MSS.<br />
<br />
Yours faithfully,<br />
OuIveE KATHARINE Parr.<br />
<br />
WANTED A REFERENCE.<br />
<br />
Srr,—In reply to Mr. J. M. Lely, the passage<br />
which he quotes—<br />
<br />
“ Qui cessat esse melior cessat esse bonus,”<br />
<br />
was stated in the Daily Telegraph of Thursday,<br />
May 29th, 1902 (p. 9, c. 1), to be the motto<br />
written by Oliver Cromwell in his pocket Bible,<br />
in the possession of the Earl of Chichester.<br />
<br />
I, too, have endeavoured to ascertain the source<br />
of this sentence, but, so far, unsuccessfully, and,<br />
therefore, incline to the belief that it was Cromwell’s<br />
own composition.<br />
<br />
Hupert Hass. | https://historysoa.com/files/original/5/483/1903-05-01-The-Author-13-8.pdf | publications, The Author |
484 | https://historysoa.com/items/show/484 | The Author, Vol. 13 Issue 09 (June 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+09+%28June+1903%29"><em>The Author</em>, Vol. 13 Issue 09 (June 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-06-01-The-Author-13-9 | | | | | 225–252 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-06-01">1903-06-01</a> | | | | | | | 9 | | | 19030601 | Che #uthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
JUNE Ist, 1903.<br />
<br />
Vou. XIII.—No. 9.<br />
<br />
[Prick SrxpPENnog.<br />
<br />
<br />
<br />
<br />
<br />
THE TELEPHONE.<br />
<br />
<br />
<br />
The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
———_—__—_+—~@—<br />
<br />
<br />
<br />
NOTICES.<br />
<br />
—-~<> +<br />
<br />
OR the opinions_expressed in papers that are<br />
K signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
— +<br />
<br />
List of Members.<br />
<br />
THE List of Members of the Society of Authors,<br />
published 1902, can be obtained at the offices of<br />
the Society, at the price of 6d. net.<br />
<br />
It will be sold to the members of the Society<br />
only.<br />
<br />
—-—>+—<br />
<br />
The Pension Fund of the Society.<br />
<br />
THE investments of the Pension Fund at<br />
present standing in the names of the Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou, XIII.<br />
<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Coagole 25 Fees. £1000 0 6<br />
POCH) LOANS obec. 500 0 0<br />
Victorian Government 3 ‘ Consoli-<br />
<br />
dated Inscribed Stock ...............<br />
We lon<br />
<br />
291 19 Tt<br />
201 9 3s<br />
<br />
otal o1,995 9 2<br />
<br />
<br />
<br />
Subscriptions.<br />
<br />
1908.<br />
Jan. 1, Pickthall, Marmaduke 010 6<br />
»» Deane, Rey. A.C. . 010 06<br />
Jan. 4, Anonymous 0) 5. 6<br />
- Heath, Miss Ida 0 5 0<br />
“ Russell, G. H. ; Ll 0<br />
Jan. 16, White, Mrs. Caroline 0.5 06<br />
», Bedford, Miss Jessie 0 5. 0<br />
Jan..19, Shiers-Mason, Mrs. 0 35.0<br />
Jan. 20, Cobbett, Miss Alice ; 1 0 5 0<br />
Jan. 30, Minniken, Miss Bertha M.M. 1 0 0<br />
Jan. 31, Whishaw, Fred : - 0 10 0<br />
Feb. 3, Reynolds, Mrs. Fred 0 5b 0<br />
Feb. 11, Lincoln, C. . ; 0 5 0<br />
Feb. 16, Hardy, J. Herbert . 0° 5 0<br />
» Haggard, Major Arthur . 0° 5 0<br />
Feb. 23, Finnemore, John . 05 0<br />
Mar. 2, Moor, Mrs. St. C. . 1° 0 6<br />
Mar. 5, Dutton, Mrs. Carrie 015 6<br />
Apl.10, Bird, ©. PB. . : A - 0 10.6<br />
Apl. 10, Campbell, Miss Montgomery. 0 5 0<br />
May Lees, R. J... : ; 1 0<br />
: Wright, J. Fondi . ; ~ 905 6<br />
Donations.<br />
<br />
Jan. 8, Wheelright, Miss E. : , 0 10 6<br />
» Middlemass, Miss Jean . ~ 010 0<br />
<br />
Jan. 6, Avebury, The Right Hon.<br />
The Lord . D0 0<br />
» Gribble, Francis. : . 010 0<br />
Jan. 13, Boddington, Miss Helen . . 010 6<br />
Jan. 17, White, Mrs. Wollaston 11 0<br />
» Miller, Miss E. T. . 0 5.0<br />
Jan. 19, Kemp, Miss Geraldine 010 6<br />
<br />
<br />
226<br />
<br />
Jan. 20, Sheldon, Mrs. French . - 0) 5) 0<br />
Jan. 29, Roe, Mrs. Harcourt : . 0 16 0<br />
Feb. 9, Sherwood, Mrs. . : » 0-10 6<br />
Feb. 16, Hocking, The Rev. Silas 210<br />
Feb. 18, Boulding, J. W. . : . 010 6<br />
, Ord, Hubert H. . ‘ de)<br />
Teb. 20, Price, Miss Eleanor : . 010 0<br />
» Carlile, Rev. J. C.. : . 010 0<br />
Feb. 24, Dixon, Mrs. . : : a2 0-0<br />
Feb. 26, Speakman, Mrs. . : . 010 0<br />
Mar. 5, Parker, Mrs. Nella 2 0 10° 0<br />
Mar. 16, Hallward,N. LL. . : ll 0<br />
Mar. 20, Henry, Miss Alice . : - 0 8.9<br />
» Mathieson, Miss Annie . . 010 0<br />
<br />
» Browne, T. A. (“ Rolfe Boldre-<br />
wood”) . j : : 12 0<br />
Mar. 23, Ward, Mrs. Humphry. 110.0. 0<br />
Apl. 2, Hutton, The Rev. W. H. - 2070<br />
Apl. 14, Tournier, Theodore : 0 2) 0<br />
May King, Paul H. : : ~ 010-90<br />
: Wynne, Charles Whitworth .10 0 90<br />
» 21, Orred J. Randal . : pedo E70<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rev. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
Dowsett, C. F.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
Se<br />
Sir Walter Besant Memorial Fund.<br />
Tur amount standing to the credit<br />
<br />
of this account in the Bank is......... £336 4 9<br />
May 22, Orred J. Randal............... Lied<br />
—____—<>—_e____\_<br />
<br />
FROM THE COMMITTEE.<br />
ee<br />
<br />
HE Committee of the Society of Authors met<br />
on May 6th. Mr. Douglas Freshfield took<br />
the chair.<br />
<br />
‘Twelve members and associates were elected to<br />
the Society. The list is printed below.<br />
<br />
The case of Parry v. Gollancz, with all the papers<br />
and letters, was laid before the Committee and<br />
carefully considered. The Committee decided to<br />
issue a summary of the case with comments in<br />
The Author, (See article, page 232.)<br />
<br />
The agent of the Society in New York has been<br />
forced to give up the work of the Society owing to<br />
the fact that he has taken up the work of a<br />
<br />
THE AUTHOR.<br />
<br />
literary agent. As he candidly expresses it, “ he<br />
found it difficult to have to write peremptory<br />
letters of demand to editors and publishers, when<br />
at the same time he might be offering them MSS.<br />
for acceptance.” Accordingly, the Society has<br />
been obliged to appoint another agent, and the<br />
Committee have nominated Mr. Morris P. Ferris,<br />
counsellor-at-law.<br />
<br />
‘There were two or three cases before the Com-<br />
mittee. One dealt with the loss of a MS. by a<br />
publisher. It was decided to take the matter up<br />
on behalf of the member, as from the circumstances<br />
connected with the case, it appeared that the<br />
publisher had shown considerable negligence.<br />
<br />
Another case, that of alleged breach of agree-<br />
ment by a publisher, the Committee found they<br />
were unable to support, as the solicitors of the<br />
Society did not consider that there was cause for<br />
legal action.<br />
<br />
It was decided not to republish the list of<br />
members during the current year, but in the<br />
autumn, to publish a supplementary list of those<br />
members who had been elected since the last<br />
publication.<br />
<br />
oo<br />
<br />
Cases,<br />
<br />
Tue last statement of the cases taken up by<br />
the Society was printed in the March number of<br />
The Author. Since that date forty-three have been<br />
before the Secretary. They may be subdivided as<br />
follows :—<br />
<br />
Ten for the return of MSS. ; three for accounts ;<br />
five for accounts and money ; eighteen for money<br />
due ; one dealing with the false advertisement of a<br />
book; one with the infringement of copyright ;<br />
five embracing disputes which cannot be classed<br />
under any particular heading.<br />
<br />
The Secretary is pleased to report that all the<br />
cases chronicled in the March number of The<br />
Author have either been settled or have been placed<br />
in the hands of the solicitors.. All the cases from<br />
that date up to the beginning of April have also<br />
been settled or placed in the solicitors’ hands, with<br />
the exception of one case, where the author—<br />
unfortunately living abroad—had a claim against a<br />
magazine for non-payment.<br />
<br />
The record of the ten claims for the return of<br />
MSS. is as follows :—<br />
<br />
One case has been placed in the hands of the<br />
Society’s solicitors, to enable the member to claim<br />
damages for loss of a MS. by a publisher, as it<br />
appeared clear to the Committee that the publisher<br />
had been negligent. In two cases there has been<br />
<br />
no evidence that the MSS. had been received at<br />
<br />
the office of the paper. In the remaining seven<br />
<br />
the MSS. have been returned at the request of the<br />
<br />
Secretary.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Set<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
In the three demands for accounts the Secretary<br />
has been able to obtain the requisite statement,<br />
with the exception of one case against a well-known<br />
firm that is always dilatory in meeting the demands<br />
of the author or the Secretary of the Society for<br />
details of this kind. No doubt a little mild<br />
persuasion will bring about the requisite result,<br />
<br />
There has been an increase with regard to demand<br />
for unpaid moneys, and the result. of the Secretary’s<br />
applications may be catalogued as follows :—<br />
<br />
In the claims for accounts and money two have<br />
been partially settled—this means that part of the<br />
money due has been paid, the rest will no doubt<br />
follow. One has been completely settled, and two<br />
are still in the course of negotiation. The last are<br />
demands against an American publisher, whose<br />
name is well known on the English market, but<br />
whose methods of doing business when it comes to<br />
the settlement of accounts appear to be far from<br />
satisfactory. In six cases the money has been<br />
paid without any difficulty. In five the matters<br />
have had to go into the hands of the Society’s<br />
solicitors. Two cases are still unsettled, and in one<br />
it is impossible to enforce the Society’s claim owing<br />
to the fact that the member resides abroad.<br />
<br />
This is, on the whole, a satisfactory record,<br />
especially when it is remembered that those matters<br />
referred to the solicitors deal with magazines that<br />
are most probably either in liquidation or on the<br />
verge of Jiquidation. The case of infringement of<br />
copyright has been satisfactorily settled. A full<br />
statement of this was printed in 7he Author. The<br />
false advertisement has also been remedied, and<br />
the remaining matters—various disputes on con-<br />
tracts—are in the course of negotiation.<br />
<br />
Out of thewhole forty-three there are only thirteen<br />
which have not been closed as far as the work of<br />
the Secretary is concerned. Some of them, as<br />
mentioned above, are being continued in other<br />
hands, it is hoped with satisfactory result.<br />
<br />
NEES “ESSE<br />
<br />
May Elections.<br />
4, Gray’s Inn Squares<br />
<br />
W.C.<br />
<br />
Scarborough.<br />
<br />
Wentworth House, Key-<br />
mer, Sussex.<br />
<br />
The Cedars, Denmark<br />
Avenue, Wimbledon,<br />
<br />
Aitken, Robert<br />
<br />
Alcock, Joseph Crosby .<br />
Arthur, Miss Mary<br />
<br />
Bedford, Mrs.<br />
<br />
SW.<br />
Dickinson, F. James 6, Claremont Terrace,<br />
Hargreaves, F.R.S.L. Claremont Park,<br />
Blackpool.<br />
<br />
Lees, Robert James<br />
<br />
. Engelbery, Ilfracombe.<br />
Macdonald, Mrs. A. E. .<br />
<br />
Gordon Road, Gordon,<br />
Sydney, N.S. Wales,<br />
Australia.<br />
<br />
THE AUTHOR. 227<br />
<br />
Merriman,<br />
B.C,<br />
Pickering, Sidney .<br />
Smith, Miss M. C,<br />
<br />
Labor A., Freetown, Sierra Leone.<br />
<br />
Stratton, Falmouth.<br />
<br />
Gretna Hall, Gretna<br />
Green,<br />
<br />
200, Stockwell Road,<br />
Brixton, 8.W,<br />
<br />
Colonial Institute,<br />
Northumberland<br />
Avenue, W.C.<br />
<br />
Trost, Johann<br />
<br />
Wright, Edward Fondi .<br />
<br />
<br />
<br />
+-—<—e<br />
<br />
OUR BOOK AND PLAY TALK.<br />
ae<br />
<br />
| PROFESSOR RHYS DAVIDS’ “Buddhist<br />
<br />
| India” in the Stories of the Nations Series,<br />
<br />
may be out any day now. It was all passed<br />
for press some time ago, but it is being printed in<br />
America. he Professor has just finished editing<br />
the issues of the Pali Text Society for 1903 ; they<br />
form the Journal of that Society. He has also<br />
edited the second volume of “The Digha” in<br />
conjunction with Mr. E. Carpenter. These are<br />
now ready for distribution to members.<br />
<br />
The Government of India has determined to<br />
publish, through the Royal Asiatic Society, two<br />
series of historical volumes. Of these, one is on<br />
the History of India before the arrival of the<br />
English, and will be under the editorship of<br />
Professor Rhys Davids.<br />
<br />
The first volumes to be published will deal with<br />
the historical geography of ancient India, and<br />
with the historical evidence contained in the<br />
Vedas. The other series, to be called The Records<br />
Series, will embrace the period after the arrival of<br />
the English, and will consist mainly of official<br />
documents. The first volume will deal with the<br />
events connected with the Black Hole of Calcutta.<br />
<br />
Mr. Arnold White has had a trying experience :<br />
He lost, during the fire at the Hotel du Palais, at<br />
Biarritz, the MS. of the work on which he was<br />
engaged. It is a continuation of the series on<br />
Efficiency which began eighteen years ago in “The<br />
Problems of a Great City,” and ended in his last<br />
two books—* Efficiency and Empire,” and “ For<br />
Efficiency.”<br />
<br />
Mr. White, however, hopes in the course of the<br />
next twelve months to re-write and complete a<br />
work on National Efficiency, especially with regard<br />
to government and municipal administration, and<br />
its effects on the pockets, the health, and the lives<br />
of citizens of the Empire.<br />
<br />
Miss Mabel Quiller Couch, whose short stories<br />
are well known, has published two volumes of them<br />
under the titles of “The Recovery of Jane Vercoe,”<br />
<br />
<br />
<br />
<br />
228<br />
<br />
and “Some Western Folk.” At present she is<br />
completing serial work already ordered, but she<br />
means in the near future to write a story for girls<br />
on somewhat new lines. Our readers may remember<br />
a very interesting volume entitled, “ The Holy Wells<br />
of Cornwall,” which Miss Mabel Quiller Couch wrote<br />
in conjunction with her sister.<br />
<br />
Mrs. Mary M. Banks is engaged in editing a<br />
MS. collection of tales of the fifteenth century for<br />
the Early English Text Society. Some two years<br />
ago Mrs. Banks edited the alliterative ‘‘ Morte<br />
Arthur,” published by Messrs. Longmans. Since<br />
then she has given lectures on modern literature,<br />
besides writing articles on literary subjects.<br />
<br />
Messrs. Swan Sonnenschein have in preparation<br />
for the autumn a romance of Italy in the thirteenth<br />
century, by Emily Underdown (Norley Chester).<br />
This firm lately published “ Dante and Beatrice,”<br />
a play in blank verse suggested by episodes in the<br />
Vita Nuova, by the same author. It forms one of<br />
a series started by Miss Elsie Fogerty. “ Dante<br />
and Beatrice” is also published in a tastefully<br />
got-up edition, with a reproduction of Rossetti’s<br />
painting, “ Dante’s Dream,” as a frontispiece.<br />
<br />
Members of the Society will be interested to<br />
know that Mr. Poulteney Bigelow has been asked<br />
to address the United States Naval War College<br />
at Newport, on German Colonisation, on the 16th<br />
of June. This is the college before which Captain<br />
Mahan delivered his lectures on “‘ The Influence of<br />
Sea Power on History ”—a book which has been<br />
translated into almost every tongue, and yet<br />
which, at the time, was declined by the Harpers.<br />
<br />
Lismore, which the King is to visit next<br />
August, is the “ Innisdoyle ” of Julia M. Crottie’s<br />
“ Neighbours,” a book of Irish sketches, published<br />
by T. Fisher Unwin a year or two ago. Lismore<br />
is a quiet old town, beautifully situated on the<br />
poet Spenser’s Blackwater, and although now<br />
fallen away from its ancient importance, still<br />
possesses some features of interest in its fine old<br />
abbey and castle.<br />
<br />
Mr. Frank Rutter, the editor of To-day, has<br />
just published, through R. A. Everett & Co.,<br />
a little volume of scenes and characters from<br />
eee life. ‘‘’Varsity Types” is the title<br />
of it.<br />
<br />
“Varsity Types” has a dozen illustrations by<br />
Stephen Haweis. The dedication runs thus—‘‘ To<br />
those who unconsciously have posed as models for<br />
the following sketches, this little volume is grate-<br />
fully and affectionately dedicated by the author.”<br />
Among the entertaining characters are ‘“ The<br />
Swot,” “The Trophy Maniac,” “ The Snob,” and<br />
“The Bedder,” while “‘ Ditton Corner,” “ An Art-<br />
less Dean,” and “An Academic Court-Martial,”<br />
are scenes to laugh over.<br />
<br />
THE AUTHOR.<br />
<br />
Miss Julie Sutter’s book on the Social Problems<br />
—Brirain’s Next Campaign ”—has just been<br />
issued at a shilling net (320 pp.) by R. Brimley<br />
Johnson, 4, Adam Street, Adelphi, W.C. The<br />
Daily News this winter thought it worth while to<br />
publish a series of articles from its pages, and Sir<br />
John McDougall (as chairman of the London<br />
County Council) invites ‘every Londoner, official<br />
on non-official, to make himself acquainted with<br />
this book.” Both he and Canon Scott Holland<br />
head the volume with a preface.<br />
<br />
Mr. F. Stroud’s publishers will issue almost<br />
immediately a much-enlarged edition of his Judicial<br />
Dictionary. It will be in three thick volumes of<br />
about nine hundred pages each. The work is<br />
unique in that, whilst it is a dictionary in the<br />
ordinary sense of that word, yet the pivot on which<br />
it moves is that it deals with the English of affairs<br />
as expounded by the English Judges and by<br />
Parliament.<br />
<br />
To search for verbal definitions through the<br />
many hundreds of volumes of Reports of Cases,<br />
and the Statute Book from Magna Charta down-<br />
wards, and to harmonise the authoritative exposition<br />
of words and phrases culled from these sources,<br />
must have been an enormous task, requiring much<br />
prior knowledge and the unfailing patience of years.<br />
The idea of this edition is to bring down the<br />
exposition from the earliest times to the end of the<br />
nineteenth century. Whilst we should imagine it<br />
to be indispensable to the practising lawyer, the<br />
book cannot fail to be of general interest, for inci-<br />
dentally it frequently presents striking phases of<br />
the picturesque past.<br />
<br />
Mr. Percy White has been kind enough to send<br />
us the following interesting extract from a letter<br />
written to him by a great admirer of George<br />
Meredith. The writer is himself a novelist and<br />
man of letters :—<br />
<br />
“THE Two MEREDITHS.<br />
<br />
“T am reading ‘ Evan Harrington,’ in the original edition<br />
of 1861. I find that in the final edition, published by<br />
Constable, many admirable passages have been cut out, and<br />
a good deal of broad humour and fun has been lost. An<br />
interesting little paper might be made on a comparison of<br />
the two editions—the old Meredith pruning the younger.<br />
It is remarkable how completely ‘modern’ this book of<br />
1861 reads—a book which might have been written to-day,<br />
whilst its successful contemporaries, ‘ Framley Parsonage,’<br />
‘The Silver Chord,’ ‘The Woman in White,’ &c., are all as<br />
old-fashioned and uncouth as the crinolines, matador hats,<br />
and chenille hair nets of the early sixties.”<br />
<br />
“ Park Lane” is the title of Mr. Percy White’s<br />
new novel—needless to say a very readable one—<br />
which has been published by Messrs. Constable<br />
at 6s.<br />
<br />
Mr. G. W. Forrest, O.1.E., ex-Director of Records,<br />
Government of India, and author of “ Sepoy<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Generals,” has published through the same firm a<br />
copiously illustrated book called ‘‘ Cities of India”<br />
(10s. 6d. net). Mr. Forrest, who is one of the<br />
greatest living authorities on the ancient and<br />
modern history of India, has seen with his own<br />
eyes the cities he so admirably describes. The<br />
illustrations are excellent.<br />
<br />
’ The Transactions of the Royal Society of Litera-<br />
<br />
ture are being edited, as indeed they have been<br />
‘since 1894, by Perey W. Ames, LL.D., F.S.A.<br />
Besides publishing the following addresses : ‘‘ Posi-<br />
tivism in Literature,” “Supposed Source of the Vicar<br />
of Wakefield,” ‘‘ Racial and Individual Tempera-<br />
ments,” ‘‘ Superstition, Science, and Philosophy,”<br />
“Poetry and Science of Archeology,” &c., &c., Dr.<br />
Ames, in 1900, edited, with introduction and one<br />
lecture, “‘Chaucer Memorial Lectures.” In 1898<br />
he edited, with an historical sketch of the Princess<br />
Elizabeth and Margaret of Navarre, “The Mirror<br />
of the Sinful Soul.” Before that he edited, with<br />
an introductory address, a volume of “ Afternoon<br />
Lectures on English Literature.”<br />
<br />
Mr. Sydney Lee has brought to a close his tour<br />
in America. He has been accorded an enthusiastic<br />
reception in the Hastern and the Western States.<br />
He has given fifty-three Jectures, and has travelled<br />
by rail more than ten thousand miles. Besides<br />
delivering addresses before the Library Association<br />
at Washington and the State University of North<br />
Carolina, Mr. Lee lectured at Staten Island, New<br />
York, at the request of Mr. William Winter, in aid<br />
of the library founded by him in memory of his son,<br />
the late Mr. Arthur Winter.<br />
<br />
Mr. Lee also gave addresses on Shakespeare at<br />
Indianapolis and before the State Universities of<br />
Ohio and Indiana.<br />
<br />
Among recently published books by members of<br />
the Society is Mr. Justin McCarthy’s ‘British<br />
Political Leaders” (T. Fisher Unwin: 7s. 6d.<br />
net). Though all may not agree with his point<br />
of view, may not see eye to eye with him, yet<br />
readers can scarcely fail to find this volume attrac-<br />
tive. It is charmingly written.<br />
<br />
There is also a couple of volumes issued by Mr.<br />
John Murray, entitled, ‘‘ More letters of Charles<br />
Darwin,” being a record of his work in a series of<br />
hitherto unpublished letters, edited by Francis<br />
Darwin, Fellow of Christ’s College, and A. C.<br />
Seward, Fellow of Emmanuel College, Cambridge.<br />
(32s. net.)<br />
<br />
Then, Mrs. Gertrude Atherton, whose remarkable<br />
novel, “The Conqueror,’ we all remember, has<br />
now published, through Harpers, “A Few of<br />
Hamilton’s Letters.” Those who are interested in<br />
<br />
that famous man’s personality will find this selection<br />
from his correspondence well worth reading.<br />
<br />
229<br />
<br />
Professor E. Ray Lankester, F.R.S., etc., Direc-<br />
tor of the British Museum of Natural History,<br />
has contributed a Preface to Mr. S. Theodore<br />
Andrea Cook’s book, ‘ Spirals in Nature and Art”<br />
(John Murray). This is a study of spiral forma-<br />
tions based on the manuscripts of Leonardo da<br />
Vinci, with special reference to the architecture of<br />
the open staircase at Blois in Touraine, now for<br />
the first time shown to be from his designs. This<br />
interesting volume is 7s. 6d. net.<br />
<br />
Miss Marie Corelli recently addressed a crowded<br />
meeting of the O. P. Club in the large hall of<br />
the Criterion Restaurant. Miss Corelli spoke<br />
on “The Trust on behalf of the Nation at<br />
Stratford-on-Avon.” She protested against the<br />
destruction of any buildings in Heniey Street, par-<br />
ticularly such old and valuable ones as were seen<br />
and known by Shakespeare, and were on that<br />
account priceless to the literary and dramatic<br />
world of to-day. Especially did she plead for the<br />
quaint little half-timbered dwelling of Thomas<br />
Green, once town clerk of Stratford and cousin of<br />
Shakespeare.<br />
<br />
Miss Corelli protested against the proposed<br />
destructive alterations, and earnestly requested<br />
that a committee might be formed to inquire<br />
into the case she put forward. She considered<br />
that the culpable ignorance and carelessness of<br />
the Executive Committee of the Shakespearean<br />
Trust proved that the time had come when their<br />
national duty should be taken up by a wider,<br />
more educated and more Shakespearean body. An<br />
appeal to Parliament for the preservation of Henley<br />
Street was being sent out for signature, and there<br />
was every reason to believe that it would bereceived<br />
with favour.<br />
<br />
The clause in the Employment of Children Bill<br />
which prohibits the appearance of children under<br />
fourteen upon the stage has evoked a series of<br />
protesting letters in the Daily Telegraph from<br />
such authorities as Sir Henry Irving, Miss Ellen<br />
Terry, Miss Ellaline Terriss, Mr. George Alexander,<br />
Mr. Beerbohm Tree, Messrs. Frederick Harrison<br />
and Cyril Maude, and Mr. Arthur Collins and<br />
Mr. F. W. Wyndham. We have room for two<br />
quotations only. Miss Ellen Terry says :<br />
<br />
“T cannot remain silent when I hear of disaster threaten-<br />
ing our future actors and actresses. Sir Henry Irving and<br />
others have urged the cruelty of taking joy and pleasure<br />
from the lives of children by prohibiting their employment<br />
on the stage. I go further, and say that the effect of such<br />
a law will be to take education from them, education in the<br />
widest sense technical. I can put my finger at once on the<br />
actors and actresses who were not on the stage when<br />
children. Withall their hard work they can never acquire<br />
afterwards the perfect unconsciousness which they learn<br />
then soeasily. .. . lam anactress, but first 1 am a woman<br />
and I love children. I don’tsay that the conditions under<br />
<br />
<br />
<br />
<br />
230<br />
<br />
which they work on the stage are perfect. I could point to<br />
many things which IJ should like tosee altered, particularly<br />
the practice of their being too many hours at a stretch in<br />
the theatre, as is the case when they are employed in two<br />
performances on one day. But surely it is not right to<br />
sweep away a fine training for children because it has<br />
faults ?”<br />
<br />
The second extract is from Mr. Tree’s letter :<br />
<br />
“T will leave to others the task of pointing out in detail<br />
how desirable it is for the children of poor parents to have<br />
the opportunity of learning in their early years those<br />
habits of obedience, cleanliness and orderliness which are<br />
part of the discipline of every well-regulated theatre ; also<br />
the social value to them in after life of daily mixing, while<br />
still young, with those who can teach them good manners<br />
and self-respect. The one point I am most anxious to<br />
make is this: The Bill as it stands would not only deprive<br />
the children of these benefits, but would also deprive<br />
hundreds of thousands of the public of the pleasure they<br />
derive from those theatrical performances (such as panto-<br />
mime, and the like), from which the services of children<br />
areinseparable. Moreover, any such new legislation would<br />
practically banish from our stage many of Shakespeare's<br />
most-admired plays, such as “The Midsummer Night's<br />
Dream,” “ The Tempest,” “ A Winter’s Tale,” ‘The Merry<br />
Wives of Windsor,” ‘Richard III,” “King John,” and<br />
other classical works. It is needless to point out that these<br />
remarks apply equally to grand opera and public concerts<br />
whenever the services of children form an integral part of<br />
the entertainment.”<br />
<br />
All the letters are worthy of careful considera-<br />
tion, and we refer our readers to the particular<br />
issue of the Daily Telegraph from which we have<br />
quoted, 7.¢., that of Monday, May 18th.<br />
<br />
<br />
<br />
———_—_—__- ~~<br />
<br />
PARIS NOTES.<br />
<br />
—— ><br />
<br />
ANATOLE FRANCE’S novel, “ Histoire<br />
Mi e Comique,” is now published in volume<br />
form, after running through the Revue<br />
de Paris as a serial. There is nothing comic<br />
about it except the one word in the title. It is, in<br />
fact, a most gruesome story. Félicie, an actress<br />
who is considered a star, has deserted her lover of<br />
less prosperous days for a young aristocrat, Robert<br />
de Ligny. ‘The ex-lover, Chevalier, warns her of<br />
his own jealousy and begs her to return to him.<br />
She pays no attention to his words and one day,<br />
when she is coming away from a rendezvous<br />
with de Ligny, Chevalier commits suicide in her<br />
presence.<br />
From this day forth Félicie has no peace of<br />
mind. The dead man’s face seems to haunt her,<br />
and at the most unexpected times and places she<br />
fancies that she sees him.<br />
<br />
Chevalier had been an actor, and all his thea-<br />
trical friends undertake the arrangements for his<br />
funeral. The Church refuses the burial service on<br />
account of the suicide, and Félicie, who hopes that<br />
the holy water may lay the ghost of the dead man,<br />
<br />
THE AUTHOR.<br />
<br />
joins with her comrades in insisting on the religious<br />
rites being performed. A certain Dr. Trublet, the<br />
medical adviser of the theatre to which Félicie<br />
belongs, is the philosopher whom we usually meet<br />
in Anatole France’s books. In this instance the<br />
artistes have recourse to him for a certificate<br />
proving that Chevalier was insane when he shot<br />
himself. A priest had suggested, in a wily way,<br />
that the dead man had, perhaps, not been respon-<br />
sible for his actions, and that if this could be<br />
proved the Church would not refuse to bury him.<br />
Dr. Trublet accordingly searches among his learned<br />
books, and finds various instances of temporary<br />
insanity. He delivers a long harangue on the<br />
subject of free will and determinism. His con-<br />
cluding argument is that the world is an amusing<br />
place on the whole, and that Chevalier must have<br />
been more insane than other men, since he had<br />
voluntarily resigned his place here. The certificate<br />
that he makes out is so full of technical terms that<br />
the doctor declares that it is “ too utterly devoid<br />
of any sense to contain a lie.”<br />
<br />
The funeral service is accordingly held in the<br />
church, All the artistes attend the ceremony and<br />
then proceed to the cemetery, but they are all so<br />
much occupied with their own private affairs and<br />
with ull the gossip and scandal they have to tell<br />
each other, that they only remember at intervals<br />
what has brought them all there together.<br />
Immediately after the funeral Félicie goes with<br />
her lover to luncheon at a _ restaurant, and<br />
endeavours to forget the dead man.<br />
<br />
It is of no use, though, and to the end of the<br />
story she is haunted by his reproachful eyes.<br />
There is not much plot and there is a great deal<br />
that is unpleasant in the book, but the keen<br />
observation, the delicate sarcasm, and, above all, the<br />
perfect style and language are all to be found in<br />
“ Histoire Comique” as in every work by Anatole<br />
France.<br />
<br />
In Brada’s new novel, “Retour du Flot,” we<br />
have a subject which lends itself well to the<br />
weaving of a romance. The mystery is that it<br />
has not been adopted more frequently by authors.<br />
<br />
It is the story of a woman who, after several<br />
years of happiness in her married life, loses her<br />
little girl and cannot recover from her grief. Her<br />
husband, who was also devotedly fond of the child,<br />
wearies of the gloominess of his home and the<br />
constant sadness of his wife and seeks amusement<br />
elsewhere.<br />
<br />
On discovering that he has been faithless to her<br />
his wife applies for a divorce and will hear of no:<br />
compromise.<br />
<br />
After two or three years of loneliness and misery<br />
she consents to marry a cousin who has always<br />
loved her, and who is a man of fine character. She<br />
is quite resigned to her new lot in life when, on the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 231<br />
<br />
sixth anniversary of her little girl’s death, as she<br />
is walking past her old home, she meets her first<br />
husband. He saves her from being knocked down<br />
by a vehicle as she is crossing the road. It is the<br />
first time they have met since their divorce, and<br />
they both realise, as they talk to each other once<br />
more, the fatal mistake they made in the old<br />
days.<br />
<br />
The struggle which now takes place in the<br />
woman’s heart between the love which has never<br />
died and her new duties is described with great<br />
delicacy.<br />
<br />
The loneliness and misery of the man who had<br />
formerly been everything to her appeal to her ;<br />
and when he begs her to meet him again she con-<br />
sents, Her life during the next few months is<br />
almost unbearable. The book is charming to the<br />
very end, and the dénowement seems most natural.<br />
All the characters live, and there is no seeking<br />
after effect. It is merely a simple story told in the<br />
most simple and natural way possible.<br />
<br />
During the last year the books which have been<br />
most discussed here have been those written by<br />
women. ‘This may seem rather flattering to the<br />
fortunate writers of them, but it is only fair to add<br />
that much of the discussion has been on the subject<br />
of the exaggeration of women writers, as shown in<br />
several of their recent novels.<br />
<br />
Judging by some specimens of these realistic<br />
novels that have been before the public, it seems<br />
as though “women rush in where men fear to<br />
tread.”<br />
<br />
In “La Maison du Péché” we had an example<br />
of this, and still more recently in “ La Nouvelle<br />
Espérance.” “ I,’ Inconstante,” too, is a novel that<br />
has astonished everyone, coming, as it does, from<br />
the pen of a woman.<br />
<br />
Exaggeration of this kind cannot be attributed<br />
to Madame Daniel Lesueur in the novel she has just<br />
published, “ Le Coeur Chemine.” It is a delight-<br />
fully natural story of a woman who makes the dis-<br />
covery that she is not as happy as she thought<br />
she was in her married life. Thanks to a poet<br />
whom she had known years before, and whom<br />
she meets by accident at Antwerp, she makes this<br />
discovery. She has accompanied her husband on<br />
one of his business journeys to Antwerp and<br />
Bruges, and the poet wanders through the<br />
museums and churches with her, with the result<br />
that she realises how prosaic her life is.<br />
<br />
There is no strong plot running through this<br />
book: it is just a psychological study from beginning<br />
toend. The poet makes love to the wife of the<br />
prosaic husband, and she is tempted to promise, at<br />
any rate, to be his friend and his muse. Things<br />
cannot stop at this stage, but just at a critical<br />
moment the wife discovers the nobility of character<br />
of her husband and remains faithful to him. As<br />
<br />
the years go by life is again most monotonous, and<br />
once more the poet crosses her path. She has<br />
another terrible struggle with herself, and once<br />
more comes out victorious,<br />
<br />
The minor characters in the story are all well<br />
drawn, and the author only attempts to show us<br />
the workings of the heart of all these human beings<br />
without trying to explain at all why so much that<br />
is unsatisfactory should remain so to the end. It<br />
is, as she says, a most pitiful mystery that one<br />
should be compelled to make sacrifices which, as<br />
far as we can see, do no final good, although they<br />
cost us so much.<br />
<br />
The second volume of “Souvenirs sur Madame<br />
de Maintenon” has just been published by the<br />
Count d’Haussonville and M. Hanotaux. It is one<br />
of the most interesting books that has yet appeared<br />
on this subject, as it contains the famous “ Cahiers<br />
de Mademoiselle d’Aumale.” We get a detailed<br />
account of life at the French Court under Louis XIYV.,<br />
dating from his liaison with Madame de Montespan.<br />
<br />
In the Preface, by M. Hanotaux, we are told<br />
that Madame de Maintenon wished “to remain an<br />
enigma to posterity,’ and that she only intended<br />
those papers about her life to be published which<br />
she had prepared for publication. It was on this<br />
account that Madame de Maintenon destroyed all<br />
her correspondence with Louis XIV, and with<br />
various other persons. ‘<br />
<br />
Mademoiselle d’Aumale commences her memoirs<br />
with a chapter on “Madame de Maintenon and<br />
Madame de Montespan.” Another chapter is on<br />
the ‘‘Duchesse de Bourgogne,” and there is also<br />
an account of the death of Louis XIV., which<br />
Mademoiselle d’Aumale witnessed,<br />
<br />
“Zette”’ is the title of the new story by MM.<br />
Paul et Victor Margueritte.<br />
<br />
“L’Amoureuse Rédemption,” by M. Armand<br />
Charpentier, is a strong book which appears to be<br />
having great success.<br />
<br />
Among other new novels are “ Ballons Rouges,”<br />
by Madame de Bovet, “TL Etape Silencieuse,” by<br />
Jean Saint-Yves, and “ Petite Fille d’Amiral,” by<br />
Pierre Maél.<br />
<br />
A new poet has also come to the front with a<br />
volume entitled “Jamais,” the preface of which<br />
is written by M. Sully Prudhomme. The poet is<br />
M. Charles Reculoux.<br />
<br />
Various books on religious questions have been<br />
published recently, and are no doubt due to the<br />
agitation now going on here with reference to the<br />
Congregations.<br />
<br />
One of these books is “ Le Concordat de 1801,<br />
ses Origines et son Histoire,” by Cardinal Mathieu ;<br />
and another is “La Révolution Francaise et les<br />
Congrégations,” by M. Aulard.<br />
<br />
At the last meeting of the French Academy<br />
literary prizes were awarded to Madame Bentzon<br />
<br />
<br />
232<br />
<br />
and to MM. Adolphe: Brisson, Mandat-Grancey,<br />
Pontsevrez, Victor du Bled, de Pommerol and<br />
A. Halley.<br />
<br />
The chief theatrical event here has been the<br />
production of Maeterlinck’s new play, “ Joyzelle,”<br />
at the Gymnase Theatre. Space forbids our giving<br />
<br />
any details about this piece this month.<br />
<br />
There is an excellent article on “ The Works of<br />
Maeterlinck ” in the May number of the Interna-<br />
tional Theatre, which gives a very good idea of the<br />
chief features of this author’s books and plays.<br />
<br />
M. Mirbeau’s piece at the Francais may be pro-<br />
nounced a success, and we hear it is to be put on<br />
the English stage by Mr. Alexander as “ Business<br />
is Business.”<br />
<br />
The great theme of the play is the influence of<br />
money in modern society. It is a somewhat daring<br />
piece and the banker is a cleverly drawn type of<br />
the financier of our times.<br />
<br />
“Le Ruban Rouge” is a melodrama taken from<br />
the novel by M. Pierre Sales, whose success as a<br />
« fenilletonist” has been as marked. It has been<br />
put on at the Ambigu, and was very much<br />
appreciated by the house.<br />
<br />
In honour of M. Rostand’s reception at the<br />
Academy, Madame Sarah Bernhardt will revive<br />
“J Aiglon” at her theatre, and M. Coquelin will<br />
give ‘Cyrano de Bergerac” at the Porte Saint-<br />
<br />
Martin.<br />
Auys HALLARD.<br />
<br />
__ 9<br />
<br />
PARRY y. MORING AND GOLLANCZ.<br />
<br />
—+—~<—+ —<br />
<br />
N this action, to which two members of the<br />
Society, Judge Parry and Mr. Gollancz, were<br />
parties, a point of considerable literary im-<br />
<br />
portance was decided, and several others were raised<br />
either in the pleadings or in the newspaper con-<br />
troversy which followed it.<br />
<br />
The facts on which the action was based are<br />
briefly as follows :—<br />
<br />
In 1888 Judge Parry obtained from their then<br />
owner, the Rev. 8. R. Longe, with a view to pub-<br />
lication, copies of the original letters written before<br />
marriage by Dorothy Osborne to Sir William<br />
Temple in A.D. 1652-4. To the originals them-<br />
selves he had no access. The copies were made<br />
by the daughter-in-law of the owner, and the<br />
gratuitous offer of them had been occasioned by<br />
the publication in April, 1886, in the English<br />
Illustrated Magazine, of a sketch by Judge Parry,<br />
compiled from Courtenay’s “ Life of Temple,”<br />
and entitled Dorothy Osborne, Judge Parry<br />
re-arranged the letters, many of which were<br />
undated, in what he believed to be their proper<br />
sequence, and spent some time in modernising<br />
<br />
THE AUTHOR.<br />
<br />
their spelling and English and in annotating<br />
them. He proceeded to publish the letters after,<br />
at the request of his publisher, making excisions’<br />
amounting in all to about 100 lines, in a guinea<br />
volume, entitled Zhe Letters of Dorothy Osborne<br />
to Sir William Temple. He registered the copy-<br />
right of his book on June 15th, 1888. In October,<br />
1888, a second edition was issued at the price of 6s.<br />
_No mention appears to have been made at the<br />
time by the original owner, or by Judge Parry, of the<br />
copyright in the letters ; nor was any notice given<br />
of the copyright having been previously dealt with<br />
when in 1891 the original letters were, after the<br />
death of the Rev. 8. R. Longe, sold by the then<br />
owner to the British Museum, where the librarian<br />
arranged and bound them (with one exception)<br />
in the same order in which Judge Parry had<br />
printed them.<br />
<br />
In November, 1902, Judge Parry’s attention<br />
was called to the advertisement of a volume<br />
entitled Zhe Love Letters of Dorothy Osborne to<br />
Sir William Temple. Newly Edited from the original<br />
MSS. by Israel Gollancz. On the 1st December<br />
Messrs. Boote, Edgar & Co., Judge Parry’s<br />
solicitors, wrote to Mr. Moring, the publisher<br />
of the proposed volume, stating that their client:<br />
had copyrighted his publication, of which he was<br />
preparing another edition, and that if necessary he<br />
would take steps to prevent the publication adver-<br />
-tised by Mr. Moring. Mr. Moring answered, on the<br />
2nd December, that the work in question had been<br />
prepared from the original letters in the British<br />
Museum, and that under these circumstances he<br />
presumed Judge Parry would take no further steps.<br />
in the matter. Messrs. Boote, Edgar & Co.<br />
repliedfon the 4th December stating that they and:<br />
Judge Parry were unable to understand how Mr.<br />
Moring claimed to be entitled to publish the book<br />
advertised by him, and under what permission or<br />
sanction from the British Museum he claimed<br />
such authority.<br />
<br />
On the 8th December Mr. Gollancz wrote to<br />
Judge Parry, alleging that “the fact of the originals<br />
now being the property of the nation made the<br />
letters common property,” and offering “to con-<br />
nect the new edition with your esteemed name.”<br />
On the 9th December Judge Parry referred Mr.<br />
Gollancz to his solicitors, and on the same day<br />
Messrs. Boote, Edgar & Co., wrote to both the<br />
defendants calling on them “to discontinue the<br />
issue of the edition published by you.”<br />
<br />
Mr. Moring, however—after three months delay<br />
issued the volume at 2s. 6d. in March, 1903; and<br />
on the 18th March Judge Parry filed an affidavit in<br />
the Chancery Division of the High Court in support<br />
of an action to restrain its further issue. In<br />
this he did not insist on the claim suggested<br />
in the correspondence to an exclusive copyright in<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the original letters, but based his case on the<br />
allegation that the copyright in his work already<br />
described had been infringed with regard to (1) his<br />
notes, (2) his arrangement of the letters, (3) his text,<br />
and (4) his title. The defendants replied by affi-<br />
davit alleging that “they had not made any unfair<br />
use of the plaintiff’s book,” and as to the notes,<br />
they contested in detail the evidences of any such<br />
use brought forward by the plaintiff. Mr.<br />
Gollancz for himself denied having copied the<br />
order of the letters, stating that he had followed<br />
with one or two exceptions (based on his own<br />
researches) the British Museum order. He ad-<br />
mitted that, “as rough working copy, a print was<br />
set up of the letters as appearing in the plaintiff’s<br />
book,” but he alleged that the editor had collated it<br />
with the original letters “ at least ten times” and<br />
corrected “about 2,000 errors and differences,”<br />
and restored numerous omissions extending from<br />
one line to thirty, “the result being a new<br />
and very superior text.” He entered into detailed<br />
explanation of the cases in which he was charged<br />
with having copied or retained errors in Judge<br />
Parry’s notes. He submitted that his title was<br />
no infringement of copyright. He added, “I<br />
have always bond fide believed that I was acting<br />
within my strict rights, and in a way that could<br />
not be thought unfair to other editors, or in<br />
particular to the plaintiff.”<br />
<br />
The case came on before Mr. Justice Farwell gn<br />
April 8rd, 1903, on an application for an interim<br />
injunction. The Judge ut once expressed his<br />
opinion that the defendants’ admission that they<br />
had taken Judge Parry’s book and had copied it<br />
was fatal. In reply to the argument that they<br />
might “‘have made it their own by ten or a dozen<br />
comparisons with the manuscripts,” he added, “ It<br />
seems to me the substratum is fatal to you ; you<br />
cannot use your scaffolding.”<br />
<br />
On this point, and on this alone, the case was<br />
decided. The defendants’ counsel, “ who stated<br />
“‘they were not altogether taken by surprise,”<br />
submitted to’ judgment for delivery up on oath<br />
of all the books and documents constituting the<br />
infringement, and an inquiry as to damages and<br />
costs down to the trial.<br />
<br />
There can be little doubt that the judgment,<br />
which was so readily accepted by the defendants’<br />
counsel, was sound in law.<br />
<br />
No decision, it will be noted, was arrived at by<br />
the Court on the three further alleged infringements<br />
of copyright brought forward—the title, the<br />
arrangement of the letters, and the notes—nor<br />
does the Committee presume to express an opinion<br />
on the legal points involved. :<br />
<br />
With regard to the notes the question is a<br />
complicated one. The following sentences convey<br />
the opinion furnished to the Committee by an<br />
<br />
233<br />
<br />
eminent counsel on the general rules likely to be<br />
applied by a Court of Law dealing with similar<br />
cases: ‘The principle of the law, as laid down<br />
in various judgments, appears to be that an<br />
author may use his predecessor’s work, but must<br />
not copy it. He must, by adding something<br />
of his own, or derived from other and separate<br />
sources, by amalgamating and assimilating his<br />
literary material, create a new product. He must<br />
incorporate what he takes in his own work. Inthe<br />
words of Lord Eldon, he is allowed ‘ the legitimate<br />
use of a publication in the fair exercise of a mental<br />
operation deserving the character of an original<br />
work.’ Mere unintelligent copying, especially if<br />
mistakes are copied, will be stopped. Intelligent<br />
verification and assimilation of previous research<br />
in a work of substantial originality will: not be<br />
interfered with. The application of this principle<br />
to individual cases must be guided by the study of<br />
the particular facts involved.”<br />
<br />
The result of the trial gave rise to a newspaper<br />
correspondence, in which some well-known scholars<br />
took part. Dr. Furnivall, in the Zimes, asserted<br />
that the case had been decided on a technical<br />
point, and that a substantial injustice had been<br />
done by declaring illegal a practice which he<br />
asserted to be common among scholars and essen-<br />
tial in the interests of literature. His letter,<br />
however, was not mainly directed to the points<br />
brought before the Court, and still less to the<br />
point decided. He preferred to lay stress on<br />
Judge Parry’s assertion of his own belief that “if<br />
at any time an honest attempt were made to copy<br />
the MSS. in the British Museum, he could show<br />
circumstances entitling him to restrain publica-<br />
tion of such a copy if he so desired,” or, as Dr.<br />
Furnivall put it, “that he could show circumstances<br />
that would entitle him to restrain publication of<br />
these manuscripts in the British Museum if he<br />
so desired.” Professor Skeat also wrote calling<br />
attention to the excisions made by Judge Parry<br />
in his text, and commenting severely on his descrip-<br />
tion of it as “a complete edition.”<br />
<br />
In the opinion of the Committee there can be<br />
no question that any legal hindrance to the use<br />
of manuscripts in a national collection would be<br />
a misfortune to literature. But this claim was not<br />
put before the Court, and Judge Parry has speci-<br />
fically stated that he will never seek to enforce it.<br />
It may therefore be dismissed from the discussion.<br />
<br />
The Committee are unable to regard the point on<br />
which the case was decided as purely technical. Mr.<br />
Gollancz had the original letters at his disposal. It<br />
was open to him to copy them, and to collate his<br />
copies with his predecessor’s version if he thought<br />
it desirable. He preferred to take the opposite<br />
course. He borrowed: his predecessor’s text, and,<br />
without reference to Judge Parry, made it the<br />
<br />
<br />
<br />
<br />
<br />
<br />
234<br />
<br />
basis of his own. It can be no defence to allege<br />
that Judge Parry’s work was at once faulty and<br />
defective. If it is the custom among scholars to go<br />
to a faulty version, when the original is at hand,<br />
or to use a living editor’s text without communi-<br />
cating with him until after he has threatened legal<br />
proceedings, the Committee consider that the law<br />
has done a service to literature in declaring that<br />
such practices are illegal.<br />
<br />
The Committee have not overlooked the literary<br />
aspect of the case. Judge Parry’s edition of the<br />
letters is admittedly incomplete, and the reason<br />
assigned by him for the excisions, namely, the request<br />
of his publisher, cannot be considered adequate. It<br />
is not disputed that his text and notes stand in<br />
considerable need of revision. Although the<br />
second edition of his volume was published as<br />
far back as October, 1888, he had apparently not<br />
availed himself of the accessibility since 1891 of<br />
the original MSS. in order to revise his text. For<br />
it was not till January, 1903, that Judge Parry<br />
employed a copyist to compare the letters in his<br />
book with the originals in the British Museum,<br />
But, while admitting these considerations, the<br />
Committee feel that Judge Parry was entitled to<br />
be consulted before any use was made of his work<br />
in the preparation of a new edition of the letters.<br />
<br />
Finally, as in the Z%mes correspondence the<br />
action of the Secretary of the Society has been<br />
referred to, the Committee think it desirable to<br />
state the part he has taken in the matter.<br />
<br />
Before the trial Mr. Gollancz, as a member of<br />
the Society, called on the Secretary, who, at his<br />
desire, wrote to Judge Parry in the following<br />
terms :—<br />
<br />
THE SOCIETY OF AUTHORS,<br />
Mareh 20th, 1903,<br />
<br />
DEAR SIR,—<br />
<br />
I have now perused your affidavit. I have also<br />
seen Mr, Gollancz, who has given me his view of the<br />
position. :<br />
<br />
Mr. Gollanez has asked me to put this offer before you—<br />
but without prejudice to his legal position if you do not<br />
accept it—that either I should endeavour to arrange the<br />
matter between you, or he is willing to abide absolutely by<br />
any decision come to by an arbitrator appointed by the<br />
Committee of Management of the Society.......<br />
<br />
Yours truly,<br />
(Signed) G. HERBERT THRING.<br />
<br />
The omitted portion of the letter is private, and<br />
does not refer to any offer.<br />
<br />
Judge Parry, in his reply, stated that any offer<br />
Mr. Gollancz desired to make must be made through<br />
the usual channels. This information was com-<br />
municated to Mr. Gollancz by the Secretary.<br />
<br />
ee<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
a<br />
Opinions on United States Copyright Law.*<br />
<br />
I.<br />
<br />
Music Booxs DrEniep ImportTATION<br />
FEBRUARY 15, 1898.<br />
<br />
I. Reprints of musical compositions are pro-<br />
hibited importation.<br />
<br />
II. The term ‘ books” in the prohibiting clause<br />
includes music books.<br />
<br />
III. Music books made up partly of copyrighted<br />
and partly of uncopyrighted compositions cannot<br />
be imported.<br />
<br />
TV. Destruction of unlawfully imported musi¢<br />
books, pursuant to rules of the Secretary of the<br />
Treasury, is legal.<br />
<br />
By the Solicitor-General.<br />
<br />
I. The Act of March 3, 1891, prohibits “ during<br />
the existence of such copyright, the importation<br />
into the United States of any book, chromo, litho-<br />
graph, or photograph so copyrighted.”<br />
<br />
Musical compositions are usually lithographed or<br />
set from type. They thus fall within the class<br />
prohibited. The act indicates an intent to pro-<br />
hibit copyrighted compositions, which includes<br />
musical compositions, when reprinted by type set<br />
or by drawings on stone made outside of the<br />
United States.<br />
<br />
Il. In the clause prohibiting importation, the<br />
word “books” signifies the mechanical means to<br />
place the author’s intellectual work in_ saleable<br />
shape. Courts have construed “books” in this<br />
sense to include a musical composition though on<br />
but one sheet. The reprint may be a book, a<br />
lithograph, or a photograph, according to the pro-<br />
cess. In any of these forms the reprint cannot be<br />
imported during the life of the copyright.<br />
<br />
III. Music books made up in part of copy-<br />
righted compositions are prohibited. A prohibited -<br />
article cannot be admitted by being attached to an<br />
article which is not prohibited. A book is an<br />
entity. If part is not admissible, it must all be<br />
excluded.<br />
<br />
IV. Under the convention with Canada pro-<br />
viding for the reciprocal return of mail matter<br />
which is “not delivered from any cause,” books<br />
imported in violation of law need not be returned.<br />
The Secretary of the Treasury and the Postmaster-<br />
General have power ($4958, R. 8.) to make rules<br />
to prevent importation of prohibited articles.<br />
Under this general authority rules for the forfeiture<br />
<br />
<br />
<br />
<br />
<br />
* Extracts from a pamphlet published by the Americam<br />
Publishers’ Copyright League.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
and destruction of prohibited articles unlawfully<br />
imported may be framed so as to provide “ due<br />
process of law.”<br />
<br />
II.<br />
DrRaMatic RIGHTS IN AMERICA JUNE 80, 1896.<br />
<br />
An unpublished drama need not be copyrighted<br />
to protect stage-rights.<br />
<br />
By Mr. Rives.*<br />
<br />
An American publisher is requested by an Eng-<br />
lish author ‘‘to copyright a dramatisation” of a<br />
forthcoming story by producing a simultaneous<br />
technical performance.<br />
<br />
In the United States stage-right rests entirely<br />
on common law right of property, not upon<br />
statute. An unpublished play is protected. The<br />
play is still unpublished if the text of the drama<br />
has not been printed, although the play has been<br />
produced on the stage and the novel from which it<br />
is taken has been published.<br />
<br />
The simultaneous performance desired is un-<br />
necessary to protect the stage-right.<br />
<br />
II.<br />
<br />
Notice oF CopyricuHt; Form or<br />
1897.<br />
<br />
Marcu 4,<br />
<br />
When a story, published in a magazine and<br />
copyrighted, is reprinted in book form by another<br />
publisher, under an assignment of the copyright,<br />
the notice therein should give the date of the<br />
original copyright and name of the original<br />
publisher.<br />
<br />
By Mr, Rives.<br />
<br />
A story was copyrighted by the J. B. Lippincott<br />
Company when published in its magazine. The<br />
copyright was assigned to Dodd, Mead & Company,<br />
who are about to publish the story in book form,<br />
and who inquire as to the proper form for the notice<br />
of copyright.<br />
<br />
The law requires a notice to be printed in every<br />
book in order to entitle it to protection under its<br />
coypright. The notice must be in the required<br />
words, Congress declares it must give ‘the year<br />
the copyright was entered and the name of the<br />
party by whom it was taken out.” If the story is<br />
reprinted in the same form the notice should be<br />
“ Copyright, 1896, by J. P. Lippincott Company.”<br />
If it is not to be published in exactly the same<br />
form as in the magazine it may be copyrighted as a<br />
new edition, and the notice should be “ Copyright,<br />
1896, by J. P. Lippincott Company ; Copyright,<br />
1897, by Dodd, Mead & Company.”<br />
<br />
<br />
<br />
* My. Rives is the Counsel to the League.<br />
<br />
hd<br />
oe<br />
Or<br />
<br />
IV<br />
<br />
RE-BINDING CHEAP Eprrions ror SALE<br />
APRIL 3, 1899,<br />
<br />
Can the owner of a copyright, who sells a<br />
cheap edition of the book, prevent its being put in<br />
another cover, so as to compete at lower prices with<br />
a better edition of the same book ?<br />
<br />
By Mr. Rives.<br />
<br />
The question of how far the owner of a copy -<br />
right can impose restrictions upon the use of his<br />
book has often been before the Courts. The ques-<br />
tion seems to depend on the consideration whether<br />
the owner of the copyright has sold the book. If<br />
the owner of the copyright has nof sold the book he<br />
can restrict its use. So in case of an edition of<br />
Blaine’s “Twenty Years in Congress,” the<br />
publisher had not sold it to canvassing agents and<br />
the bookseller, who got a few copies, knowing of<br />
the agreement under which the agents got the<br />
book, was restrained. But the moment the book<br />
is sold, even though conditions are attached to the<br />
sale, the owner of the copyright must rely on his<br />
remedy for breach of contract, and not on his right<br />
to restrain an infringement of copyright.<br />
<br />
So, where books damaged by fire were sold toa<br />
dealer on condition “that all books be sold as<br />
paper stock only and not placed on the market as<br />
anything else,” but the books were rebound and<br />
put on sale, the Court held the remedy was not for<br />
violation of the copyright, but of the terms of the<br />
contract.<br />
<br />
The question next arises how far an owner of a<br />
copyright who se//s his books can protect himself<br />
by imposing conditions on their use. I think an<br />
agreement by which a dealer undertakes, for an<br />
expressed consideration, to sell the books only in a<br />
certain form would, be valid and enforceable as a<br />
contract ; without reference to any copyright.<br />
<br />
A greater difficulty arises with respect to the<br />
one to whom the first purchaser may sell. The<br />
contract might also provide that the first purchaser<br />
should insert similar conditions in any contract of<br />
sale with a subsequent purchaser. How far a con-<br />
tract between B. and C., made for the benefit of A.,<br />
is enforceable by A., is hard to say. The rule<br />
varies in different States, but usually A. would have<br />
no remedy against C.<br />
<br />
I advise, the safest course is for the publisher to<br />
have a carefully drawn agreement with the dealer<br />
providing that the dealer shall not dispose of the<br />
books except in proper covers ; and also that in<br />
selling to other dealers the original purchaser shall<br />
agree to impose the same condition ; and that any<br />
breach shall be compensated by liquidated damages.<br />
It would also be well to print a notice in each copy<br />
of the book referring to the original contract.<br />
<br />
<br />
<br />
<br />
236<br />
<br />
Such contract should be enforced against the first<br />
purchaser, and he might be trusted to enforce it<br />
against the dealers to whom he sold.<br />
<br />
Vv.<br />
<br />
PUBLICATION TO SECURE COPYRIGHT<br />
OcToBER 30, 1901.<br />
<br />
Is publication of a book necessary to secure<br />
copyright ?<br />
<br />
ae By Mr. Rives.<br />
<br />
The text of the statute is silent on this point.<br />
The act, however, assumes that every copyrighted<br />
book is to be published. Copies of the book must<br />
be deposited “not later than the day of publica-<br />
tion.” No action for infringement can be brought<br />
unless a notice is printed in the “ copies of every<br />
edition published.’ The question is what the<br />
Court will infer from this language. In “ Drone<br />
on Copyright,” it is said that “ publication is made<br />
an essential prerequisite to securing copyright ; and<br />
hence there can be no statutory copyright in an un-<br />
published work.” The case of Boucicault v. Hart<br />
(Circuit Court of the United States in New York)<br />
held that a mere filing of title conferred no rights,<br />
unless there was a publication in a reasonable time.<br />
There is, however, a dictum in the case of Farmer<br />
vy. Calvert (Circuit Court in Michigan) that publi-<br />
cation 1s not necessary. The point, therefore, is<br />
somewhat doutbful. ‘he Constitution empowers<br />
Congress to pass copyright laws, not only to pro-<br />
tect authors, but (as it declares) ‘to promote the<br />
progress of science and useful arts,” or, in other<br />
words, to encourage the diffusion of knowledge.<br />
Part of the price an author pays for protection is<br />
that his work shall be available for consultation by<br />
all who desire it.<br />
<br />
I am, therefore, of the opinion that the purpose<br />
of the law is that the author shall, within some<br />
reasonable time, make his work public.<br />
<br />
As the question is not definitely settled, I should<br />
consider it unwise for a publisher to defer actual<br />
publication for a long time, as it would be running<br />
a serious risk of having his copyright declared<br />
invalid if he afterwards tried to prevent an<br />
infringement. ®<br />
<br />
———+—<br />
<br />
A Curious ‘Case.<br />
<br />
In the autumn of 1902 a member of the Society<br />
received a communication from a firm of the name<br />
of Messrs, J. E. Stannard & Co., calling itself<br />
advertising agents aad contractors, offering to<br />
procure the copyright of certain of her books in<br />
America, for a fixed price. As, however, the books<br />
<br />
had already been published in England the author<br />
_ was advised that this would be impossible.<br />
<br />
THE AUTHOR.<br />
<br />
The contractors, however, were not to be beaten<br />
and claimed that they had a method of obtaining<br />
protection, although the work had already been<br />
published in England. They promised great things<br />
from the circulation of the book and offered to<br />
obtain the control of the whole American market.<br />
<br />
Still the author hesitated, but finally, under the<br />
advice of the Secretary of the Society, refused to<br />
accept the offer. The Secretary pointed out that<br />
as the American copyright was lost, it would be<br />
much better for her to deal with her former<br />
American publishers —an old-established and<br />
reliable firm—if she desired to test the American<br />
market. Her English publishers gave her the same<br />
advice. Still Messrs. Stannard & Co. were per-<br />
sistent, “ considering that it must be disheartening<br />
to theauthor to feel that rights worth somethousands<br />
of pounds might slip away at any moment.” Again,<br />
in a letter dated October Ist, 1902, they state as<br />
follows :—<br />
<br />
“We think it decidedly unfair that after we have taken<br />
the trouble to do for you what neither of your ‘ firms of<br />
standing’ ever thought of doing, that is, telling you how<br />
to rescue what you have lost, you straightway go and turn<br />
over the information to someone else. We could have<br />
secured the copyrights ourselves and no one would have<br />
blamed us for so doing, instead of which we offered to get<br />
them for you. Our clients learn to rely on us for straight-<br />
forwardness, and it is natural that we should expect the<br />
same in return. We should be pleased to hear from you in<br />
due course. We are tempted with an offer which would<br />
amply recoup us for our trouble, but as it would not be any<br />
<br />
to your advantage if we accepted it we have postponed the<br />
reply until you come to a decision.”<br />
<br />
The author was still obdurate.<br />
In a letter from Messrs. Stannard & Co., dated<br />
October 24th, we find the following paragraphs :—<br />
<br />
‘Since we are not in business as philanthropists we have<br />
advised our American manager by this mail to secure copy-<br />
rights of your books if possible, and retain them in our<br />
name.<br />
<br />
“Failing this, he is to issue a par. to the American<br />
Literary Press that the American Literary Copyrights are<br />
not secured.<br />
<br />
“ Since respectability does not enter into the methods of<br />
American business men, we have no doubt that this will<br />
<br />
have the desired effect, and if some cute American publisher .<br />
<br />
copyrights the works in his own name and prevents you<br />
from issuing them in the U.S.A. you cannot say that timely<br />
warning was not given you.<br />
<br />
‘* As we have pointed out before, the copyrights are worth<br />
as much to us as they are to you. If we get them, the law<br />
is with us. Under no circumstances will we sign your<br />
publisher’s agreement, and unless you are willing to agree<br />
to the terms stated in our agreement we must follow our<br />
own course in the matter.<br />
<br />
“A cablegram (prepaid) will be the only course open<br />
if you wish our American manager to await further<br />
instructions.<br />
<br />
“Since much valuable time has been wasted, we must<br />
ask for a final decision at your earliest convenience.”<br />
<br />
The daring of the gentleman who writes for the<br />
<br />
firm is interesting quite apart from his legal know-<br />
<br />
ledge, which is peculiar, It is abundantly clear<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 237<br />
<br />
to those who have any knowledge of American<br />
Copyright Law that if any person actually obtains<br />
copyright in America without the English author’s<br />
sanction, he must be taking that which does not<br />
belong to him—that is to say, supposing the pub-<br />
lication in both countries to be simultaneous. If<br />
he does not obtain the author’s copyright, but<br />
merely publishes on the American market, he is<br />
only acting as a common but legalised pirate,<br />
<br />
On the 21st of January of the present year,<br />
Messrs. Lane and Stannard, presumably repre-<br />
senting the same firm in the United States,<br />
wrote as follows from New York :—<br />
<br />
“Re the U.S.A. copyrights of your books. We beg to<br />
inform you.that they have been secured in accordance with<br />
the law, and should therefore be pleased to hear from you<br />
with respect to the publishing of the same in this country.<br />
<br />
“As the general publishing price in this country is<br />
$1.50, and the wholesaler’s price but half that amount,<br />
it isnot possible to import an edition and sell at a profit, as<br />
there is a duty of 45 per cent. on imported books. Taking<br />
your offer of two shillings and sixpence (or 60 cents) per<br />
volume, and adding the cost of freight and duty, you<br />
will see that the importing cost would be at least $1 per<br />
volume, and therefore cannot be entertained as a business<br />
proposition.<br />
<br />
“Weare willing and ready to deal with you on equitable<br />
terms for the printing and publishing here, and offer and<br />
require similar terms given to your publishers in England,<br />
with exceptions which you will note in the enclosed<br />
agreement. Under these terms you can have full control<br />
over the MSS., and the books can go to press exactly as<br />
written, which I understand you keenly desire.<br />
<br />
“We wish you to understand, however, that unless they<br />
are purchased by you, the copyrights will remain in our<br />
possession, and we reserve the right, if you refuse our offer,<br />
to sell to an American publishing firm, without stipulation<br />
as to the editing of the MSS. Should, however, you desire<br />
to purchase, your offer would receive premier consideration.<br />
<br />
“In case you accept our offer to publish, the books will<br />
be issued by a New York firm, and will be advertised widely<br />
but economically. Please cable your reply on or before<br />
February 5th, as after that date we shall conclude that you<br />
refuse our offer and shall feel at liberty to conclude negotia-<br />
tions with a firm here for the sale of copyrights with the<br />
privilege of editing the MSS. as they desire.<br />
<br />
‘‘We must warn you that any further shipments of your<br />
English edition to this country will be liable to be seized<br />
and confiscated, but we will, of course, allow you reasonable<br />
time to warn your publishers and agents.”<br />
<br />
The agreement that they asked the author to<br />
sign is interesting and instructive. There are<br />
three books in question: 25,000 copies of two<br />
of the books are to be published, and 50,000 of the<br />
third. The author agrees to pay all expenses of<br />
printing and publishing, including illustrating,<br />
binding, packing, freights, etc., and also one-half<br />
of the total cost of efficiently advertising the said<br />
books, No limit is fixed for the cost of production<br />
or for the advertisements, and the author has to<br />
deposit in cash a sum equal to the estimated cost<br />
of production and in addition a sum equal to the<br />
estimated initial cost of advertising with the Trust<br />
Company of the City of New York. Such deposit<br />
<br />
to be subject only to the draft or cheque of the said<br />
firm on the certification of such bills of indebtedness<br />
by the author if residing in New York, or in her<br />
absence by her legally appointed representatives.<br />
Should, however, bills or accounts as above stated<br />
be presented for certification and no action taken<br />
on the same within seven days, then the said bank<br />
or Trust Company is hereby authorised to pay such<br />
cheques or drafts out of the aforesaid deposits on<br />
receiving an affidavit by the said firm setting forth<br />
such default or negligence. And lastly, in con-<br />
sideration of the above articles being faithfully<br />
performed and carried out, the said firm agree to<br />
pay half profits.<br />
<br />
It is hardly necessary to make any comment on<br />
the above extraordinary agreement or upon the<br />
proposals made during the course of negotiations.<br />
The facts speak for themselves,<br />
<br />
Although the first letters were full of large<br />
promises of profits of all kinds to the author, yet<br />
the last offer is quite distinct. It is possible that<br />
the author might have been led away by the<br />
temptation held out of large returns arising from<br />
obtaining copyright in the United States, but no<br />
author, however unaccustomed to the ways and<br />
methods of publishers and their dealings in literary<br />
wares, could possibly be deceived by the final letter<br />
and the finalagreement. Nothing farther remains<br />
to be done. The author must stand and wait. If<br />
the books are produced in the United States, they<br />
are pirated copies of the English edition. If they<br />
are produced as copyright, under the American<br />
law, the firm will be subject to severe penalties,<br />
and if the books are produced as an authorised<br />
edition, the author’s remedy is to make the whole<br />
case public,<br />
<br />
G. HE.<br />
<br />
“FAIR COMMENT.”<br />
<br />
— oe<br />
<br />
HE Court of Appeal has now given its<br />
judgment in the case of McQuire v. The<br />
Western Morning News Company, Limited.<br />
<br />
The case is a very interesting one, not only from<br />
the point of view of the dramatist, but from the<br />
point of view of the author. All members of the<br />
profession of literature are subject to criticism.<br />
Although each particular case of “unfair com-<br />
ment’? must be to a certain extent decided on its<br />
own especial facts, yet there are certain broad<br />
rules which the Court lays down in order to<br />
determine on what lines and to what extent a<br />
criticism may be libellous.<br />
<br />
The case was brought by an actor who repre-<br />
sented a piece at the Theatre Royal, Plymouth,<br />
<br />
<br />
238<br />
<br />
<br />
<br />
and objected to the comment that appeared next<br />
day in the Western Morning News.<br />
<br />
In the Court of first instance judgment was<br />
given for the plaintiff with £100 damages. The<br />
defendant company pleading that the words were<br />
not libellous, but fair and bond fide criticism on a<br />
matter of public interest.<br />
<br />
The defendants appealed, and on the appeal the<br />
judgment in the Court below was reversed,<br />
<br />
The Master of the Rolls, in delivering an<br />
elaborate judgment, made some very weighty com-<br />
ments on the law of “ libellous criticism.”<br />
<br />
Firstly, as the libel complained of was a dramatic<br />
criticism of the play publicly acted, unless it<br />
exceeded “fair comment,” it could not be counted<br />
as libellous.<br />
<br />
After going carefully over the statements of the<br />
plaintiff and defendants, he proceeded to raise the<br />
most important question of what are the limits of<br />
“ fair comment.”<br />
<br />
“ One thing,” he said, “is perfectly clear. That<br />
the jury have no right to substitute their own<br />
opinion of the literary merits of the work for that<br />
of the critic, or to try the fairness of the criticism<br />
by. any such standard.”<br />
<br />
This point is most important, and although it<br />
has been made before, yet it cannot be sufficiently<br />
insisted upon. If the verdict of whether the<br />
criticism was fair or not depended upon the jury’s<br />
verdict of the merits of the piece, the result might<br />
be in a good many cases extraordinary. Authors<br />
and dramatists know but too well how even the<br />
highest critics have been known to disagree when<br />
writing about or discussing the features of works<br />
of art.<br />
<br />
Secondly, the Master of the Rolls quoted a<br />
saying of Lord Ellenborough’s bearing on this<br />
subject :—<br />
<br />
“The Commentator must not step aside from<br />
the work or introduce fiction for the purpose of<br />
condemnation. Had the party writing the criti-<br />
cism followed the plaintiff into domestic life for<br />
the purpose of slander, that would have been<br />
libellous.”<br />
<br />
And again, from the same judgment, “ Show me<br />
an attack upon the moral character of the plaintiff,<br />
or upon his character unconnected with his author-<br />
ship, and I shall be as ready as any judge that ever<br />
sat here to protect him.”<br />
<br />
Lastly, he states, “I think the word ‘ fair’<br />
embraces the meaning of honest and also of rele-<br />
vancy.” And later, “‘ The comment, in order to be<br />
within the protection of the privilege, had to be<br />
fair, 7.¢., not such as to disclose in itself actual<br />
malice. It also had to be relevant; otherwise it<br />
never was within it. And the judge could hold,<br />
<br />
as a matter of law, that the privilege did not extend<br />
to it.’<br />
<br />
THE AUTHOR.<br />
<br />
These are some of the general points, and in<br />
this particular case the Master of the Rolls stated<br />
that he was clearly of opinion that the verdict was<br />
against the weight of evidence, and that he con-<br />
sidered the latter part of the summing-up of the<br />
judge in the Court of first instance might have led<br />
the jury to apply the standard of their own taste<br />
to the appreciation of the thing criticised, and to<br />
measure the rights of the critic accordingly.<br />
<br />
Members of the Society from time to time come<br />
to the office with questions of this kind, and it is<br />
very useful to put before them those fundamental<br />
facts on which alone an action for libellous criti-<br />
cism will rest.<br />
<br />
G. Hoo.<br />
<br />
—$-—<—-—____<br />
<br />
A COMMA AND A COW.<br />
<br />
++<br />
<br />
PWHE British Medical Journal of the 28th of<br />
March, 1903, had an interesting account of<br />
a dairy visited during an investigation into<br />
“The Milk Supply of Large Towns.” One of the<br />
incidents was described as follows :—<br />
<br />
“The driver having finished milking, his cow<br />
offered to take me into an adjoining room, where<br />
the milk was cooled.”<br />
<br />
In its following issue the British Medical Journal<br />
commented upon the freak of the “ devil” who had<br />
thus with the aid of a comma created a bovine<br />
successor to Balaam’s ass, and gave two amusing<br />
instances of the powers of misplaced punctuation.<br />
In the one a well-known Nonconformist divine,<br />
wishing to disclaim any ambition to appear in the<br />
black coat and white tie, or stock, of orthodoxy, was<br />
credited with a public declaration that he would<br />
“wear no clothes, to distinguish him from his<br />
fellow-Christians.”<br />
<br />
In the other, a Canadian firm having placed a<br />
new patent nursing-bottle on the market, accom-<br />
panied it with these recommendations, for the<br />
guidance of anxious mothers:<br />
<br />
“When the baby is done drinking it must be<br />
unscrewed, and laid in a cool place under a tap.<br />
If the baby does not thrive on fresh milk it should<br />
be boiled.”<br />
<br />
The last example would seem to require some-<br />
thing more than the minding of stops, in order to<br />
satisfy a critical literary taste. It is not, however,<br />
recorded that any baby suffered. In such a case<br />
an interesting question of legal responsibility might<br />
have been raised by an action for negligence against<br />
the vendors of the bottle brought by a chilled or<br />
par-boiled infant suing through his or her “next<br />
friend.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
GENERAL MEMORANDA.<br />
<br />
++<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher,<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
Ill. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in Zhe Author,<br />
Readers can also work out the figures themselves from the<br />
** Cost of Production,”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
o—~<>—<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—< +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. [t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager,;<br />
<br />
239<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
<br />
IN THREE OR MORE ACTs :<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
<br />
This is unsatisfactory, An author who enters<br />
<br />
into such a contract should stipulate in the con-<br />
<br />
tract for production of the piece by a certaindate<br />
<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (e.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or dificult to collect. The<br />
other safeguards set out under heading (.) apply<br />
also in this case.<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event, It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved,<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance. :<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11, An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA«#<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
&—~<}P— —<br />
HOW TO USE THE SOCIETY.<br />
<br />
advice upon his agreements, his choice of a pub-<br />
<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion, All this without any cost to the member,<br />
<br />
bs Ly VERY member has a right toask for and to receive<br />
<br />
<br />
<br />
<br />
240<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements,<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
.8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
—_—_+—>_ +—___—_—_<br />
<br />
THE READING BRANCH.<br />
<br />
— to<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, The term<br />
JISS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
————_——__.——_o—_____<br />
<br />
NOTICES.<br />
<br />
———>+<br />
<br />
<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s, 6d. subscription for the year.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Communieations for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH,<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
i<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EDITOR on all subjects connected with literature, but on<br />
no other subjects whatever, Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—+— +<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
ge<br />
<br />
R. G. H. PUTNAM, the Secretary of the<br />
American Publishers’ Copyright League,<br />
has forwarded to the offices a pamphlet<br />
<br />
privately printed for the League, entitled “ Opinions<br />
on Questions of Copyright.”<br />
<br />
The pamphlet contains opinions upon the more<br />
important issues that have been in dispute during<br />
the last ten years ending December, 1902. Mr.<br />
Putnam, in his letter to the Secretary, states, ‘he<br />
will be very pleased to meet any special require-<br />
ments that may arise for copies on the part of the<br />
managers of the Society.”<br />
<br />
If, therefore, any member for a special purpose<br />
should desire to have a copy of the pamphlet he is<br />
requested to communicate with the Secretary, who<br />
will, no doubt, under Mr, Putnam’s favour, obtain<br />
the work in question.<br />
<br />
We see, with interest, that the Publishers’ Asso-<br />
ciation of America means to print at different<br />
intervals further similar summaries as they are able<br />
to secure records of decisions on Copyright Cases.<br />
These publications will in time no doubt grow to<br />
great importance, as it will be possible in a handy<br />
form to have a collection of all the leading Copy-<br />
right Cases. We thank Mr. Putnam for his<br />
courtesy and consideration.<br />
<br />
Amone@ the Correspondence we print a letter<br />
from Mr. Thomas Hardy.<br />
<br />
It comes at a very suitable time, as the same<br />
subject was treated in the May number of The<br />
<br />
<br />
<br />
<br />
Author, on page 206, when comment was made on<br />
the Annual Meeting of the Publishers’ Association,<br />
In that article we stated as follows :—<br />
<br />
“ Firstly, we have insisted, and now insist again,<br />
that it is absolutely essential that contracts deal-<br />
ing with the subject of serial rights should be<br />
clear and limited and should not be general or<br />
indefinite, and when serial rights are sold they<br />
should be sold either to one paper or to a limited<br />
circle of papers for one issue only or for a limited<br />
time.”<br />
<br />
Unfortunately, Mr. Hardy seems to have<br />
suffered from a complaint which is not infrequent<br />
among authors, the revival of an earlier work<br />
without any reference to the author. Legally, the<br />
position is quite correct. If the copyright has<br />
been sold or if serial rights without any limitation<br />
have been transferred, the position is often very<br />
unsatisfactory both for the author, or, as in the<br />
case quoted in the May number, for the publisher.<br />
It is necessary to warn authors who publish serial<br />
work to be careful about their agreements.<br />
<br />
In the early days of the past month the papers<br />
were full of the Stock Exchange walk from London<br />
to Brighton, and applauded the fact vociferously<br />
that out of some 90 starters 72 covered the<br />
distance under thirteen hours. From a physical<br />
point of view no doubt the result is highly satis-<br />
factory. : : :<br />
<br />
In the American Author there is an interesting<br />
article on the mental activity of authors. Mr. John<br />
Swinton, “journalist, orator, and economist,” was<br />
desired to write a novel based on certain economical<br />
questions, consisting of 500 octavo pages, small<br />
pica type, in twenty days. Reckoning a page to<br />
contain about 250 words, this meant a book of<br />
125,000 words. Mr. Swinton objected, but the<br />
representative of the publishing firm was<br />
inexorable, and at last the author stated that<br />
he would make an effort. His own words are<br />
as follows :—<br />
<br />
“He demanded the preface of my book at once. I<br />
pondered. I was familiar with the subject, having thought<br />
and spoken and written much upon it in other years. I<br />
hastily sketched a plan as I talked with him.<br />
<br />
‘“‘He said he would wait in the house till I had written<br />
the preface, which he desired to take to Philadelphia that<br />
evening. Becoming desperate under his urging eye, I sat<br />
down, and in an hour gave him the preface. The first<br />
chapter was mailed in a few days. Chapter followed<br />
chapter. I worked day and night, keeping up pluck with<br />
never-ending pots of coffee. Three hundred of the five<br />
hundred pages were written, and time was nearly up. I<br />
padded. I put in things I had formerly written. The<br />
twenty days were out, and over one hundred pages were<br />
yet needed. I had to get a few days of grace. Finally the<br />
book of 500 pages and 125,000 words was finished. Its<br />
title is ‘Striking for Life,’ ”’<br />
<br />
This was certainly fine mental athletics, but the<br />
<br />
THE AUTHOR.<br />
<br />
241<br />
<br />
article goes on to quote from another American<br />
periodical, the Bookman, a few facts which have<br />
no doubt been fully verified by the writer.<br />
<br />
For instance—Frank Norris wrote 125,000 words<br />
in 89 days. Mrs. Oliphant always wrote at night,<br />
and more than once completed a three volume<br />
novel in six weeks. The following interesting<br />
statements about English authors, from the same<br />
article, may come as a surprise to some :—<br />
<br />
““Weyman writes one novel a year, and cannot be per-<br />
suaded to attempt more. It took Hall Caine three years to<br />
write ‘The Manxman,’ Barrie four to write ‘ Sentimental<br />
Tommy,’ and four more to produce ‘Tommy and Grizel.’<br />
Maurice Hewlett wrote ‘The Forest Lovers’ four times<br />
before he was willing to let it go from his hands, and the<br />
late Bret Harte tore up a dozen pages of manuscript for<br />
every one that he completed. Harold Frederic was five<br />
years writing ‘The Damnation of Theron Ware. ”<br />
<br />
But for sound mental athletics, consider gravely<br />
an offer made by a certain well-known publisher to<br />
a gentleman, whom he desired to employ to grind<br />
out fiction. This offer was quoted in’ the April<br />
number of Zhe Author, and is absolutely authentic.<br />
The serial writer was to have £600 a year. To<br />
earn this money he would have to produce 5,000<br />
words a day for six days a week, without any<br />
provision for sickness or holidays. It will be seen<br />
that work under this offer comes nearly up to that<br />
of Mr. Swinton, but has to be continued year in<br />
and year out, until the publisher, the public, and<br />
the author are tired, and the last, a useless wreck,<br />
loses his position.<br />
<br />
<br />
<br />
In the American Critic an article entitled<br />
“Uncertainties of Literature,” written by Elliot<br />
Flower, follows the same lines as the articles that<br />
appeared in the February and March (1902) num-<br />
bers of Zhe Author, on “Some Free Lance Expe-<br />
riences.”<br />
<br />
In reading the record it would appear that the<br />
struggling ree Lance meets with much the same<br />
treatment on both sides of the water. The record<br />
is tabulated.<br />
<br />
Out of 53 MSS., each MS. had to be sent on<br />
its travels on an average slightly over five times<br />
before it could be placed. Nine were accepted at<br />
once, and 12 on a second trial, but at the other<br />
end of the scale, one was sent out 30 times before<br />
acceptance, one 18 times, and two 13 times.<br />
<br />
There is no doubt that when an author has<br />
reached a certain point of facility in writing there<br />
is nothing like persistence to bring success.<br />
<br />
<br />
<br />
Tux following rhyme, written, perchance, with a<br />
view to ridicule, has been dropped into the Society’s<br />
post bag.<br />
<br />
We print it for what it is worth, in the hope that<br />
<br />
<br />
<br />
<br />
249<br />
<br />
the author will put aside his cloak of modesty and<br />
discover himself.<br />
<br />
No doubt, he calls it an epigram. If so, he<br />
would, we feel sure, be a proper inmate for one of<br />
those beautiful and sanitary buildings that adorn<br />
the hills of Surrey and Sussex.<br />
<br />
To tHE Society of AUTHORS, 39, QUEEN STREET,<br />
SrorEY’s GATE.<br />
You flourish on Authors’ alarms ;<br />
You arouse the unfriendly in Man ;<br />
Then you sell healing balms,<br />
To stifle their qualms,<br />
At the cost of One Guinea per ann.<br />
<br />
But pause for a moment, I pray,<br />
A pen stroke :—your ruin is clear,<br />
From the Street that is clean,<br />
With the name of the QUEEN,<br />
To the street that is doubtful and QUEER.<br />
<br />
ee <><br />
<br />
THE LYTTON CENTENARY.<br />
<br />
— +<br />
<br />
HE Lytton centenary has produced the<br />
ordinary crop of commemorative articles, the<br />
best being Mr. Francis Gribble’s paper in<br />
<br />
the Fortnightly Review, and the more sober appre-<br />
ciation in Blackwood’s Magazine. Of these two<br />
papers we think the latter has the greater value as<br />
criticism, for Mr. Gribble’s virile intolerance of any-<br />
thing savouring of affectation prompts him to con-<br />
vey the suggestion, though he does not actually<br />
formulate the charge, that Lytton’s vapourings<br />
about the Beautiful and the True originated in<br />
preciousness ” and were therefore insincere, and<br />
his resentment of the seeming insincerity prompts<br />
him to do scant justice to Lytton’s compensating<br />
merits.<br />
<br />
With the intolerance of affectation we are in full<br />
sympathy, but we do not endorse the very common<br />
opinion that Lytton was insincere. He was despe-<br />
rately in earnest, ever painfully conscious of his<br />
“mission”; he had indeed that high seriousness<br />
which, according to Matthew Arnold, comes from<br />
absolute sincerity. With it, too, he had a sense of<br />
humour ; “ Kenelm Chillingly” proves that, even<br />
as it proves its author’s funereal gravity and fathom-<br />
less sentimentality. And with those two qualifica-<br />
tions, high seriousness and humour, it is odds but<br />
what any man will go far. The mistake Lytton<br />
made was in allowing his mission to get in the<br />
way of his art. “In forming his conception,”<br />
<br />
Mr. Worsfold says, “the artist should be guided<br />
by the test of ‘great ideas ’; in executing his con-<br />
ception he must be guided by the ‘rules of art,<br />
<br />
THE AUTHOR.<br />
<br />
He, on the one hand, can never be, by the nature<br />
of things, so independent of the mass of mankind<br />
as to make artistic excellence his sole object; on<br />
the other, moral worth, however distinctive, can<br />
never of itself suffice to endow his work with the<br />
characteristic charm of art.” Lytton’s moral inten-<br />
tions were above suspicion, and his literary facility<br />
was so extraordinary that it is not surprising that<br />
he neglected the rules of art when, without them, he<br />
could achieve such an extraordinary vogue as he<br />
did at once.<br />
<br />
The measure of success that was meted out to<br />
him might well, indeed, have turned the brain of a<br />
much more robust man, and the wonder is, not<br />
that he enjoyed such a vogue in the earlier part of<br />
his career, but that he was not spoiled by it and<br />
wholly incapacitated for doing the much better<br />
work that he actually produced in the latter half<br />
of his career.<br />
<br />
Whether Lytton was a great artist or not is a<br />
question little likely to be brought up for discussion<br />
now ; the centenary merely offers opportunity for<br />
reconsidering him as a writer at the expiration of<br />
a given period. What he wrote, he wrote ; some<br />
of it suited and has been accepted ; “and that’s<br />
success.” ‘To describe him in a single epithet is<br />
not possible, but the epigrammatic criticism passed<br />
upon him by a writer in the Academy is pro-<br />
bably as fair a one as could be devised : that he<br />
was so full of talent that there was no room left in<br />
him for genius. That his bicentenary will be com-<br />
memorated, and those books which are read now<br />
be read a hundred years hence, may, we think, be<br />
assumed ; and of many a better writer so much<br />
could not be said.<br />
<br />
Or<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
—<br />
<br />
(Reprinted by kind permission from the Publishers’<br />
Circular, May 2nd.)<br />
<br />
R. ANDREW LANG has been “ pitching<br />
in” to the booksellers in the Morning<br />
Post—or, what is much the same thing,<br />
<br />
he has borrowed the stick of a “ trenchant critic ”<br />
who writes in 7’e Author and re-applied it—with<br />
reservations. He lets his “author” point the<br />
moral, and then he adorns the tail, with another<br />
sting of the stick.<br />
<br />
«The bookseller’s affair is,” he says, “to know<br />
about books and men. My author, however,<br />
‘believes that it is nearly impossible to exaggerate<br />
the lethargy and incapacity of the ordinary retail<br />
bookseller.” Mr. Lang kindly adds: “These be<br />
very brave words ; I should hesitate to apply them<br />
<br />
<br />
<br />
PohCenSORNRRI<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
to his Majesty’s ministers, much more to the<br />
ordinary retail bookseller.” Then why, Mr. Lang,<br />
did you not hesitate before-taking such an unfair<br />
statement out of its coffin and publishing it to the<br />
world ?—it would have remained stillborn had you<br />
not godfathered it. ‘“ ‘The habit of reading,’ says<br />
my author, ‘is being all over the country dis-<br />
couraged by the insutficiency of the vast majority<br />
of booksellers.’” Mr. Lang quotes this silly libel,<br />
and adds that he deems it “ much too sweeping.”<br />
How much ?<br />
<br />
“*The country,’ says my author ferociously,<br />
‘would be benefited by the bankruptcy of the<br />
<br />
whole lot of booksellers, and the transference of<br />
<br />
their business to more competent hands.’” Mr.<br />
Lang’s comment is: “This man _ has suffered<br />
much.” How much? Anyone would think the<br />
whole of the booksellers of the United Kingdom<br />
had united to offend him by refusing to stock his<br />
works, but all we are told is that some unnamed<br />
“suburban bookseller” failed to get him a cheap<br />
copy of Milton’s poems.<br />
<br />
“The book never came, but at the end of a<br />
fortnight the bookseller found energy enough to<br />
send a messenger to say it could not be procured.”<br />
<br />
If this cock-and-bull story were true, what<br />
ground is there in it for libelling the whole book-<br />
selling trade of the country ? Another ‘“ example,”<br />
as Mr, Lang calls it, of this man’s sufferings at the<br />
hands of the whole trade is that, despairing of<br />
getting a learned work on Egyptology from the<br />
suburban bookseller—apparently he did not even<br />
ask for it—he gives its title and the address of its<br />
publisher to a tobacconist, who at once procured it<br />
—whether the confiding tobacconist ever got paid<br />
for it we are not told. But why should Mr. Lang<br />
give credence and publicity to such a Blue Fairy<br />
story as this ? ’<br />
<br />
“The larger part of the reading public cannot<br />
get the books it desires,” says Mr. Lang’s “ tren-<br />
chant critic.” If this is trne it only goes to prove<br />
that the larger part of the public is what Carlyle<br />
said it was.<br />
<br />
How interesting it would be to have the name<br />
and address of this “author” who would like to<br />
see the whole bookselling trade made bankrupt<br />
because some apocryphal suburban bookseller could<br />
not procure for him a copy of the “ Chandos’<br />
Milton. Mr. Lang’s pen is not often dipped in<br />
disappointed author’s bile, and it is not as if he<br />
believed the charges were true; then why give<br />
currency to anonymous and unfounded abuse of<br />
the booksellers ?<br />
<br />
There are thousands of booksellers in the United<br />
Kingdom selling millions of books every year, and<br />
yet they are all condemned in this wholesale way<br />
because some nameless author says he could not<br />
get a cheap book from some unnamed bookseller.<br />
<br />
243<br />
<br />
It is true that one or two other “examples ” are<br />
given by Mr. Lang. Some old lady in Norway<br />
wrote for Mr. Lang’s books to an Edinburgh book-<br />
seller, who gaily replied that they were all out of<br />
print. Are we to infer from the strange conduct<br />
of this prevaricating Edinburgh bookseller that<br />
Mr. Lang has no honour in his own country ?<br />
Heaven forbid! Booksellers would be the last to<br />
claim that their knowledge and methods were never<br />
at fault—but even those of authors are not perfect.<br />
<br />
o—~<—<br />
<br />
HALF-PROFITS ON SHEETS TO<br />
AMERICA,<br />
<br />
— +<br />
<br />
T may seem dull reading to the constant reader<br />
of The Author to see the repetition of certain<br />
forms of agreement, certain clauses, certain<br />
<br />
methods of publishing, accompanied with the same<br />
comments; but as long as publishers persist in<br />
bad clauses so long must Ve Author's objections<br />
persist also.<br />
<br />
There is a clause often embodied in agreements<br />
issued by the best houses in London in which the<br />
author, who does not obtain the American Copy-<br />
right, is entitled to half of the profits on the sale<br />
of sheets to America. If this clause is inserted in<br />
the usual half-profit agreement there is little to be<br />
said against it. The only points at issue, then,<br />
are, Is a profit-sharing agreement desirable? In<br />
what proportion should profits be divided between<br />
author and publisher? But if the clause is inserted<br />
in an agreement where the author is to obtain a<br />
royalty on the publication of the English edition,<br />
there are two very strong points of objection.<br />
<br />
This sale to an American house is mere agency<br />
work. If conducted through the medium of an<br />
author’s agent the latter would be highly pleased<br />
with the payment of 10 per cent. on the net result.<br />
Not so the publisher, although he is constantly<br />
crying out against the agent and his charges, It<br />
is a well-known fact—instances have often been<br />
quoted—that the publisher, although he expresses<br />
strong disapproval of the intervention of the agent<br />
who charges a modest 10 per cent., makes—when<br />
he endeavours to undertake any of the agent’s<br />
duties—a general charge of 50 per cent. The<br />
lowest percentage which has ever been seen in any<br />
agreement before the Secretary of the Society was<br />
25 per cent. Further arguments against allowing<br />
a publisher to undertake an agent’s work need not<br />
be repeated here.<br />
<br />
The second objection rests on the fact that a<br />
clause drafted on these lines is a distinct pitfall to<br />
the author. It is a pitfall for the following<br />
reasons :—1. Because to the ordinary person the<br />
<br />
<br />
<br />
<br />
244<br />
<br />
difficulties with which the clause is pregnant are<br />
altogether invisible. 2. Because the amount the<br />
author receives in royalty is always calculated—<br />
see the books of the Society on the point—on the<br />
basis that the full cost of composition is charged<br />
against the English edition. If this were not<br />
the case, the author ought to receive a higher<br />
royalty on British sales. :<br />
<br />
Let us explain what we mean more fully.<br />
<br />
ake the ordinary 6s. book :—<br />
<br />
Cost of composition of 3,000 copies ... £30 0 0<br />
<br />
<br />
<br />
Cost of printing ; ee 16 0 8<br />
Cost of paper a 2 58 0 0<br />
Total... ..£104 0 0<br />
<br />
Of the 3,000 copies the publisher sends 2,000 to<br />
America, and receives for the same (say) 1s. a copy<br />
£100. The cost of composition was compulsory<br />
for the completion of the English edition, the<br />
author’s royalty, as stated, being based on_ this<br />
understanding ; but the publisher takes two-thirds<br />
of this cost towards the American edition, as well<br />
as two-thirds of the cost for the print and the paper,<br />
leaving to be divided between himself and the<br />
author—<br />
<br />
By sale of 2,000 copies to America ...£100 0 0<br />
‘Two-thirds cost of production ~ 69 6 8<br />
<br />
<br />
<br />
£30 13 4<br />
<br />
As the cost of composition has no right to be<br />
charged against the American edition, but only the<br />
cost of print and paper, the difference would work<br />
out as follows :—<br />
<br />
By sale of 2,000 copies to America ...£100 0 0<br />
‘Two-thirds cost of print and paper... 49 6 8<br />
<br />
£50 13 4<br />
<br />
Instead, therefore, of the author receiving<br />
£25 6s. 8d., by the publisher’s method of calcu-<br />
lation of half profits, the author receives<br />
£15 6s. 8d. and the publisher £35 6s. 8d. It<br />
is almost as reasonable an arrangement as the<br />
ordinary half-profit agreement, whose clauses and<br />
workings have so often been exposed in Zhe<br />
Author.<br />
<br />
To show how this method may be worked out in<br />
the interests of untrustworthy publishers unfairly to<br />
the author, say the publisher in the first instance<br />
only publishes a thousand copies. The cost of<br />
composition would still be £30; printing, £10;<br />
paper, £20. He sells 500 copies to America, and<br />
on the same principle the following sum is worked<br />
out —<br />
<br />
THE AUTHOR.<br />
<br />
Half cost of production .. £30 0 0<br />
By sale of 500 copies to America at 1s.<br />
<br />
per copy ... one ae «=. 202 0 0<br />
<br />
£5 0.0<br />
<br />
This would leave a deficit against the author’s<br />
account of £2 10s., as the sale to America has<br />
failed to cover the cost of production.<br />
<br />
As soon as the edition is sold and the amount is<br />
worked out against the author he prints 10,000<br />
copies for the English edition, but never takes into<br />
account the proportion of the cost of production of<br />
the 500 sent to America to the 10,000 printed in<br />
England. Again, supposing you take the first<br />
instance and 20,000 were subsequently sold, the<br />
cost of the 2,000 sold to America is still taken in<br />
proportion to the cost of the 3,000 of the first<br />
edition printed, and not in proportion to the whole<br />
cost.<br />
<br />
It will be seen, therefore, that, quite apart<br />
from the contract being unfair and a pitfall<br />
to the unwary (as on the face of the agree-<br />
ment the difficulty is invisible), even if it is<br />
worked out by a publisher with an honest idea of<br />
doing nothing dishonourable, the result of its<br />
working, its natural evolution, becomes a fraud<br />
on the author, as it is impossible to calculate this<br />
sale to America on the basis of future sales. It<br />
must always be calculated upon the sales that have<br />
already been made. The position is ridiculous. It<br />
is to be hoped that the Publishers’ Association will<br />
dissociate themselves from this form of agreement.<br />
<br />
G. H. T.<br />
<br />
—_—--<br />
<br />
AUTHORS AND MODERN THRIFT.<br />
<br />
<br />
<br />
II.—The Purchase of an Annuity.<br />
<br />
O possess an annuity is the dearest desire of a<br />
poor man’s heart. An income assured for life,<br />
against which neither the rumours of wars<br />
<br />
nor the depressions of the money market has any<br />
effect, isperhaps the most comforting of all prospects.<br />
For this reason doubtless—the immunity from finan-<br />
cial worry—the lives of annuitants extend beyond<br />
the common span. One company, in a recent report,<br />
stated that the average age of the annuitants dying<br />
during the year under review was eighty-eight.<br />
The records of other companies confirm this experi-<br />
ence, which is remarkable in view of the fact that<br />
many of the annuitants are in weak health when<br />
they effect their policies, and would not be accept-<br />
able for life insurance except at special rates.<br />
<br />
The Moral Objection is one which arises in the<br />
consideration of the annuity. It is held that as<br />
the capital invested with the company is forfeited<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
to them at the death of the assured ; that the con-<br />
tract is a peculiarly selfish one; at least this is<br />
often the opinion of near relatives. The question,<br />
however, depends wholly upon circumstance. For a<br />
married man with distracting responsibilites to<br />
sink all his available capital might very well be an<br />
unwise step. On the other hand, there area variety<br />
of situations in which to purchase an annuity might<br />
be a most prudent step, inasmuch as the annuitant<br />
is relieved immediately of all anxiety—providing<br />
the annuity is of sufficient amount—as regards<br />
his future.<br />
<br />
Annuity versus Investment—It is generally<br />
agreed by financial authorities that the highest<br />
return on money it is possible to obtain from abso-<br />
lutely secure investment is 8 per cent. he<br />
return from the annuity is much higher, varying<br />
from 5 to 20 per cent., according to age. A<br />
man of sixty would receive £30 a year from his<br />
investment of £1,000, whereas the annuity would<br />
produce him an income of £94. The difference<br />
might very well mean to him the path from penury<br />
to comfort. In consequence of the curious life-<br />
giving properties of the annuity it is regarded with<br />
disfavour by some of the insurance companies, as it<br />
is not a department which is very profitable to<br />
them. The occasional early death of an annuitant<br />
does not recompense them for the abnormally long<br />
lives on which they continue to make a high return.<br />
Another aspect of the annuity in comparing it with<br />
investments is that the return never varies. The<br />
recent depreciation in the value of Consols and<br />
certain railway stocks indicates a risk which<br />
attaches even to “ gilt-edged”’ investments.<br />
<br />
The choice of an annuity is necessarily confined<br />
to persons of capital. But the return per hundred<br />
pounds is the same as per thousand, and to persons<br />
whose income comes to them, as it were, in flashes,<br />
a few hundred pounds might very well be sunk in<br />
producing a small income which has the immense<br />
advantage of being guaranteed to them for life.<br />
The choice of an annuity, being a perfectly simple<br />
contract untroubled by side issues, is one which<br />
offers no difficulty. All the well-known British<br />
offices are absolutely safe. The object, therefore,<br />
should be to purchase the annuity in the office<br />
offering the largest return for the particular age.<br />
The returns differ far more than in ordinary<br />
insurance. For example, a man of sixty can pur-<br />
chase for £1,000 a life annuity of £94 in one<br />
office, whilst another will return him only £80 10s.<br />
The difference is over 14 per cent. Both offices<br />
are of the highest standing, but a man would be<br />
very unwise to take the latter policy when the<br />
former is obtainable. ‘The differences indicated at<br />
several ages is clearly shown in the following<br />
table. The terms quoted by the Post Office are<br />
<br />
also given for the purpose of comparison.<br />
<br />
THE AUTHOR.<br />
<br />
245<br />
INVESTMENT oF £1,000,<br />
Males.<br />
|<br />
| Age 40. Age 50,<br />
<br />
<br />
<br />
Highest re-| £ 5, d.| £ s.. d.| & $d. & sg<br />
2 Gunn 62 10 0173 10.0104. .0 1134 oO 8<br />
Lowest re- |<br />
<br />
tora =... | 62 1 0.) 63 10 0130-10 06 114 8 6<br />
<br />
<br />
<br />
<br />
<br />
Difference..| £9 15 0/10 0 0/1810 01/19 15 0<br />
<br />
Average of |<br />
50 offices. | 5 |<br />
<br />
! W1t 8) 68 7 6 | 8812 61196 6 §<br />
Post Office..| 55 17 6 |.66 18 4187 1 8 195 9 9<br />
Females.<br />
<br />
: ee<br />
Age 40, | Age 50 Age 60. | Age 70,<br />
|<br />
<br />
<br />
<br />
d.| ee a A es as ga.<br />
<br />
Highest re-} £ s. | £ 8.<br />
CHI cs 56 12 0 | 66 10<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
O18 0 0 1193 0 6<br />
Lowest re- | |<br />
nibunloy eee 48 0 0/5616 8| 7218 4|105 6 8<br />
Difference..|£8 12 0| 918 4/1211 8|1713 4<br />
Average of<br />
50 offices.| 52 11 8 | 62 1 817915 O1115 0 0<br />
Post Office..|] 50 5 0{60 510/78 8 4 111416 8<br />
|<br />
<br />
<br />
<br />
-Vote.—For the return per £100 in each instance divide:<br />
by ten.<br />
<br />
There is no doubt, however, that the complete<br />
surrender of capital to the company is a material<br />
objection, in some minds, to the purchase of an<br />
annuity. “Should I die the day after, they argue,<br />
the money is absolutely lost, and my estate receives<br />
nothing!” The number of annuitants dying in<br />
the early days of their contract is so small as to be<br />
beyond practical consideration ; but all the same<br />
this objection remains. To meet this several com-<br />
panies have lately devised a plan by which the<br />
income is guaranteed over a stated number of years,<br />
usually ten or twenty. This provides against the<br />
early death of the annuitant, as, in any case, a<br />
return of ten or twenty payments is guaranteed to.<br />
the estate. We have shown that the best return<br />
obtainable for age sixty for £1,000 is £94 per<br />
annum. With the annuity guaranteed for tem<br />
years the return would be £80 3s. and for twenty<br />
years £62 9s. Such tables would appeal to persons.<br />
who wish to provide their estate against the risk<br />
of early death. But, on the other hand, most per-<br />
sons of mature age are more or less covered by life<br />
insurance, and it is perhaps better business to<br />
accept the slight risk of early death in order to:<br />
procure the materially higher income.<br />
<br />
<br />
<br />
<br />
246<br />
<br />
THE ANNUAL DINNER OF THE SOCIETY<br />
OF AUTHORS.<br />
<br />
1+<br />
<br />
HE annual dinner of the Society, held at the<br />
Hotel Cecil, on Thursday, April 30th, was<br />
attended by about 170 members and guests.<br />
<br />
Mr. Douglas Freshfield, Chairman of the Committee<br />
of Management, was in the chair, with Captain<br />
Sverdrup, of the Fram, one of the gold medallists<br />
of the Royal Geographical Society for this year,<br />
on his right hand and Sir Clements Markham,<br />
K.C.B., President R.G.S., on his left ; and the<br />
vice-chairs were occupied by Mr. G. H. Thring<br />
(Secretary), Mr. Rider Haggard, Mr. Anthony<br />
Hope Hawkins, and Dr. 8. Squire Sprigge. When<br />
dinner was over the Chairman proposed the health<br />
of the King in a brief speech, followed by that of<br />
the Queen and Royal Family.<br />
<br />
After these loyal toasts had been duly honoured,<br />
Mr. Douglas Freshfield rose again to propose the<br />
toast of the Incorporated Society of Authors.<br />
Making reference to the important work done by<br />
the Society for authors at large and for its members<br />
in particular in enabling them to obtain the full<br />
market value for their work, he described it as a<br />
Society for the Protection of Authors. In their<br />
business relations with publishers authors often<br />
needed protection. He deprecated the idea that<br />
the Society led a crusade against publishers, and<br />
preferred to consider it as working to promote<br />
an alliance necessary to both; he likened it rather<br />
to a trades union, having, however, no power to call<br />
its members out on strike. Mr. Freshfield also<br />
referred to the subject of the foundation of an<br />
Academy of Literature, as a question of interest to<br />
authors, on which he believed that there was some-<br />
thing to be said on both sides, though he indicated<br />
his own doubts as to the advantages to literature<br />
and the public taste that might be derived from<br />
such a body counterbalancing the obvious draw-<br />
backs and difficulties connected with its creation<br />
and renewal.<br />
<br />
Mr. Rider Haggard replied for the Society in a<br />
vigorous speech, in which he deprecated the<br />
expression of any desire by authors for the institu-<br />
tion of an Academy, and inquired what the methods<br />
were likely to be by which election to such an<br />
Academy might be secured. He declared that he<br />
had no wish to see authors—men of letters—touting<br />
round to other men of letters in order to secure<br />
election to the Academy. He asked by what stan-<br />
dard it was proposed that their claims to election<br />
should be judged. Was popularity to be the test,<br />
and was the author of whose work many thousand<br />
copies were sold before it appeared to be the one<br />
elected to the Academy, or he whose work was<br />
considered to have high literary qualifications ?<br />
<br />
THE AUTHOR.<br />
<br />
He hoped that the question of the Academy<br />
would be left alone, and expressed the belief<br />
that every class had the right to combine<br />
for the mutual comfort and protection of its<br />
members, and that this was the spirit which<br />
actuated those who founded the Society of Authors,<br />
of which he had been a very early member. While<br />
alluding to the question of the prices paid for<br />
literary work and the success of the Society in<br />
bettering the position of authors with regard to<br />
payment, Mr. Haggard asked why Milton sold<br />
““Paradise Lost” for £10? He answered his own<br />
question by saying, with emphasis, that it was<br />
because he could not get any more. For unpaid<br />
work, amateur work, he expressed no great respect,<br />
indeed he questioned the merits of work done<br />
without hope of reward in such terms that some of<br />
his hearers were inclined to express dissent from<br />
his views. In the course of his speech Mr. Haggard<br />
referred to the friendly relations which he believed<br />
to be those that should rightly exist between<br />
author and publisher, and in conclusion he paid a<br />
graceful tribute to the memory of Sir Walter<br />
Besant.<br />
<br />
In proposing the toast of the guests of the<br />
Society of Authors, Mr. Richard Whiteing referred<br />
to those preseut who, representing science, had<br />
maintained the connection ever existing between<br />
science and literature. He mentioned among those<br />
present Mr. C. Longman, Dr. Clifford Allbutt, Dr.<br />
Mill, Sir William Church, P.R.C.P., Sir Henry<br />
Howse, P.R.C.S., and Mr. G. W. Prothero. In par-<br />
ticular he made allusion to the work done recently<br />
by Captain Sverdrup on board the Fram, and to the<br />
kindred services to science and exploration with<br />
which the name of Sir Clements Markham is<br />
associated. With these gentlemen he joined Mr.<br />
Henry Newbolt as representing the guests of the<br />
Society.<br />
<br />
In replying for the guests, Sir Clements Markham<br />
laid emphasis upon the recent achievements of<br />
Captain Sverdrup in the department of scientific<br />
Polar exploration, and mentioned that Captain<br />
Sverdrup himself would probably find difficulty in<br />
making a lengthy reply to the toast in any but a<br />
foreign tongue. Unfortunately this was the case,<br />
and Captain Sverdrup, to the regret of his hosts<br />
and fellow-guests, confined himself to a_ brief<br />
expression of thanks for the cordial welcome<br />
received by him.<br />
<br />
Mr. Henry Newbolt, replying in his turn for the<br />
guests, described himself as being in a sense a<br />
publisher as well as an author, and was inclined to<br />
think that the attitude of author and publisher<br />
towards one another must necessarily be charac-<br />
terised by some hostility due to their relative<br />
positions and interests. Referring to standards by<br />
which modern literature may be judged, Mr.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Newbolt took a hopeful view of his contemporaries,<br />
but compared their passage past our range of<br />
vision to that of a procession, pointing out that<br />
the procession as it goes by seems to be a confused<br />
succession of units, while the relative merit of the<br />
figures and groups composing it can best be appre-<br />
ciated as it passes into the distance.<br />
<br />
At the conclusion of Mr. Newbolt’s speech Mr.<br />
Oscar Browning rose to give the health of the<br />
chairman. Mr, Browning avowed himself able in<br />
doing this to speak from long acquaintance with<br />
the subject of his speech, whom he had first<br />
known as climbing Mont Blane while a school-<br />
boy at Eton, when he was himself a master<br />
there, and with whose work as an explorer of<br />
mountain peaks and ranges, and discoverer of<br />
ground untrodden by previous climbers, he had<br />
been familiar from his earliest days.<br />
<br />
Mr. Freshfield, in thanking those present for the<br />
warmth with which they had received the toast,<br />
made graceful reference to his memories of Mr.<br />
Browning as an Eton master, and to the long<br />
friendship with him which so many Eton and<br />
Cambridge men had enjoyed.<br />
<br />
A soirée was held after the toasts had been<br />
drunk, and the members and guests had an oppor-<br />
tunity of meeting one another.<br />
<br />
The following is a list of those present :—<br />
<br />
Ackermann, A. 8. E.<br />
Ackermann, Mrs.<br />
Allbutt, Prof. Clifford<br />
Armstrong, E. A.<br />
Ashley, Mrs.<br />
Back, Mrs. Eaton<br />
Baildon, H. Belsize<br />
Batty, Mrs. Braithwaite<br />
Begbie, Miss A, H.<br />
Bell, Mackenzie<br />
Berene, Sir<br />
K.C.M.G.<br />
Besant, Geoffrey<br />
Besier, Rudolf<br />
Bird, C. P.<br />
Boddington, Miss Helen<br />
Bolam, the Rev. C. E.<br />
Boutwood, Arthur<br />
Boutwood, Mrs.<br />
Browning, Oscar<br />
Bryden, H. A.<br />
Buxton, Dudley<br />
Buxton, Mrs. Dudley<br />
Campbell, Miss Mont-<br />
gomery<br />
Carlile, John C.<br />
Childers, Erskine<br />
Church, Sir William &.,<br />
PEC, P,<br />
Churchill, Lt.-Col. Seton<br />
<br />
Henry,<br />
<br />
Colquhoun, Archibald<br />
<br />
Colquhoun, Mrs. Archi-<br />
bald<br />
<br />
Craig, Lt.-Col. R. Mani-<br />
fold<br />
<br />
Crawshay, Mrs.<br />
<br />
Croker, Mrs. B. M.<br />
<br />
Davidson, Miss L. C,<br />
<br />
Davy, Mrs. E. M.<br />
<br />
Doudney, Miss Sarah<br />
<br />
Douglas, Sir George,<br />
Bart.<br />
<br />
Dowsett, C. F.<br />
<br />
Duncan, Miss Sarah<br />
Jeanette<br />
<br />
Esler, Rentoul<br />
<br />
Esler, Mrs. Rentoul<br />
Free, the Rey. Richard<br />
Freshfield, Douglas<br />
Galpin, H.<br />
<br />
“ Wirt Gerrare ”<br />
Gowing, Mrs. Aylmer<br />
Grierson, Miss<br />
<br />
Griffin, H. M.<br />
<br />
*‘ Victoria Cross ”’<br />
Groser, Horace G.<br />
Gunter, Lt.-Col. E.<br />
Haggard, Miss Dorothy<br />
Haggard, Miss Angela<br />
Haggard, H. Rider<br />
<br />
Hallett, Col. W. Hughes<br />
Harrison, Miss Rose<br />
Hawkins, A. Hope<br />
Henslowe, Miss<br />
Hepburn, David<br />
Hills, A. E.<br />
Hodges, W. O.<br />
Holman, Martin<br />
Howse, Sir Henry G.,<br />
P.R.C.S.<br />
Humphreys, Mrs. Des-<br />
mond (‘‘ Rita ’’)<br />
Hutchinson, the Rey,<br />
HN,<br />
lliffe, Mrs.<br />
Irvine, Mrs. Duncan<br />
Irvine, Duncan<br />
Jacobs, W. W.<br />
James, Miss W. M.<br />
( Austin Clare”)<br />
Jenkins, Mrs. L. Hadow<br />
Keltie, J. Scott<br />
Kenealy, Miss Arabella<br />
Lechmere, Mrs.<br />
Lechmere, Mr.<br />
Lee, Miss Alice<br />
Lefroy, Mrs.<br />
Lennox, Lady William<br />
Little, J. Stanley<br />
Little, Mrs.<br />
Longman, C. J.<br />
Lowndes, Mrs. Belloc<br />
‘Maarten Maartens ”<br />
Magnus, Laurie<br />
Markham, Sir Clements,<br />
KO. BE RS:<br />
Marks, Montagu<br />
Mason, Miss EH. M.<br />
Meadows, Miss<br />
Mill, Dr. H. R.<br />
Montagu, Mrs. Drogo<br />
<br />
247<br />
<br />
Morris, Mrs. Frank<br />
Moscheles, Felix<br />
Newbolt, H.<br />
Oppenheim, E. Phillip<br />
Pennethorne, Deane<br />
Pennethorne, Mrs.<br />
Perrin, Mrs.<br />
<br />
Perris, G. H.<br />
Petano, D. K.<br />
Phibbs, Miss I. M.<br />
Praed, Bulkeley<br />
Praed, Mrs. Campbell<br />
Prelooker, Jaakoff<br />
Prothero, G. W.<br />
Rae, John<br />
<br />
* Allen Rainé”<br />
Reeves, Mrs.<br />
<br />
Reich, Emil<br />
<br />
Rogers, A.<br />
<br />
“ Leicester Romayne ”<br />
Royle, William<br />
Savory, Miss Isabel<br />
Stanton, Miss H. M.<br />
Stanton, Stephen J. B.<br />
Stroud, F.<br />
<br />
Stroud, Miss<br />
<br />
Smith, Mrs. Isabel<br />
Spielmann, M. H.<br />
Sprigge, Mrs. Squire<br />
Sprigge, 8. Squire<br />
Sverdrup, Capt.<br />
Thring, Mrs.<br />
Thring, G. H.<br />
Trench, Herbert<br />
Tweedie, Mrs. Alec<br />
Walrond, Charles<br />
Wells, Mrs.<br />
<br />
Wells, H. G.<br />
<br />
White, Arnold<br />
Whiteing, R.<br />
Wilson, Mrs.<br />
<br />
—_——___—_1+—>—_ 2 —____—-<br />
<br />
EDUCATE YOUR OWN CHILDREN.<br />
<br />
9<br />
<br />
EFORE the South African War it was some-<br />
times asked whether such and such a<br />
colony was really loyal.<br />
<br />
That question has been answered. ‘To-day, at any<br />
rate in Canada, an Englishman may be forgiven<br />
if he sometimes asks of himself “ Does the old<br />
country really want to keep us?”<br />
<br />
If she does not, why not say so openly, and let<br />
those who wish to, return to her, and those who<br />
wish to, join hands with the States.<br />
<br />
But if England really wants to keep Canada,<br />
<br />
<br />
<br />
<br />
248<br />
<br />
why does she allow the United States to educate<br />
the public opinion of her colony ?<br />
<br />
It is not enough that most of our daily news<br />
comes to us coloured to suit America, that our<br />
telegrams are not altogether reliable, that there<br />
are so many Americans amongst us and such go-a-<br />
head American towns close to us, that our people<br />
must take some tones and colours from their<br />
neighbours which an Englishman born would<br />
rather they did not ?<br />
<br />
To all this is added, for the sake of a few paltry<br />
pounds in the pocket of the English Post Office,<br />
the fact that almost all our light literature and<br />
practically all our magazines are American.<br />
<br />
The way of it is thus: American periodicals<br />
are not better than English. Far from it. Better<br />
illustrated two or three of them may be, but no<br />
one who could get a Blackwood would, I assume,<br />
take any ten American magazines in exchange<br />
for it.<br />
<br />
And our people know this; but the American<br />
magazines are cheaper than ours, thanks to the<br />
extremely high postal rates which our magazines<br />
have. to pay.<br />
<br />
Magazines which cost the same at the offices of<br />
publication differ as one to two in price when they<br />
reach the Canadian market.<br />
<br />
Here is an illustration: The Strand and<br />
Pearson's are both published in New York as well<br />
as in London. Our booksellers sell the old-style<br />
edition, of course, which costs them 74 cents in<br />
New York, and is mailed to them at 1 cent<br />
per lb. If they bought the English edition they<br />
would have to pay about 9 cents in London, and<br />
8 cents per 1b. postage.<br />
<br />
The result of this kind of thing is that, taking<br />
the figures of one of our booksellers here as a<br />
criterion, we seil four American magazines for<br />
every British magazine, though we are a British<br />
people and like our own wares best.<br />
<br />
My first.point is a national one.. If you want<br />
to keep Canada British, you had better feed her<br />
mind on British literature.<br />
<br />
My second is for the authors. If you want to<br />
keep a market for British books in Canada, you<br />
had better ask British publishers to advertise a<br />
little (not necessarily in the vilely bad taste common<br />
on this continent, but in such a way that a man’s<br />
intimate friends may have a chance of finding out<br />
that he has written a book), and press for such<br />
postal rates as will allow the magazines in<br />
which they advertise to compete with American<br />
magazines,<br />
<br />
If any one is sufficiently interested in my subject<br />
to pursue it for himself, let him take up any of the<br />
leading magazines of the States and see how they<br />
advertise their books.<br />
<br />
When “David Harum” came out you could<br />
<br />
THE AUTHOR.<br />
<br />
not walk through the streets of Ottawa without<br />
being flipped in the face by long streamers of<br />
“extracts ” which floated from the booksellers’<br />
doors ; you could not open a magazine without<br />
setting free a shower of notices ; the book haunted<br />
you. As to our books, I had to start a crusade<br />
against our booksellers, to wake them up to the<br />
fact that ‘The Four Feathers ” had been written.<br />
<br />
Are we not big enough as a nation to sacrifice a<br />
few dollars, that our children may learn at their<br />
mother’s knee, and not at another’s ?<br />
<br />
CLIVE PHILLIPPS-WOLLEY.<br />
—_—_____» <> ____<br />
<br />
“SIR MACKLIN.”<br />
<br />
a<br />
<br />
OLLECTIVE psychology is a subject which,<br />
as this volume” testifies, has not escaped the<br />
attention of Mr. A. B. Walkley, but one<br />
<br />
reader, at least, inclines to the opinion that he has<br />
not applied his knowledge with sufficient particu-<br />
larity in this present instance. Had he done so he<br />
would not have forgotten that devices proper to<br />
the rhetorician are not always proper to the author<br />
and that a looseness of argument may pass un-<br />
challenged in the spoken word, but cannot escape<br />
so lightly in the written word: in short, that good<br />
lectures do not necessarily make good books.<br />
There is a certain sort of banter, wholly or partly<br />
good-humoured, that frequently is not only lawful but<br />
expedient to a lecturer who desires to carry with<br />
him the last obstinate objector in his audience ;<br />
but the same banter may have a contrary effect<br />
when the lecture is reproduced in the unsympathetic<br />
medium of printer’s ink and submitted to the<br />
leisurely consideration of the same individual in<br />
the seclusion of his library.<br />
<br />
I seem to detect such partly good-humoured<br />
banter in the first lecture in the volume before me.<br />
I am conscious of an attempt on Mr. Walkley’s<br />
part to anticipate any suggestions I may make of<br />
flaws in his work and to dispose of them before-<br />
hand by belittling my qualifications to estimate its<br />
value. He puts me in my place, so to speak, and<br />
the human nature in me is disposed to rebel<br />
against the operation.<br />
<br />
‘Everyone who expresses opinions, however<br />
imbecile, in print calls himself a ‘critic.’ The<br />
greater the ignoramus, the greater the likelihood<br />
of his posing as a ‘critic.’” Sentences of this<br />
kind may serve to raise an unthinking laugh and<br />
break the ice between lecturer and audience, but<br />
they are not worthy of being perpetuated in print ;<br />
<br />
<br />
<br />
* “ Dramatic Criticism,’ by A. B. Walkley. London:<br />
John Murray, 1903. (5s. net.)<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 249<br />
<br />
their inaccuracy is only equalled by their antiquity.<br />
The sole reason that 1 can find for their preserva-<br />
tion here is a desire to rule me, and others like me,<br />
out of court by writing me down an ass before I<br />
begin to suggest that perhaps Mr. Walkley does<br />
not embody all the law and the prophets. As a<br />
mere caudal appendage of “that great baby, the<br />
public,” I may be a barbarian, or, isolated, a harm-<br />
less citizen or a placid British vestryman ; with<br />
luck I may be an amateur of culture, in which<br />
case my judgment is probably spoiled by the<br />
literary bias, or a mundane person, in which case<br />
I have a bias either of the individual or the vogue.<br />
Whatever I may be, I don’t matter, which is a<br />
soothing reflection for Mr. Walkley and a chasten-<br />
ing one for me. And yet I can’t help wondering<br />
if it is quite true.<br />
<br />
“From the people whom the critic criticises it<br />
would be unreasonable to expect sympathy,” Mr.<br />
Walkley remarks ; he omits to say what it would<br />
be reasonable to expect from the people who<br />
criticise the critic ; perhaps the possibility never<br />
entered his head. But he also observes that ‘just<br />
as one solid body cannot collide with another with-<br />
out the manifestation of a form of energy which<br />
we call heat, so one mind cannot impinge upon<br />
another without the manifestation of that form of<br />
energy which we call criticism.” Inasmuch as it<br />
is due to Mr. Walkley, with Mr. Murray as a con-<br />
tributory party, that his mind has impinged upon<br />
mine, it is not only excusable but natural that I<br />
should manifest energy with the best of them.<br />
<br />
My dissatisfaction with this book is due to the<br />
fact that it does not take me any further forward<br />
than I was before ; it is nebulous and inconclusive.<br />
Portentously serious in intention it is not a serious<br />
contribution to the literature of criticism. The<br />
author has an irritating trick of proving all sorts<br />
of things, and then, when he has triumphantly<br />
written Q.E.D. at the end of his argument, hastening<br />
to explain that the theorem is wholly immaterial.<br />
He reminds me of Sir Macklin, who, as every<br />
schoolboy knows,<br />
<br />
“was a priest severe<br />
In conduct and in conversation,<br />
<br />
It did a sinner good to hear<br />
Him deal in ratiocination.<br />
<br />
“ He could in every action show<br />
Some sin, and nobody could doubt him,<br />
He argued high, he argued low,<br />
He also argued round about him.”<br />
<br />
It is not for me to suggest whom to cast for the<br />
bishop in the story.<br />
<br />
Thus he refers to Gibbon’s division of critics<br />
into three classes, takes leave to reduce them to<br />
two, compares these two, showing in the process<br />
that there is not so much difference between them<br />
as they themselves suppose, and then, having<br />
<br />
compared and contrasted them to his own entire<br />
satisfaction, war's us that the contrast must not be<br />
taken too seriously. By such a device the most<br />
exiguous contribution to literature might be<br />
bumped out to the most ample proportions, but<br />
its value, when so bumped out, would be open to<br />
question.<br />
<br />
On page 20 he quotes Mr. Birrell as follows :—<br />
<br />
“T have had some experience of authors, and have<br />
always found them better pleased with the ‘ unprofes-<br />
sional’ verdicts of educated men, actively engaged in the<br />
work of the world than ever they were with the laboured<br />
praise of the so-called ‘ expert.’ ”<br />
<br />
Then on page 35 he examines the passage as<br />
follows :—<br />
<br />
“ After the crowd, the average or uncultivated amateur,<br />
let us turn to Mr. Birrell’s candidate for the critical post—<br />
the man of affairs or of the world who dabbles in the arts ;<br />
in other words, the amateur of culture. Mr. Birrell puts in<br />
a very artful plea for this class. He says the authors like<br />
them, preferring their verdicts of approval to the ‘ laboured ’<br />
praise of the so-called ‘expert.’ Here, however, we must<br />
be on our guard against the rhetorical device of the pro-<br />
fessional advocate—the familiar device of comparing one<br />
thing at its best with another thing at its worst. The<br />
praise of the ‘expert’ is not necessarily ‘laboured.’ And<br />
you will observe that the authors like the men of the world<br />
when they deliver verdicts of approval. What the authors<br />
think of this class when they deliver verdicts of disapproval<br />
we are not told.”<br />
<br />
I have italicised the words in these two passages<br />
which reveal the discrepancy between the text as<br />
given by Mr. Walkley and the text as criticised<br />
by him. I refrain from giving the exact text<br />
of Mr. Birrell’s words, and merely submit that the<br />
discrepancy ought not to have been passed in a<br />
considered argument, not so much because it<br />
affects, or does not affect, Mr. Walkley’s point<br />
as because it affects his credit as a dialectician.<br />
<br />
That there is plenty of good stuff in the book, of<br />
course, goes without saying ; most of it is Aris-<br />
totle’s, and a perverse and tricksy memory brings<br />
before me some lines from an obscure burlesque :—<br />
<br />
“My grievance is that in these modern plays,<br />
<br />
There's nothing new and good ; whate’er of praise<br />
<br />
Their lines deserve, you'll find in the antique ;<br />
<br />
Whatever's idiotic isn’t Greek.”<br />
<br />
With the necessary modifications the quotation<br />
has point, and in all seriousness I cannot think<br />
<br />
: : :<br />
that this volume will add to Mr. Walkley’s<br />
reputation.<br />
<br />
Meandering has a fascination for most ‘‘amateurs<br />
of culture.” I would like to meander a little and<br />
express an opinion which, however imbecile, I hold<br />
: : : z<br />
in common with a good many other people. That<br />
opinion is that what is wrong with the dramatic<br />
critic of the day is his appalling lack of the sense<br />
of humour. It is all very well for M. Anatole<br />
France to talk about “the adventures of a soul<br />
among master-pieces,” and for Mr. Walkley to<br />
announce that “judices nati’? may still be found<br />
<br />
<br />
<br />
<br />
<br />
<br />
250<br />
<br />
amongst us. I admire the pretty fancy of the one<br />
and rejoice at the good tidings of the other ; but<br />
recent happenings in the dramatic world dispose<br />
me to think that so far as the stage is concerned<br />
people take themselves much too seriously. Mr.<br />
Walkley snorts at the fatuity of the question,<br />
«« What is the wse of dramatic criticism?” Well,<br />
it is a fatuous question. Mr. Walkley replies to<br />
it from the point of view of the dramatic critic :—<br />
<br />
“ The use of any art is asa channel for the communication<br />
of ideas and emotions between man andman. It is a mode<br />
by which the producer of the art shares out his moods, his<br />
soul-states, his views of life, with the consumer. This is<br />
what is meant in popular language by ‘ being interesting.’<br />
Just as you may have an interesting novel or an interesting<br />
play, so you may have an ‘interesting ’ dramatic criticism.<br />
And that is the use of it.”<br />
<br />
I find that answer very satisfactory, and hope<br />
that the “ club of play-goers ”—there is a world of<br />
sarcasm in the employment of that form of the<br />
genitive case—will perpend it. From the point of<br />
view of the manager a dramatic criticism in, say,<br />
the 7'imes, at the price of a stall costs only sixpence<br />
more than the hire of ten sandwich-men at a<br />
shilling a head for the day, and it carries farther.<br />
It advertises the “show.” And that is another<br />
use of it.<br />
<br />
As I suggested at the outset, I hesitate to put<br />
forward these comments as a “criticism” of Mr.<br />
Walkley’s book ; they are merely indicative of my<br />
soul’s adventures in that masterpiece. I hope I<br />
shall not be deemed irreverent if 1 speed them with<br />
yet one more quotation, protesting that they are<br />
quite honest in intention, and not born of that<br />
little-emindedness which finds pleasure in cheap<br />
sneers :<br />
<br />
“Go, soul, the body’s guest,<br />
Upon a thankless arrant ;<br />
Fear not to touch the best,<br />
The truth shall be thy warrant.”<br />
Vy. iE. M.<br />
<br />
ee<br />
<br />
POPULARITY.<br />
<br />
oe<br />
<br />
OBERT VINCENT, historian and man of<br />
letters, had received his death sentence.<br />
The physicians gave him one short year to<br />
live ; but their word was the signal for a cloud,<br />
impalpable as yet, but darker than that of death,<br />
to rise upon the dying man’s horizon. He was a<br />
young man, and it seemed to the world as if it was<br />
but yesterday that he had succeeded in making<br />
his name. But the world was mistaken. The<br />
initiated knew that the reputation which Robert<br />
Vincent had won was of no mushroom growth.<br />
He had won it by sweat, by blood, by years of<br />
patient labour and research. Nay, as was being<br />
proved now, he had bought it with his very life.<br />
<br />
THE AUTHOR.<br />
<br />
To this small band of scholars Robert Vincent<br />
had been known for years, young as he still was,<br />
as the rising historian of the day, as a writer in<br />
whom in the highest degree scholarship, imagina-<br />
tiveness, and honesty were combined.<br />
<br />
To this small band he was the ideal historian<br />
for whom the world had waited so long. Scholarly<br />
historians there have been. Honest historians’ are<br />
not altogether unknown. Picturesque writers of<br />
history have made their works as household words<br />
tous. But the combination of the three qualities<br />
in one person has often been pronounced to be an<br />
impossibility. 1t appeared in Robert Vincent, and<br />
scholars awaited with bated breath its further<br />
development. But the world in general, the<br />
world which nearly every man secretly craves to<br />
enlist on his side, even when he most professes to<br />
despise it, turned, for a long time, a deaf ear to<br />
the teaching of the historian. To those who<br />
knew, this deafness was simply a question of time.<br />
The world would hear, and hearing would accept<br />
Robert Vincent at his true value. The event proved<br />
that, for once ina way, those who knew were right.<br />
<br />
Robert Vincent won his place as a world power<br />
in literature by the publication of his great book,<br />
“The Welding of the Races.”<br />
<br />
It was a great book in every way. Great in<br />
conception, great in execution. Well balanced,<br />
accurate, and judicial, yet written in language<br />
almost passionately picturesque. ‘The Welding of<br />
the Races ” threw its search light on a period of<br />
English History at once the most obscure and the<br />
most salient. ‘‘As at the touch of an enchanter’s<br />
wand,” the darkness which for hundreds of<br />
years had lain upon the early middle ages was<br />
dissipated, and Englishmen knew at last the secret<br />
of the greatness of their country. “The dark<br />
ages have for England ceased to exist,” was the<br />
judgment of the greatest German critic.<br />
<br />
The wisdom of the small band of scholars<br />
was justified. The world knew and, knowing,<br />
acclaimed, as with one voice, Robert Vincent as the<br />
greatest writer of the century. The author him-<br />
self would have been more than human if he had<br />
not exulted in his triumph. He was young and<br />
he was ambitious, and it is given to few men<br />
indeed to realise, to any great extent, the ambition<br />
of their lives.<br />
<br />
“The Welding of the Races” rapidly proved<br />
itself the success of the day, and the fortunate<br />
author felt that his name had been made for all<br />
time, that he was destined to be numbered with<br />
the great ones of the earth. “‘ Westminster Abbey,”<br />
<br />
he said laughingly to his wife, “ will know me yet.”<br />
And then the end came.<br />
<br />
No prank which the Great Jester loves to play<br />
is dearer to his heart than the summoning of a<br />
man from the prize to gain which he has given<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the best years of his life, given his very soul,<br />
when it is almost within his grasp. We die just<br />
when we are beginning to know how to live. So<br />
it was to prove with Robert Vincent.<br />
<br />
Perhaps it was due to the strain which the<br />
completion of his work had put upon him, perhaps<br />
there was an original weakness of constitution<br />
hitherto unsuspected, or perhaps—. Anyhow,<br />
whatever may have been the cause, at the very<br />
height of his fame the sentence, from which there<br />
is no appeal, was pronounced, “ You must die!”<br />
<br />
There is no need to dwell on the dull, sickening<br />
sense of hope frustrated which fell like a black<br />
shadow on Robert Vincent’s heart when he knew<br />
that he must leave the world, which appeared to<br />
him just then to be so full of brightness and<br />
beauty. But he was no coward, his life had shown<br />
that, and he resolved to face the music like a man,<br />
<br />
“My body will die,” he said to his wife, “but<br />
my soul will live ; for that I have won immortality.<br />
I have put my whole soul into ‘The Welding of<br />
the Races,’ and while England lasts it will last<br />
also.” This he said in no vainglorious spirit.<br />
To him it was a simple fact. But as he grew<br />
weaker there came upon him a mental uneasiness<br />
which puzzled greatly his wife and his doctors.<br />
To some extent, but to some extent only, it seemed<br />
to be assignable to the stress of previous literary<br />
work. The fact was, the dark, impalpable cloud<br />
gathered blackness and substance as time went on.<br />
It pressed in upon him, making the last few weeks<br />
of his life into a hideous, waking nightmare.<br />
<br />
“Qlang, clang! throb, throb! What are they<br />
printing so close to me? Who are printing? Is<br />
it Gradband & Shimmery ?”<br />
<br />
“No, dear,’ said his wife gently, “there is no<br />
printing near you.’ The doctor, who overheard<br />
the mutterings, looked grave and asked the wife<br />
<br />
“Did your husband ever have any dealings with<br />
these publishers, Gradband & Shimmery ?”’<br />
<br />
“No,” she replied, ‘not that I know of. I<br />
never heard their names.”<br />
<br />
“Of course not,” said the doctor with a smile,<br />
“it is scarcely likely that Mr. Vincent would have<br />
had anything to do with publishers of that class.”<br />
<br />
The doctor was quite right. It was indeed<br />
unlikely—the most unlikely thing in the world.<br />
For Messrs. Gradband & Shimmery were known<br />
as publishers of fiction of the baser sort, fiction<br />
which had an enormous circulation among City<br />
¢lerks and shop girls.<br />
<br />
The stuff which this firm turned out in vast<br />
quantities was lurid and sensational to a degree,<br />
especially that for which “Sydney Trevor,”<br />
popularly supposed to be an assumed name, was<br />
responsible, but it could no more claim to be<br />
literature than a farthing rushlight could claim<br />
to be the moon.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
251<br />
<br />
Of course it was too wildly absurd to suppose<br />
that Robert Vincent, of all people in the world,<br />
could have had any dealings with such a firm as<br />
this. And the doctor made a mental note of his<br />
uneasiness as a curious illustration of an obscure<br />
brain lesion. But this did very little good to the<br />
patient himself. The noise of the printing presses<br />
at work seemed to become louder and more insis-<br />
tent every day. Every day too his imagination<br />
seemed to be haunted by a terror which ever drew<br />
closer and closer. His lucid intervals proved to<br />
those about him that he had no fear of death, nor<br />
even of the act of dying; but even his lucid<br />
intervals were haunted by the shadow of the fear<br />
which oppressed him so terribly in his delirium.<br />
Whatever the fear might be, it was associated with<br />
the idea of printing, and with the names of<br />
Gradband & Shimmery. Nothing that his wife<br />
could do or say—no news she might bring him of<br />
the ever increasing success of his book, no assur-<br />
ances of the high position, daily becoming more<br />
manifest, which he had secured for himself in<br />
literature, was able to expel this fear devil from<br />
his soul. Thereit sat, grinning at him till he died.<br />
<br />
As soon as Robert Vincent’s death was an-<br />
nounced, steps were taken by those whose word<br />
carried weight with the authorities to secure a<br />
place for him in Westminster Abbey. It seemed<br />
likely that their efforts would be crowned with<br />
suecess, and that the historian’s jesting remark to<br />
his wife would prove to be a true prophecy.<br />
<br />
It was urged that the country had only one<br />
way now of paying the recognition it owed to an<br />
admitted genius. What the leaders of thought<br />
said, the general public echoed with all its heart.<br />
No name was so constantly on men’s lips and<br />
before their eyes during these days as the name of<br />
Robert Vincent, historian and man of letters.<br />
Westminster Abbey was the place for him, and to<br />
Westminster Abbey he must be taken. And then<br />
suddenly all this talk stopped.<br />
<br />
Messrs. Gradband & Shimmery flooded the<br />
country with their advertisements—newspapers,<br />
<br />
hoardings, omnibuses, trains, sandwich-men—<br />
every available means of advertisement were<br />
<br />
pressed into the service of Messrs. Gradband &<br />
Shimmery. There had never been known, since<br />
books were first printed, such gigantic enterprise<br />
in advertising methods. Wherever men looked<br />
they saw the names of Gradband & Shimmery ;<br />
and underneath, only in larger characters, the<br />
name of “Sydney Trevor” in inverted commas ;<br />
and below that the name of Robert Vincent ; and<br />
below that again a list of books whose lurid and<br />
sensational titles spoke for them.<br />
<br />
Then the world learnt that Robert Vincent was<br />
identical with ‘Sydney Trevor,” and Westminster<br />
Abbey knew him not. CO. L:<br />
<br />
<br />
<br />
<br />
ESSAY ON CRITICISM.<br />
<br />
Oe<br />
<br />
(Reprinted from Longman’s Magazine, by kind permission<br />
of the Author and the Publisher).<br />
<br />
(By A Lapy NoveEtist).<br />
<br />
S there no real critic on these shores<br />
Yet to be found? O Tempora, O Mores !<br />
How shall they judge who measure all by<br />
rule<br />
While Genius, for them, might dwell in Thule?<br />
Tis quality, not quantity, decides<br />
The merit of such work as mine—Quid rides ?<br />
When will they learn the truth that each great<br />
writer<br />
<br />
Of prose or poetry—non fit—nascitur ?<br />
When cease to sneer with condescending smile<br />
At woman—vyarium et mutabile ?<br />
Yet why should I the critics heed? Whate’er<br />
They say, ’tis mine—aequam mentem servyare.<br />
My place among the Immortals is secure,<br />
*Tis mine—divino ac humano jure.<br />
I feel within my breast the sacred fire,<br />
And I—I know it—non omnis moriar.<br />
Already on Parnassus’ sacred slope<br />
I dwell with Melpomene and Calliope.<br />
No marble tomb I crave, no trophies pious,<br />
My monument is—aere perennius.<br />
<br />
<br />
<br />
FR.<br />
<br />
a a<br />
<br />
CORRESPONDENCE.<br />
<br />
—1—~> +<br />
<br />
AN ANSWER TO “A PROTEST.”<br />
<br />
Sir,—In reference to a letter entitled “A Pro-<br />
test’ in last month’s Author, I would like to say<br />
a few words in common justice to all concerned in<br />
the arrangement of the Society’s annual social<br />
function.<br />
<br />
In the first place, it is a puzzle how the receipt<br />
of the announcement of a dinner could shock even<br />
the most highly strung and sensitive nerves.<br />
<br />
If Shakespeare had lived in the twentieth century<br />
he would no doubt have participated in a meal at<br />
the Hotel Cecil with as much equanimity—and<br />
perhaps even enjoyment—as any other author.<br />
<br />
Next I would like to point ont to the writer in<br />
question that as the Soviety is formed for the pro-<br />
tection and maintenance of literary property, it<br />
must needs respect itself. So, if the Society of<br />
Authors were to hold its annual festival at a third<br />
or fourth rate restaurant, and charge a low price,<br />
as suggested, it would certainly be considered an<br />
inferior concern, and be looked down upon<br />
accordingly. :<br />
<br />
Further, the writer contradicts himself, for he<br />
says that he has attended several dinners each at<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
increased cost, and then confesses having been<br />
present at a guinea one. Comment is needless. If<br />
the protester could be present at a guinea dinner<br />
it seems inconsistent that the suggestion of a 10s.<br />
one should give him a shock.<br />
<br />
As I did not attend any of the guinea functions<br />
I cannot speak from personal experience as to<br />
whether it would have been “ dear at eighteenpence,’””<br />
but I can honestly say that at all the four dinners<br />
which I have attended the food was as good and<br />
as well served as one could wish.<br />
<br />
I have always understood that the Society does<br />
not wish to make money by the dinner, but charges<br />
a price sufficient to cover expenses. If the com-<br />
plainant refers to the ‘ Annual Report,” he will<br />
find that the Society was 5s. 10d. out of pocket by<br />
last year’s dinner ; hence, no doubt, the decision<br />
to raise the price.<br />
<br />
With regard to the guests, it seems to me that<br />
the Society is honowred by the presence of such<br />
men as Sir Clements Markham, Captain Sverdrup.<br />
and others ; men noted for their good and useful<br />
work, some in one field, some in another. I have<br />
never heard of the Society asking subscriptions,<br />
so I don’t quite see how it can be brought down<br />
to the level of a charitable organisation.<br />
<br />
Lastly, I will say that I am so far in sympathy<br />
with the writer of “A Protest” that I think it<br />
would be more agreeable if it were possible to<br />
arrange a festival, or annual gathering, in which<br />
all the members could participate. It is clearly<br />
impossible to please everyone in a large body of<br />
people like the Authors’ Society, and if authors are<br />
“proverbially irritable,” what a large amount of<br />
self-control is needed by a committee formed of<br />
authors, whose task in endeavouring to please all<br />
can scarcely be an enviable one.<br />
<br />
H. M. E. Stanton.<br />
May 4th, 1903.<br />
<br />
SERIAL RIGHTS IN STORIES.<br />
<br />
S1n,—As I receive inquiries concerning my “new<br />
story” in the Sphere for May 2nd and 9th, will you<br />
allow me space to say that, so far from. being new,<br />
it is a resuscitated old story which appeared in a.<br />
country journal nearly twenty years ago, and that<br />
I am in no way responsible for its publication as if<br />
new ? ae<br />
<br />
I make this an opportunity of reminding inex-.<br />
perienced writers of fiction that, in disposing of<br />
‘serial rights” in their productions, they should<br />
take care to limit the time during which such<br />
rights may be exercised.<br />
<br />
Tuomas Harpy. | https://historysoa.com/files/original/5/484/1903-06-01-The-Author-13-9.pdf | publications, The Author |
485 | https://historysoa.com/items/show/485 | The Author, Vol. 13 Issue 10 (July 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+10+%28July+1903%29"><em>The Author</em>, Vol. 13 Issue 10 (July 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-07-01-The-Author-13-10 | | | | | 253–280 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-07-01">1903-07-01</a> | | | | | | | 10 | | | 19030701 | Che #uthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
JUNE Ist, 1903.<br />
<br />
Vou. XIII.—No. 9.<br />
<br />
[Prick SrxpPENnog.<br />
<br />
<br />
<br />
<br />
<br />
THE TELEPHONE.<br />
<br />
<br />
<br />
The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
———_—__—_+—~@—<br />
<br />
<br />
<br />
NOTICES.<br />
<br />
—-~<> +<br />
<br />
OR the opinions_expressed in papers that are<br />
K signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
THE Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
— +<br />
<br />
List of Members.<br />
<br />
THE List of Members of the Society of Authors,<br />
published 1902, can be obtained at the offices of<br />
the Society, at the price of 6d. net.<br />
<br />
It will be sold to the members of the Society<br />
only.<br />
<br />
—-—>+—<br />
<br />
The Pension Fund of the Society.<br />
<br />
THE investments of the Pension Fund at<br />
present standing in the names of the Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou, XIII.<br />
<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Coagole 25 Fees. £1000 0 6<br />
POCH) LOANS obec. 500 0 0<br />
Victorian Government 3 ‘ Consoli-<br />
<br />
dated Inscribed Stock ...............<br />
We lon<br />
<br />
291 19 Tt<br />
201 9 3s<br />
<br />
otal o1,995 9 2<br />
<br />
<br />
<br />
Subscriptions.<br />
<br />
1908.<br />
Jan. 1, Pickthall, Marmaduke 010 6<br />
»» Deane, Rey. A.C. . 010 06<br />
Jan. 4, Anonymous 0) 5. 6<br />
- Heath, Miss Ida 0 5 0<br />
“ Russell, G. H. ; Ll 0<br />
Jan. 16, White, Mrs. Caroline 0.5 06<br />
», Bedford, Miss Jessie 0 5. 0<br />
Jan..19, Shiers-Mason, Mrs. 0 35.0<br />
Jan. 20, Cobbett, Miss Alice ; 1 0 5 0<br />
Jan. 30, Minniken, Miss Bertha M.M. 1 0 0<br />
Jan. 31, Whishaw, Fred : - 0 10 0<br />
Feb. 3, Reynolds, Mrs. Fred 0 5b 0<br />
Feb. 11, Lincoln, C. . ; 0 5 0<br />
Feb. 16, Hardy, J. Herbert . 0° 5 0<br />
» Haggard, Major Arthur . 0° 5 0<br />
Feb. 23, Finnemore, John . 05 0<br />
Mar. 2, Moor, Mrs. St. C. . 1° 0 6<br />
Mar. 5, Dutton, Mrs. Carrie 015 6<br />
Apl.10, Bird, ©. PB. . : A - 0 10.6<br />
Apl. 10, Campbell, Miss Montgomery. 0 5 0<br />
May Lees, R. J... : ; 1 0<br />
: Wright, J. Fondi . ; ~ 905 6<br />
Donations.<br />
<br />
Jan. 8, Wheelright, Miss E. : , 0 10 6<br />
» Middlemass, Miss Jean . ~ 010 0<br />
<br />
Jan. 6, Avebury, The Right Hon.<br />
The Lord . D0 0<br />
» Gribble, Francis. : . 010 0<br />
Jan. 13, Boddington, Miss Helen . . 010 6<br />
Jan. 17, White, Mrs. Wollaston 11 0<br />
» Miller, Miss E. T. . 0 5.0<br />
Jan. 19, Kemp, Miss Geraldine 010 6<br />
<br />
<br />
226<br />
<br />
Jan. 20, Sheldon, Mrs. French . - 0) 5) 0<br />
Jan. 29, Roe, Mrs. Harcourt : . 0 16 0<br />
Feb. 9, Sherwood, Mrs. . : » 0-10 6<br />
Feb. 16, Hocking, The Rev. Silas 210<br />
Feb. 18, Boulding, J. W. . : . 010 6<br />
, Ord, Hubert H. . ‘ de)<br />
Teb. 20, Price, Miss Eleanor : . 010 0<br />
» Carlile, Rev. J. C.. : . 010 0<br />
Feb. 24, Dixon, Mrs. . : : a2 0-0<br />
Feb. 26, Speakman, Mrs. . : . 010 0<br />
Mar. 5, Parker, Mrs. Nella 2 0 10° 0<br />
Mar. 16, Hallward,N. LL. . : ll 0<br />
Mar. 20, Henry, Miss Alice . : - 0 8.9<br />
» Mathieson, Miss Annie . . 010 0<br />
<br />
» Browne, T. A. (“ Rolfe Boldre-<br />
wood”) . j : : 12 0<br />
Mar. 23, Ward, Mrs. Humphry. 110.0. 0<br />
Apl. 2, Hutton, The Rev. W. H. - 2070<br />
Apl. 14, Tournier, Theodore : 0 2) 0<br />
May King, Paul H. : : ~ 010-90<br />
: Wynne, Charles Whitworth .10 0 90<br />
» 21, Orred J. Randal . : pedo E70<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
<br />
Rashdall, The Rev. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
Dowsett, C. F.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
Se<br />
Sir Walter Besant Memorial Fund.<br />
Tur amount standing to the credit<br />
<br />
of this account in the Bank is......... £336 4 9<br />
May 22, Orred J. Randal............... Lied<br />
—____—<>—_e____\_<br />
<br />
FROM THE COMMITTEE.<br />
ee<br />
<br />
HE Committee of the Society of Authors met<br />
on May 6th. Mr. Douglas Freshfield took<br />
the chair.<br />
<br />
‘Twelve members and associates were elected to<br />
the Society. The list is printed below.<br />
<br />
The case of Parry v. Gollancz, with all the papers<br />
and letters, was laid before the Committee and<br />
carefully considered. The Committee decided to<br />
issue a summary of the case with comments in<br />
The Author, (See article, page 232.)<br />
<br />
The agent of the Society in New York has been<br />
forced to give up the work of the Society owing to<br />
the fact that he has taken up the work of a<br />
<br />
THE AUTHOR.<br />
<br />
literary agent. As he candidly expresses it, “ he<br />
found it difficult to have to write peremptory<br />
letters of demand to editors and publishers, when<br />
at the same time he might be offering them MSS.<br />
for acceptance.” Accordingly, the Society has<br />
been obliged to appoint another agent, and the<br />
Committee have nominated Mr. Morris P. Ferris,<br />
counsellor-at-law.<br />
<br />
‘There were two or three cases before the Com-<br />
mittee. One dealt with the loss of a MS. by a<br />
publisher. It was decided to take the matter up<br />
on behalf of the member, as from the circumstances<br />
connected with the case, it appeared that the<br />
publisher had shown considerable negligence.<br />
<br />
Another case, that of alleged breach of agree-<br />
ment by a publisher, the Committee found they<br />
were unable to support, as the solicitors of the<br />
Society did not consider that there was cause for<br />
legal action.<br />
<br />
It was decided not to republish the list of<br />
members during the current year, but in the<br />
autumn, to publish a supplementary list of those<br />
members who had been elected since the last<br />
publication.<br />
<br />
oo<br />
<br />
Cases,<br />
<br />
Tue last statement of the cases taken up by<br />
the Society was printed in the March number of<br />
The Author. Since that date forty-three have been<br />
before the Secretary. They may be subdivided as<br />
follows :—<br />
<br />
Ten for the return of MSS. ; three for accounts ;<br />
five for accounts and money ; eighteen for money<br />
due ; one dealing with the false advertisement of a<br />
book; one with the infringement of copyright ;<br />
five embracing disputes which cannot be classed<br />
under any particular heading.<br />
<br />
The Secretary is pleased to report that all the<br />
cases chronicled in the March number of The<br />
Author have either been settled or have been placed<br />
in the hands of the solicitors.. All the cases from<br />
that date up to the beginning of April have also<br />
been settled or placed in the solicitors’ hands, with<br />
the exception of one case, where the author—<br />
unfortunately living abroad—had a claim against a<br />
magazine for non-payment.<br />
<br />
The record of the ten claims for the return of<br />
MSS. is as follows :—<br />
<br />
One case has been placed in the hands of the<br />
Society’s solicitors, to enable the member to claim<br />
damages for loss of a MS. by a publisher, as it<br />
appeared clear to the Committee that the publisher<br />
had been negligent. In two cases there has been<br />
<br />
no evidence that the MSS. had been received at<br />
<br />
the office of the paper. In the remaining seven<br />
<br />
the MSS. have been returned at the request of the<br />
<br />
Secretary.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Set<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
In the three demands for accounts the Secretary<br />
has been able to obtain the requisite statement,<br />
with the exception of one case against a well-known<br />
firm that is always dilatory in meeting the demands<br />
of the author or the Secretary of the Society for<br />
details of this kind. No doubt a little mild<br />
persuasion will bring about the requisite result,<br />
<br />
There has been an increase with regard to demand<br />
for unpaid moneys, and the result. of the Secretary’s<br />
applications may be catalogued as follows :—<br />
<br />
In the claims for accounts and money two have<br />
been partially settled—this means that part of the<br />
money due has been paid, the rest will no doubt<br />
follow. One has been completely settled, and two<br />
are still in the course of negotiation. The last are<br />
demands against an American publisher, whose<br />
name is well known on the English market, but<br />
whose methods of doing business when it comes to<br />
the settlement of accounts appear to be far from<br />
satisfactory. In six cases the money has been<br />
paid without any difficulty. In five the matters<br />
have had to go into the hands of the Society’s<br />
solicitors. Two cases are still unsettled, and in one<br />
it is impossible to enforce the Society’s claim owing<br />
to the fact that the member resides abroad.<br />
<br />
This is, on the whole, a satisfactory record,<br />
especially when it is remembered that those matters<br />
referred to the solicitors deal with magazines that<br />
are most probably either in liquidation or on the<br />
verge of Jiquidation. The case of infringement of<br />
copyright has been satisfactorily settled. A full<br />
statement of this was printed in 7he Author. The<br />
false advertisement has also been remedied, and<br />
the remaining matters—various disputes on con-<br />
tracts—are in the course of negotiation.<br />
<br />
Out of thewhole forty-three there are only thirteen<br />
which have not been closed as far as the work of<br />
the Secretary is concerned. Some of them, as<br />
mentioned above, are being continued in other<br />
hands, it is hoped with satisfactory result.<br />
<br />
NEES “ESSE<br />
<br />
May Elections.<br />
4, Gray’s Inn Squares<br />
<br />
W.C.<br />
<br />
Scarborough.<br />
<br />
Wentworth House, Key-<br />
mer, Sussex.<br />
<br />
The Cedars, Denmark<br />
Avenue, Wimbledon,<br />
<br />
Aitken, Robert<br />
<br />
Alcock, Joseph Crosby .<br />
Arthur, Miss Mary<br />
<br />
Bedford, Mrs.<br />
<br />
SW.<br />
Dickinson, F. James 6, Claremont Terrace,<br />
Hargreaves, F.R.S.L. Claremont Park,<br />
Blackpool.<br />
<br />
Lees, Robert James<br />
<br />
. Engelbery, Ilfracombe.<br />
Macdonald, Mrs. A. E. .<br />
<br />
Gordon Road, Gordon,<br />
Sydney, N.S. Wales,<br />
Australia.<br />
<br />
THE AUTHOR. 227<br />
<br />
Merriman,<br />
B.C,<br />
Pickering, Sidney .<br />
Smith, Miss M. C,<br />
<br />
Labor A., Freetown, Sierra Leone.<br />
<br />
Stratton, Falmouth.<br />
<br />
Gretna Hall, Gretna<br />
Green,<br />
<br />
200, Stockwell Road,<br />
Brixton, 8.W,<br />
<br />
Colonial Institute,<br />
Northumberland<br />
Avenue, W.C.<br />
<br />
Trost, Johann<br />
<br />
Wright, Edward Fondi .<br />
<br />
<br />
<br />
+-—<—e<br />
<br />
OUR BOOK AND PLAY TALK.<br />
ae<br />
<br />
| PROFESSOR RHYS DAVIDS’ “Buddhist<br />
<br />
| India” in the Stories of the Nations Series,<br />
<br />
may be out any day now. It was all passed<br />
for press some time ago, but it is being printed in<br />
America. he Professor has just finished editing<br />
the issues of the Pali Text Society for 1903 ; they<br />
form the Journal of that Society. He has also<br />
edited the second volume of “The Digha” in<br />
conjunction with Mr. E. Carpenter. These are<br />
now ready for distribution to members.<br />
<br />
The Government of India has determined to<br />
publish, through the Royal Asiatic Society, two<br />
series of historical volumes. Of these, one is on<br />
the History of India before the arrival of the<br />
English, and will be under the editorship of<br />
Professor Rhys Davids.<br />
<br />
The first volumes to be published will deal with<br />
the historical geography of ancient India, and<br />
with the historical evidence contained in the<br />
Vedas. The other series, to be called The Records<br />
Series, will embrace the period after the arrival of<br />
the English, and will consist mainly of official<br />
documents. The first volume will deal with the<br />
events connected with the Black Hole of Calcutta.<br />
<br />
Mr. Arnold White has had a trying experience :<br />
He lost, during the fire at the Hotel du Palais, at<br />
Biarritz, the MS. of the work on which he was<br />
engaged. It is a continuation of the series on<br />
Efficiency which began eighteen years ago in “The<br />
Problems of a Great City,” and ended in his last<br />
two books—* Efficiency and Empire,” and “ For<br />
Efficiency.”<br />
<br />
Mr. White, however, hopes in the course of the<br />
next twelve months to re-write and complete a<br />
work on National Efficiency, especially with regard<br />
to government and municipal administration, and<br />
its effects on the pockets, the health, and the lives<br />
of citizens of the Empire.<br />
<br />
Miss Mabel Quiller Couch, whose short stories<br />
are well known, has published two volumes of them<br />
under the titles of “The Recovery of Jane Vercoe,”<br />
<br />
<br />
<br />
<br />
228<br />
<br />
and “Some Western Folk.” At present she is<br />
completing serial work already ordered, but she<br />
means in the near future to write a story for girls<br />
on somewhat new lines. Our readers may remember<br />
a very interesting volume entitled, “ The Holy Wells<br />
of Cornwall,” which Miss Mabel Quiller Couch wrote<br />
in conjunction with her sister.<br />
<br />
Mrs. Mary M. Banks is engaged in editing a<br />
MS. collection of tales of the fifteenth century for<br />
the Early English Text Society. Some two years<br />
ago Mrs. Banks edited the alliterative ‘‘ Morte<br />
Arthur,” published by Messrs. Longmans. Since<br />
then she has given lectures on modern literature,<br />
besides writing articles on literary subjects.<br />
<br />
Messrs. Swan Sonnenschein have in preparation<br />
for the autumn a romance of Italy in the thirteenth<br />
century, by Emily Underdown (Norley Chester).<br />
This firm lately published “ Dante and Beatrice,”<br />
a play in blank verse suggested by episodes in the<br />
Vita Nuova, by the same author. It forms one of<br />
a series started by Miss Elsie Fogerty. “ Dante<br />
and Beatrice” is also published in a tastefully<br />
got-up edition, with a reproduction of Rossetti’s<br />
painting, “ Dante’s Dream,” as a frontispiece.<br />
<br />
Members of the Society will be interested to<br />
know that Mr. Poulteney Bigelow has been asked<br />
to address the United States Naval War College<br />
at Newport, on German Colonisation, on the 16th<br />
of June. This is the college before which Captain<br />
Mahan delivered his lectures on “‘ The Influence of<br />
Sea Power on History ”—a book which has been<br />
translated into almost every tongue, and yet<br />
which, at the time, was declined by the Harpers.<br />
<br />
Lismore, which the King is to visit next<br />
August, is the “ Innisdoyle ” of Julia M. Crottie’s<br />
“ Neighbours,” a book of Irish sketches, published<br />
by T. Fisher Unwin a year or two ago. Lismore<br />
is a quiet old town, beautifully situated on the<br />
poet Spenser’s Blackwater, and although now<br />
fallen away from its ancient importance, still<br />
possesses some features of interest in its fine old<br />
abbey and castle.<br />
<br />
Mr. Frank Rutter, the editor of To-day, has<br />
just published, through R. A. Everett & Co.,<br />
a little volume of scenes and characters from<br />
eee life. ‘‘’Varsity Types” is the title<br />
of it.<br />
<br />
“Varsity Types” has a dozen illustrations by<br />
Stephen Haweis. The dedication runs thus—‘‘ To<br />
those who unconsciously have posed as models for<br />
the following sketches, this little volume is grate-<br />
fully and affectionately dedicated by the author.”<br />
Among the entertaining characters are ‘“ The<br />
Swot,” “The Trophy Maniac,” “ The Snob,” and<br />
“The Bedder,” while “‘ Ditton Corner,” “ An Art-<br />
less Dean,” and “An Academic Court-Martial,”<br />
are scenes to laugh over.<br />
<br />
THE AUTHOR.<br />
<br />
Miss Julie Sutter’s book on the Social Problems<br />
—Brirain’s Next Campaign ”—has just been<br />
issued at a shilling net (320 pp.) by R. Brimley<br />
Johnson, 4, Adam Street, Adelphi, W.C. The<br />
Daily News this winter thought it worth while to<br />
publish a series of articles from its pages, and Sir<br />
John McDougall (as chairman of the London<br />
County Council) invites ‘every Londoner, official<br />
on non-official, to make himself acquainted with<br />
this book.” Both he and Canon Scott Holland<br />
head the volume with a preface.<br />
<br />
Mr. F. Stroud’s publishers will issue almost<br />
immediately a much-enlarged edition of his Judicial<br />
Dictionary. It will be in three thick volumes of<br />
about nine hundred pages each. The work is<br />
unique in that, whilst it is a dictionary in the<br />
ordinary sense of that word, yet the pivot on which<br />
it moves is that it deals with the English of affairs<br />
as expounded by the English Judges and by<br />
Parliament.<br />
<br />
To search for verbal definitions through the<br />
many hundreds of volumes of Reports of Cases,<br />
and the Statute Book from Magna Charta down-<br />
wards, and to harmonise the authoritative exposition<br />
of words and phrases culled from these sources,<br />
must have been an enormous task, requiring much<br />
prior knowledge and the unfailing patience of years.<br />
The idea of this edition is to bring down the<br />
exposition from the earliest times to the end of the<br />
nineteenth century. Whilst we should imagine it<br />
to be indispensable to the practising lawyer, the<br />
book cannot fail to be of general interest, for inci-<br />
dentally it frequently presents striking phases of<br />
the picturesque past.<br />
<br />
Mr. Percy White has been kind enough to send<br />
us the following interesting extract from a letter<br />
written to him by a great admirer of George<br />
Meredith. The writer is himself a novelist and<br />
man of letters :—<br />
<br />
“THE Two MEREDITHS.<br />
<br />
“T am reading ‘ Evan Harrington,’ in the original edition<br />
of 1861. I find that in the final edition, published by<br />
Constable, many admirable passages have been cut out, and<br />
a good deal of broad humour and fun has been lost. An<br />
interesting little paper might be made on a comparison of<br />
the two editions—the old Meredith pruning the younger.<br />
It is remarkable how completely ‘modern’ this book of<br />
1861 reads—a book which might have been written to-day,<br />
whilst its successful contemporaries, ‘ Framley Parsonage,’<br />
‘The Silver Chord,’ ‘The Woman in White,’ &c., are all as<br />
old-fashioned and uncouth as the crinolines, matador hats,<br />
and chenille hair nets of the early sixties.”<br />
<br />
“ Park Lane” is the title of Mr. Percy White’s<br />
new novel—needless to say a very readable one—<br />
which has been published by Messrs. Constable<br />
at 6s.<br />
<br />
Mr. G. W. Forrest, O.1.E., ex-Director of Records,<br />
Government of India, and author of “ Sepoy<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Generals,” has published through the same firm a<br />
copiously illustrated book called ‘‘ Cities of India”<br />
(10s. 6d. net). Mr. Forrest, who is one of the<br />
greatest living authorities on the ancient and<br />
modern history of India, has seen with his own<br />
eyes the cities he so admirably describes. The<br />
illustrations are excellent.<br />
<br />
’ The Transactions of the Royal Society of Litera-<br />
<br />
ture are being edited, as indeed they have been<br />
‘since 1894, by Perey W. Ames, LL.D., F.S.A.<br />
Besides publishing the following addresses : ‘‘ Posi-<br />
tivism in Literature,” “Supposed Source of the Vicar<br />
of Wakefield,” ‘‘ Racial and Individual Tempera-<br />
ments,” ‘‘ Superstition, Science, and Philosophy,”<br />
“Poetry and Science of Archeology,” &c., &c., Dr.<br />
Ames, in 1900, edited, with introduction and one<br />
lecture, “‘Chaucer Memorial Lectures.” In 1898<br />
he edited, with an historical sketch of the Princess<br />
Elizabeth and Margaret of Navarre, “The Mirror<br />
of the Sinful Soul.” Before that he edited, with<br />
an introductory address, a volume of “ Afternoon<br />
Lectures on English Literature.”<br />
<br />
Mr. Sydney Lee has brought to a close his tour<br />
in America. He has been accorded an enthusiastic<br />
reception in the Hastern and the Western States.<br />
He has given fifty-three Jectures, and has travelled<br />
by rail more than ten thousand miles. Besides<br />
delivering addresses before the Library Association<br />
at Washington and the State University of North<br />
Carolina, Mr. Lee lectured at Staten Island, New<br />
York, at the request of Mr. William Winter, in aid<br />
of the library founded by him in memory of his son,<br />
the late Mr. Arthur Winter.<br />
<br />
Mr. Lee also gave addresses on Shakespeare at<br />
Indianapolis and before the State Universities of<br />
Ohio and Indiana.<br />
<br />
Among recently published books by members of<br />
the Society is Mr. Justin McCarthy’s ‘British<br />
Political Leaders” (T. Fisher Unwin: 7s. 6d.<br />
net). Though all may not agree with his point<br />
of view, may not see eye to eye with him, yet<br />
readers can scarcely fail to find this volume attrac-<br />
tive. It is charmingly written.<br />
<br />
There is also a couple of volumes issued by Mr.<br />
John Murray, entitled, ‘‘ More letters of Charles<br />
Darwin,” being a record of his work in a series of<br />
hitherto unpublished letters, edited by Francis<br />
Darwin, Fellow of Christ’s College, and A. C.<br />
Seward, Fellow of Emmanuel College, Cambridge.<br />
(32s. net.)<br />
<br />
Then, Mrs. Gertrude Atherton, whose remarkable<br />
novel, “The Conqueror,’ we all remember, has<br />
now published, through Harpers, “A Few of<br />
Hamilton’s Letters.” Those who are interested in<br />
<br />
that famous man’s personality will find this selection<br />
from his correspondence well worth reading.<br />
<br />
229<br />
<br />
Professor E. Ray Lankester, F.R.S., etc., Direc-<br />
tor of the British Museum of Natural History,<br />
has contributed a Preface to Mr. S. Theodore<br />
Andrea Cook’s book, ‘ Spirals in Nature and Art”<br />
(John Murray). This is a study of spiral forma-<br />
tions based on the manuscripts of Leonardo da<br />
Vinci, with special reference to the architecture of<br />
the open staircase at Blois in Touraine, now for<br />
the first time shown to be from his designs. This<br />
interesting volume is 7s. 6d. net.<br />
<br />
Miss Marie Corelli recently addressed a crowded<br />
meeting of the O. P. Club in the large hall of<br />
the Criterion Restaurant. Miss Corelli spoke<br />
on “The Trust on behalf of the Nation at<br />
Stratford-on-Avon.” She protested against the<br />
destruction of any buildings in Heniey Street, par-<br />
ticularly such old and valuable ones as were seen<br />
and known by Shakespeare, and were on that<br />
account priceless to the literary and dramatic<br />
world of to-day. Especially did she plead for the<br />
quaint little half-timbered dwelling of Thomas<br />
Green, once town clerk of Stratford and cousin of<br />
Shakespeare.<br />
<br />
Miss Corelli protested against the proposed<br />
destructive alterations, and earnestly requested<br />
that a committee might be formed to inquire<br />
into the case she put forward. She considered<br />
that the culpable ignorance and carelessness of<br />
the Executive Committee of the Shakespearean<br />
Trust proved that the time had come when their<br />
national duty should be taken up by a wider,<br />
more educated and more Shakespearean body. An<br />
appeal to Parliament for the preservation of Henley<br />
Street was being sent out for signature, and there<br />
was every reason to believe that it would bereceived<br />
with favour.<br />
<br />
The clause in the Employment of Children Bill<br />
which prohibits the appearance of children under<br />
fourteen upon the stage has evoked a series of<br />
protesting letters in the Daily Telegraph from<br />
such authorities as Sir Henry Irving, Miss Ellen<br />
Terry, Miss Ellaline Terriss, Mr. George Alexander,<br />
Mr. Beerbohm Tree, Messrs. Frederick Harrison<br />
and Cyril Maude, and Mr. Arthur Collins and<br />
Mr. F. W. Wyndham. We have room for two<br />
quotations only. Miss Ellen Terry says :<br />
<br />
“T cannot remain silent when I hear of disaster threaten-<br />
ing our future actors and actresses. Sir Henry Irving and<br />
others have urged the cruelty of taking joy and pleasure<br />
from the lives of children by prohibiting their employment<br />
on the stage. I go further, and say that the effect of such<br />
a law will be to take education from them, education in the<br />
widest sense technical. I can put my finger at once on the<br />
actors and actresses who were not on the stage when<br />
children. Withall their hard work they can never acquire<br />
afterwards the perfect unconsciousness which they learn<br />
then soeasily. .. . lam anactress, but first 1 am a woman<br />
and I love children. I don’tsay that the conditions under<br />
<br />
<br />
<br />
<br />
230<br />
<br />
which they work on the stage are perfect. I could point to<br />
many things which IJ should like tosee altered, particularly<br />
the practice of their being too many hours at a stretch in<br />
the theatre, as is the case when they are employed in two<br />
performances on one day. But surely it is not right to<br />
sweep away a fine training for children because it has<br />
faults ?”<br />
<br />
The second extract is from Mr. Tree’s letter :<br />
<br />
“T will leave to others the task of pointing out in detail<br />
how desirable it is for the children of poor parents to have<br />
the opportunity of learning in their early years those<br />
habits of obedience, cleanliness and orderliness which are<br />
part of the discipline of every well-regulated theatre ; also<br />
the social value to them in after life of daily mixing, while<br />
still young, with those who can teach them good manners<br />
and self-respect. The one point I am most anxious to<br />
make is this: The Bill as it stands would not only deprive<br />
the children of these benefits, but would also deprive<br />
hundreds of thousands of the public of the pleasure they<br />
derive from those theatrical performances (such as panto-<br />
mime, and the like), from which the services of children<br />
areinseparable. Moreover, any such new legislation would<br />
practically banish from our stage many of Shakespeare's<br />
most-admired plays, such as “The Midsummer Night's<br />
Dream,” “ The Tempest,” “ A Winter’s Tale,” ‘The Merry<br />
Wives of Windsor,” ‘Richard III,” “King John,” and<br />
other classical works. It is needless to point out that these<br />
remarks apply equally to grand opera and public concerts<br />
whenever the services of children form an integral part of<br />
the entertainment.”<br />
<br />
All the letters are worthy of careful considera-<br />
tion, and we refer our readers to the particular<br />
issue of the Daily Telegraph from which we have<br />
quoted, 7.¢., that of Monday, May 18th.<br />
<br />
<br />
<br />
———_—_—__- ~~<br />
<br />
PARIS NOTES.<br />
<br />
—— ><br />
<br />
ANATOLE FRANCE’S novel, “ Histoire<br />
Mi e Comique,” is now published in volume<br />
form, after running through the Revue<br />
de Paris as a serial. There is nothing comic<br />
about it except the one word in the title. It is, in<br />
fact, a most gruesome story. Félicie, an actress<br />
who is considered a star, has deserted her lover of<br />
less prosperous days for a young aristocrat, Robert<br />
de Ligny. ‘The ex-lover, Chevalier, warns her of<br />
his own jealousy and begs her to return to him.<br />
She pays no attention to his words and one day,<br />
when she is coming away from a rendezvous<br />
with de Ligny, Chevalier commits suicide in her<br />
presence.<br />
From this day forth Félicie has no peace of<br />
mind. The dead man’s face seems to haunt her,<br />
and at the most unexpected times and places she<br />
fancies that she sees him.<br />
<br />
Chevalier had been an actor, and all his thea-<br />
trical friends undertake the arrangements for his<br />
funeral. The Church refuses the burial service on<br />
account of the suicide, and Félicie, who hopes that<br />
the holy water may lay the ghost of the dead man,<br />
<br />
THE AUTHOR.<br />
<br />
joins with her comrades in insisting on the religious<br />
rites being performed. A certain Dr. Trublet, the<br />
medical adviser of the theatre to which Félicie<br />
belongs, is the philosopher whom we usually meet<br />
in Anatole France’s books. In this instance the<br />
artistes have recourse to him for a certificate<br />
proving that Chevalier was insane when he shot<br />
himself. A priest had suggested, in a wily way,<br />
that the dead man had, perhaps, not been respon-<br />
sible for his actions, and that if this could be<br />
proved the Church would not refuse to bury him.<br />
Dr. Trublet accordingly searches among his learned<br />
books, and finds various instances of temporary<br />
insanity. He delivers a long harangue on the<br />
subject of free will and determinism. His con-<br />
cluding argument is that the world is an amusing<br />
place on the whole, and that Chevalier must have<br />
been more insane than other men, since he had<br />
voluntarily resigned his place here. The certificate<br />
that he makes out is so full of technical terms that<br />
the doctor declares that it is “ too utterly devoid<br />
of any sense to contain a lie.”<br />
<br />
The funeral service is accordingly held in the<br />
church, All the artistes attend the ceremony and<br />
then proceed to the cemetery, but they are all so<br />
much occupied with their own private affairs and<br />
with ull the gossip and scandal they have to tell<br />
each other, that they only remember at intervals<br />
what has brought them all there together.<br />
Immediately after the funeral Félicie goes with<br />
her lover to luncheon at a _ restaurant, and<br />
endeavours to forget the dead man.<br />
<br />
It is of no use, though, and to the end of the<br />
story she is haunted by his reproachful eyes.<br />
There is not much plot and there is a great deal<br />
that is unpleasant in the book, but the keen<br />
observation, the delicate sarcasm, and, above all, the<br />
perfect style and language are all to be found in<br />
“ Histoire Comique” as in every work by Anatole<br />
France.<br />
<br />
In Brada’s new novel, “Retour du Flot,” we<br />
have a subject which lends itself well to the<br />
weaving of a romance. The mystery is that it<br />
has not been adopted more frequently by authors.<br />
<br />
It is the story of a woman who, after several<br />
years of happiness in her married life, loses her<br />
little girl and cannot recover from her grief. Her<br />
husband, who was also devotedly fond of the child,<br />
wearies of the gloominess of his home and the<br />
constant sadness of his wife and seeks amusement<br />
elsewhere.<br />
<br />
On discovering that he has been faithless to her<br />
his wife applies for a divorce and will hear of no:<br />
compromise.<br />
<br />
After two or three years of loneliness and misery<br />
she consents to marry a cousin who has always<br />
loved her, and who is a man of fine character. She<br />
is quite resigned to her new lot in life when, on the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 231<br />
<br />
sixth anniversary of her little girl’s death, as she<br />
is walking past her old home, she meets her first<br />
husband. He saves her from being knocked down<br />
by a vehicle as she is crossing the road. It is the<br />
first time they have met since their divorce, and<br />
they both realise, as they talk to each other once<br />
more, the fatal mistake they made in the old<br />
days.<br />
<br />
The struggle which now takes place in the<br />
woman’s heart between the love which has never<br />
died and her new duties is described with great<br />
delicacy.<br />
<br />
The loneliness and misery of the man who had<br />
formerly been everything to her appeal to her ;<br />
and when he begs her to meet him again she con-<br />
sents, Her life during the next few months is<br />
almost unbearable. The book is charming to the<br />
very end, and the dénowement seems most natural.<br />
All the characters live, and there is no seeking<br />
after effect. It is merely a simple story told in the<br />
most simple and natural way possible.<br />
<br />
During the last year the books which have been<br />
most discussed here have been those written by<br />
women. ‘This may seem rather flattering to the<br />
fortunate writers of them, but it is only fair to add<br />
that much of the discussion has been on the subject<br />
of the exaggeration of women writers, as shown in<br />
several of their recent novels.<br />
<br />
Judging by some specimens of these realistic<br />
novels that have been before the public, it seems<br />
as though “women rush in where men fear to<br />
tread.”<br />
<br />
In “La Maison du Péché” we had an example<br />
of this, and still more recently in “ La Nouvelle<br />
Espérance.” “ I,’ Inconstante,” too, is a novel that<br />
has astonished everyone, coming, as it does, from<br />
the pen of a woman.<br />
<br />
Exaggeration of this kind cannot be attributed<br />
to Madame Daniel Lesueur in the novel she has just<br />
published, “ Le Coeur Chemine.” It is a delight-<br />
fully natural story of a woman who makes the dis-<br />
covery that she is not as happy as she thought<br />
she was in her married life. Thanks to a poet<br />
whom she had known years before, and whom<br />
she meets by accident at Antwerp, she makes this<br />
discovery. She has accompanied her husband on<br />
one of his business journeys to Antwerp and<br />
Bruges, and the poet wanders through the<br />
museums and churches with her, with the result<br />
that she realises how prosaic her life is.<br />
<br />
There is no strong plot running through this<br />
book: it is just a psychological study from beginning<br />
toend. The poet makes love to the wife of the<br />
prosaic husband, and she is tempted to promise, at<br />
any rate, to be his friend and his muse. Things<br />
cannot stop at this stage, but just at a critical<br />
moment the wife discovers the nobility of character<br />
of her husband and remains faithful to him. As<br />
<br />
the years go by life is again most monotonous, and<br />
once more the poet crosses her path. She has<br />
another terrible struggle with herself, and once<br />
more comes out victorious,<br />
<br />
The minor characters in the story are all well<br />
drawn, and the author only attempts to show us<br />
the workings of the heart of all these human beings<br />
without trying to explain at all why so much that<br />
is unsatisfactory should remain so to the end. It<br />
is, as she says, a most pitiful mystery that one<br />
should be compelled to make sacrifices which, as<br />
far as we can see, do no final good, although they<br />
cost us so much.<br />
<br />
The second volume of “Souvenirs sur Madame<br />
de Maintenon” has just been published by the<br />
Count d’Haussonville and M. Hanotaux. It is one<br />
of the most interesting books that has yet appeared<br />
on this subject, as it contains the famous “ Cahiers<br />
de Mademoiselle d’Aumale.” We get a detailed<br />
account of life at the French Court under Louis XIYV.,<br />
dating from his liaison with Madame de Montespan.<br />
<br />
In the Preface, by M. Hanotaux, we are told<br />
that Madame de Maintenon wished “to remain an<br />
enigma to posterity,’ and that she only intended<br />
those papers about her life to be published which<br />
she had prepared for publication. It was on this<br />
account that Madame de Maintenon destroyed all<br />
her correspondence with Louis XIV, and with<br />
various other persons. ‘<br />
<br />
Mademoiselle d’Aumale commences her memoirs<br />
with a chapter on “Madame de Maintenon and<br />
Madame de Montespan.” Another chapter is on<br />
the ‘‘Duchesse de Bourgogne,” and there is also<br />
an account of the death of Louis XIV., which<br />
Mademoiselle d’Aumale witnessed,<br />
<br />
“Zette”’ is the title of the new story by MM.<br />
Paul et Victor Margueritte.<br />
<br />
“L’Amoureuse Rédemption,” by M. Armand<br />
Charpentier, is a strong book which appears to be<br />
having great success.<br />
<br />
Among other new novels are “ Ballons Rouges,”<br />
by Madame de Bovet, “TL Etape Silencieuse,” by<br />
Jean Saint-Yves, and “ Petite Fille d’Amiral,” by<br />
Pierre Maél.<br />
<br />
A new poet has also come to the front with a<br />
volume entitled “Jamais,” the preface of which<br />
is written by M. Sully Prudhomme. The poet is<br />
M. Charles Reculoux.<br />
<br />
Various books on religious questions have been<br />
published recently, and are no doubt due to the<br />
agitation now going on here with reference to the<br />
Congregations.<br />
<br />
One of these books is “ Le Concordat de 1801,<br />
ses Origines et son Histoire,” by Cardinal Mathieu ;<br />
and another is “La Révolution Francaise et les<br />
Congrégations,” by M. Aulard.<br />
<br />
At the last meeting of the French Academy<br />
literary prizes were awarded to Madame Bentzon<br />
<br />
<br />
232<br />
<br />
and to MM. Adolphe: Brisson, Mandat-Grancey,<br />
Pontsevrez, Victor du Bled, de Pommerol and<br />
A. Halley.<br />
<br />
The chief theatrical event here has been the<br />
production of Maeterlinck’s new play, “ Joyzelle,”<br />
at the Gymnase Theatre. Space forbids our giving<br />
<br />
any details about this piece this month.<br />
<br />
There is an excellent article on “ The Works of<br />
Maeterlinck ” in the May number of the Interna-<br />
tional Theatre, which gives a very good idea of the<br />
chief features of this author’s books and plays.<br />
<br />
M. Mirbeau’s piece at the Francais may be pro-<br />
nounced a success, and we hear it is to be put on<br />
the English stage by Mr. Alexander as “ Business<br />
is Business.”<br />
<br />
The great theme of the play is the influence of<br />
money in modern society. It is a somewhat daring<br />
piece and the banker is a cleverly drawn type of<br />
the financier of our times.<br />
<br />
“Le Ruban Rouge” is a melodrama taken from<br />
the novel by M. Pierre Sales, whose success as a<br />
« fenilletonist” has been as marked. It has been<br />
put on at the Ambigu, and was very much<br />
appreciated by the house.<br />
<br />
In honour of M. Rostand’s reception at the<br />
Academy, Madame Sarah Bernhardt will revive<br />
“J Aiglon” at her theatre, and M. Coquelin will<br />
give ‘Cyrano de Bergerac” at the Porte Saint-<br />
<br />
Martin.<br />
Auys HALLARD.<br />
<br />
__ 9<br />
<br />
PARRY y. MORING AND GOLLANCZ.<br />
<br />
—+—~<—+ —<br />
<br />
N this action, to which two members of the<br />
Society, Judge Parry and Mr. Gollancz, were<br />
parties, a point of considerable literary im-<br />
<br />
portance was decided, and several others were raised<br />
either in the pleadings or in the newspaper con-<br />
troversy which followed it.<br />
<br />
The facts on which the action was based are<br />
briefly as follows :—<br />
<br />
In 1888 Judge Parry obtained from their then<br />
owner, the Rev. 8. R. Longe, with a view to pub-<br />
lication, copies of the original letters written before<br />
marriage by Dorothy Osborne to Sir William<br />
Temple in A.D. 1652-4. To the originals them-<br />
selves he had no access. The copies were made<br />
by the daughter-in-law of the owner, and the<br />
gratuitous offer of them had been occasioned by<br />
the publication in April, 1886, in the English<br />
Illustrated Magazine, of a sketch by Judge Parry,<br />
compiled from Courtenay’s “ Life of Temple,”<br />
and entitled Dorothy Osborne, Judge Parry<br />
re-arranged the letters, many of which were<br />
undated, in what he believed to be their proper<br />
sequence, and spent some time in modernising<br />
<br />
THE AUTHOR.<br />
<br />
their spelling and English and in annotating<br />
them. He proceeded to publish the letters after,<br />
at the request of his publisher, making excisions’<br />
amounting in all to about 100 lines, in a guinea<br />
volume, entitled Zhe Letters of Dorothy Osborne<br />
to Sir William Temple. He registered the copy-<br />
right of his book on June 15th, 1888. In October,<br />
1888, a second edition was issued at the price of 6s.<br />
_No mention appears to have been made at the<br />
time by the original owner, or by Judge Parry, of the<br />
copyright in the letters ; nor was any notice given<br />
of the copyright having been previously dealt with<br />
when in 1891 the original letters were, after the<br />
death of the Rev. 8. R. Longe, sold by the then<br />
owner to the British Museum, where the librarian<br />
arranged and bound them (with one exception)<br />
in the same order in which Judge Parry had<br />
printed them.<br />
<br />
In November, 1902, Judge Parry’s attention<br />
was called to the advertisement of a volume<br />
entitled Zhe Love Letters of Dorothy Osborne to<br />
Sir William Temple. Newly Edited from the original<br />
MSS. by Israel Gollancz. On the 1st December<br />
Messrs. Boote, Edgar & Co., Judge Parry’s<br />
solicitors, wrote to Mr. Moring, the publisher<br />
of the proposed volume, stating that their client:<br />
had copyrighted his publication, of which he was<br />
preparing another edition, and that if necessary he<br />
would take steps to prevent the publication adver-<br />
-tised by Mr. Moring. Mr. Moring answered, on the<br />
2nd December, that the work in question had been<br />
prepared from the original letters in the British<br />
Museum, and that under these circumstances he<br />
presumed Judge Parry would take no further steps.<br />
in the matter. Messrs. Boote, Edgar & Co.<br />
repliedfon the 4th December stating that they and:<br />
Judge Parry were unable to understand how Mr.<br />
Moring claimed to be entitled to publish the book<br />
advertised by him, and under what permission or<br />
sanction from the British Museum he claimed<br />
such authority.<br />
<br />
On the 8th December Mr. Gollancz wrote to<br />
Judge Parry, alleging that “the fact of the originals<br />
now being the property of the nation made the<br />
letters common property,” and offering “to con-<br />
nect the new edition with your esteemed name.”<br />
On the 9th December Judge Parry referred Mr.<br />
Gollancz to his solicitors, and on the same day<br />
Messrs. Boote, Edgar & Co., wrote to both the<br />
defendants calling on them “to discontinue the<br />
issue of the edition published by you.”<br />
<br />
Mr. Moring, however—after three months delay<br />
issued the volume at 2s. 6d. in March, 1903; and<br />
on the 18th March Judge Parry filed an affidavit in<br />
the Chancery Division of the High Court in support<br />
of an action to restrain its further issue. In<br />
this he did not insist on the claim suggested<br />
in the correspondence to an exclusive copyright in<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the original letters, but based his case on the<br />
allegation that the copyright in his work already<br />
described had been infringed with regard to (1) his<br />
notes, (2) his arrangement of the letters, (3) his text,<br />
and (4) his title. The defendants replied by affi-<br />
davit alleging that “they had not made any unfair<br />
use of the plaintiff’s book,” and as to the notes,<br />
they contested in detail the evidences of any such<br />
use brought forward by the plaintiff. Mr.<br />
Gollancz for himself denied having copied the<br />
order of the letters, stating that he had followed<br />
with one or two exceptions (based on his own<br />
researches) the British Museum order. He ad-<br />
mitted that, “as rough working copy, a print was<br />
set up of the letters as appearing in the plaintiff’s<br />
book,” but he alleged that the editor had collated it<br />
with the original letters “ at least ten times” and<br />
corrected “about 2,000 errors and differences,”<br />
and restored numerous omissions extending from<br />
one line to thirty, “the result being a new<br />
and very superior text.” He entered into detailed<br />
explanation of the cases in which he was charged<br />
with having copied or retained errors in Judge<br />
Parry’s notes. He submitted that his title was<br />
no infringement of copyright. He added, “I<br />
have always bond fide believed that I was acting<br />
within my strict rights, and in a way that could<br />
not be thought unfair to other editors, or in<br />
particular to the plaintiff.”<br />
<br />
The case came on before Mr. Justice Farwell gn<br />
April 8rd, 1903, on an application for an interim<br />
injunction. The Judge ut once expressed his<br />
opinion that the defendants’ admission that they<br />
had taken Judge Parry’s book and had copied it<br />
was fatal. In reply to the argument that they<br />
might “‘have made it their own by ten or a dozen<br />
comparisons with the manuscripts,” he added, “ It<br />
seems to me the substratum is fatal to you ; you<br />
cannot use your scaffolding.”<br />
<br />
On this point, and on this alone, the case was<br />
decided. The defendants’ counsel, “ who stated<br />
“‘they were not altogether taken by surprise,”<br />
submitted to’ judgment for delivery up on oath<br />
of all the books and documents constituting the<br />
infringement, and an inquiry as to damages and<br />
costs down to the trial.<br />
<br />
There can be little doubt that the judgment,<br />
which was so readily accepted by the defendants’<br />
counsel, was sound in law.<br />
<br />
No decision, it will be noted, was arrived at by<br />
the Court on the three further alleged infringements<br />
of copyright brought forward—the title, the<br />
arrangement of the letters, and the notes—nor<br />
does the Committee presume to express an opinion<br />
on the legal points involved. :<br />
<br />
With regard to the notes the question is a<br />
complicated one. The following sentences convey<br />
the opinion furnished to the Committee by an<br />
<br />
233<br />
<br />
eminent counsel on the general rules likely to be<br />
applied by a Court of Law dealing with similar<br />
cases: ‘The principle of the law, as laid down<br />
in various judgments, appears to be that an<br />
author may use his predecessor’s work, but must<br />
not copy it. He must, by adding something<br />
of his own, or derived from other and separate<br />
sources, by amalgamating and assimilating his<br />
literary material, create a new product. He must<br />
incorporate what he takes in his own work. Inthe<br />
words of Lord Eldon, he is allowed ‘ the legitimate<br />
use of a publication in the fair exercise of a mental<br />
operation deserving the character of an original<br />
work.’ Mere unintelligent copying, especially if<br />
mistakes are copied, will be stopped. Intelligent<br />
verification and assimilation of previous research<br />
in a work of substantial originality will: not be<br />
interfered with. The application of this principle<br />
to individual cases must be guided by the study of<br />
the particular facts involved.”<br />
<br />
The result of the trial gave rise to a newspaper<br />
correspondence, in which some well-known scholars<br />
took part. Dr. Furnivall, in the Zimes, asserted<br />
that the case had been decided on a technical<br />
point, and that a substantial injustice had been<br />
done by declaring illegal a practice which he<br />
asserted to be common among scholars and essen-<br />
tial in the interests of literature. His letter,<br />
however, was not mainly directed to the points<br />
brought before the Court, and still less to the<br />
point decided. He preferred to lay stress on<br />
Judge Parry’s assertion of his own belief that “if<br />
at any time an honest attempt were made to copy<br />
the MSS. in the British Museum, he could show<br />
circumstances entitling him to restrain publica-<br />
tion of such a copy if he so desired,” or, as Dr.<br />
Furnivall put it, “that he could show circumstances<br />
that would entitle him to restrain publication of<br />
these manuscripts in the British Museum if he<br />
so desired.” Professor Skeat also wrote calling<br />
attention to the excisions made by Judge Parry<br />
in his text, and commenting severely on his descrip-<br />
tion of it as “a complete edition.”<br />
<br />
In the opinion of the Committee there can be<br />
no question that any legal hindrance to the use<br />
of manuscripts in a national collection would be<br />
a misfortune to literature. But this claim was not<br />
put before the Court, and Judge Parry has speci-<br />
fically stated that he will never seek to enforce it.<br />
It may therefore be dismissed from the discussion.<br />
<br />
The Committee are unable to regard the point on<br />
which the case was decided as purely technical. Mr.<br />
Gollancz had the original letters at his disposal. It<br />
was open to him to copy them, and to collate his<br />
copies with his predecessor’s version if he thought<br />
it desirable. He preferred to take the opposite<br />
course. He borrowed: his predecessor’s text, and,<br />
without reference to Judge Parry, made it the<br />
<br />
<br />
<br />
<br />
<br />
<br />
234<br />
<br />
basis of his own. It can be no defence to allege<br />
that Judge Parry’s work was at once faulty and<br />
defective. If it is the custom among scholars to go<br />
to a faulty version, when the original is at hand,<br />
or to use a living editor’s text without communi-<br />
cating with him until after he has threatened legal<br />
proceedings, the Committee consider that the law<br />
has done a service to literature in declaring that<br />
such practices are illegal.<br />
<br />
The Committee have not overlooked the literary<br />
aspect of the case. Judge Parry’s edition of the<br />
letters is admittedly incomplete, and the reason<br />
assigned by him for the excisions, namely, the request<br />
of his publisher, cannot be considered adequate. It<br />
is not disputed that his text and notes stand in<br />
considerable need of revision. Although the<br />
second edition of his volume was published as<br />
far back as October, 1888, he had apparently not<br />
availed himself of the accessibility since 1891 of<br />
the original MSS. in order to revise his text. For<br />
it was not till January, 1903, that Judge Parry<br />
employed a copyist to compare the letters in his<br />
book with the originals in the British Museum,<br />
But, while admitting these considerations, the<br />
Committee feel that Judge Parry was entitled to<br />
be consulted before any use was made of his work<br />
in the preparation of a new edition of the letters.<br />
<br />
Finally, as in the Z%mes correspondence the<br />
action of the Secretary of the Society has been<br />
referred to, the Committee think it desirable to<br />
state the part he has taken in the matter.<br />
<br />
Before the trial Mr. Gollancz, as a member of<br />
the Society, called on the Secretary, who, at his<br />
desire, wrote to Judge Parry in the following<br />
terms :—<br />
<br />
THE SOCIETY OF AUTHORS,<br />
Mareh 20th, 1903,<br />
<br />
DEAR SIR,—<br />
<br />
I have now perused your affidavit. I have also<br />
seen Mr, Gollancz, who has given me his view of the<br />
position. :<br />
<br />
Mr. Gollanez has asked me to put this offer before you—<br />
but without prejudice to his legal position if you do not<br />
accept it—that either I should endeavour to arrange the<br />
matter between you, or he is willing to abide absolutely by<br />
any decision come to by an arbitrator appointed by the<br />
Committee of Management of the Society.......<br />
<br />
Yours truly,<br />
(Signed) G. HERBERT THRING.<br />
<br />
The omitted portion of the letter is private, and<br />
does not refer to any offer.<br />
<br />
Judge Parry, in his reply, stated that any offer<br />
Mr. Gollancz desired to make must be made through<br />
the usual channels. This information was com-<br />
municated to Mr. Gollancz by the Secretary.<br />
<br />
ee<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
a<br />
Opinions on United States Copyright Law.*<br />
<br />
I.<br />
<br />
Music Booxs DrEniep ImportTATION<br />
FEBRUARY 15, 1898.<br />
<br />
I. Reprints of musical compositions are pro-<br />
hibited importation.<br />
<br />
II. The term ‘ books” in the prohibiting clause<br />
includes music books.<br />
<br />
III. Music books made up partly of copyrighted<br />
and partly of uncopyrighted compositions cannot<br />
be imported.<br />
<br />
TV. Destruction of unlawfully imported musi¢<br />
books, pursuant to rules of the Secretary of the<br />
Treasury, is legal.<br />
<br />
By the Solicitor-General.<br />
<br />
I. The Act of March 3, 1891, prohibits “ during<br />
the existence of such copyright, the importation<br />
into the United States of any book, chromo, litho-<br />
graph, or photograph so copyrighted.”<br />
<br />
Musical compositions are usually lithographed or<br />
set from type. They thus fall within the class<br />
prohibited. The act indicates an intent to pro-<br />
hibit copyrighted compositions, which includes<br />
musical compositions, when reprinted by type set<br />
or by drawings on stone made outside of the<br />
United States.<br />
<br />
Il. In the clause prohibiting importation, the<br />
word “books” signifies the mechanical means to<br />
place the author’s intellectual work in_ saleable<br />
shape. Courts have construed “books” in this<br />
sense to include a musical composition though on<br />
but one sheet. The reprint may be a book, a<br />
lithograph, or a photograph, according to the pro-<br />
cess. In any of these forms the reprint cannot be<br />
imported during the life of the copyright.<br />
<br />
III. Music books made up in part of copy-<br />
righted compositions are prohibited. A prohibited -<br />
article cannot be admitted by being attached to an<br />
article which is not prohibited. A book is an<br />
entity. If part is not admissible, it must all be<br />
excluded.<br />
<br />
IV. Under the convention with Canada pro-<br />
viding for the reciprocal return of mail matter<br />
which is “not delivered from any cause,” books<br />
imported in violation of law need not be returned.<br />
The Secretary of the Treasury and the Postmaster-<br />
General have power ($4958, R. 8.) to make rules<br />
to prevent importation of prohibited articles.<br />
Under this general authority rules for the forfeiture<br />
<br />
<br />
<br />
<br />
<br />
* Extracts from a pamphlet published by the Americam<br />
Publishers’ Copyright League.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
and destruction of prohibited articles unlawfully<br />
imported may be framed so as to provide “ due<br />
process of law.”<br />
<br />
II.<br />
DrRaMatic RIGHTS IN AMERICA JUNE 80, 1896.<br />
<br />
An unpublished drama need not be copyrighted<br />
to protect stage-rights.<br />
<br />
By Mr. Rives.*<br />
<br />
An American publisher is requested by an Eng-<br />
lish author ‘‘to copyright a dramatisation” of a<br />
forthcoming story by producing a simultaneous<br />
technical performance.<br />
<br />
In the United States stage-right rests entirely<br />
on common law right of property, not upon<br />
statute. An unpublished play is protected. The<br />
play is still unpublished if the text of the drama<br />
has not been printed, although the play has been<br />
produced on the stage and the novel from which it<br />
is taken has been published.<br />
<br />
The simultaneous performance desired is un-<br />
necessary to protect the stage-right.<br />
<br />
II.<br />
<br />
Notice oF CopyricuHt; Form or<br />
1897.<br />
<br />
Marcu 4,<br />
<br />
When a story, published in a magazine and<br />
copyrighted, is reprinted in book form by another<br />
publisher, under an assignment of the copyright,<br />
the notice therein should give the date of the<br />
original copyright and name of the original<br />
publisher.<br />
<br />
By Mr, Rives.<br />
<br />
A story was copyrighted by the J. B. Lippincott<br />
Company when published in its magazine. The<br />
copyright was assigned to Dodd, Mead & Company,<br />
who are about to publish the story in book form,<br />
and who inquire as to the proper form for the notice<br />
of copyright.<br />
<br />
The law requires a notice to be printed in every<br />
book in order to entitle it to protection under its<br />
coypright. The notice must be in the required<br />
words, Congress declares it must give ‘the year<br />
the copyright was entered and the name of the<br />
party by whom it was taken out.” If the story is<br />
reprinted in the same form the notice should be<br />
“ Copyright, 1896, by J. P. Lippincott Company.”<br />
If it is not to be published in exactly the same<br />
form as in the magazine it may be copyrighted as a<br />
new edition, and the notice should be “ Copyright,<br />
1896, by J. P. Lippincott Company ; Copyright,<br />
1897, by Dodd, Mead & Company.”<br />
<br />
<br />
<br />
* My. Rives is the Counsel to the League.<br />
<br />
hd<br />
oe<br />
Or<br />
<br />
IV<br />
<br />
RE-BINDING CHEAP Eprrions ror SALE<br />
APRIL 3, 1899,<br />
<br />
Can the owner of a copyright, who sells a<br />
cheap edition of the book, prevent its being put in<br />
another cover, so as to compete at lower prices with<br />
a better edition of the same book ?<br />
<br />
By Mr. Rives.<br />
<br />
The question of how far the owner of a copy -<br />
right can impose restrictions upon the use of his<br />
book has often been before the Courts. The ques-<br />
tion seems to depend on the consideration whether<br />
the owner of the copyright has sold the book. If<br />
the owner of the copyright has nof sold the book he<br />
can restrict its use. So in case of an edition of<br />
Blaine’s “Twenty Years in Congress,” the<br />
publisher had not sold it to canvassing agents and<br />
the bookseller, who got a few copies, knowing of<br />
the agreement under which the agents got the<br />
book, was restrained. But the moment the book<br />
is sold, even though conditions are attached to the<br />
sale, the owner of the copyright must rely on his<br />
remedy for breach of contract, and not on his right<br />
to restrain an infringement of copyright.<br />
<br />
So, where books damaged by fire were sold toa<br />
dealer on condition “that all books be sold as<br />
paper stock only and not placed on the market as<br />
anything else,” but the books were rebound and<br />
put on sale, the Court held the remedy was not for<br />
violation of the copyright, but of the terms of the<br />
contract.<br />
<br />
The question next arises how far an owner of a<br />
copyright who se//s his books can protect himself<br />
by imposing conditions on their use. I think an<br />
agreement by which a dealer undertakes, for an<br />
expressed consideration, to sell the books only in a<br />
certain form would, be valid and enforceable as a<br />
contract ; without reference to any copyright.<br />
<br />
A greater difficulty arises with respect to the<br />
one to whom the first purchaser may sell. The<br />
contract might also provide that the first purchaser<br />
should insert similar conditions in any contract of<br />
sale with a subsequent purchaser. How far a con-<br />
tract between B. and C., made for the benefit of A.,<br />
is enforceable by A., is hard to say. The rule<br />
varies in different States, but usually A. would have<br />
no remedy against C.<br />
<br />
I advise, the safest course is for the publisher to<br />
have a carefully drawn agreement with the dealer<br />
providing that the dealer shall not dispose of the<br />
books except in proper covers ; and also that in<br />
selling to other dealers the original purchaser shall<br />
agree to impose the same condition ; and that any<br />
breach shall be compensated by liquidated damages.<br />
It would also be well to print a notice in each copy<br />
of the book referring to the original contract.<br />
<br />
<br />
<br />
<br />
236<br />
<br />
Such contract should be enforced against the first<br />
purchaser, and he might be trusted to enforce it<br />
against the dealers to whom he sold.<br />
<br />
Vv.<br />
<br />
PUBLICATION TO SECURE COPYRIGHT<br />
OcToBER 30, 1901.<br />
<br />
Is publication of a book necessary to secure<br />
copyright ?<br />
<br />
ae By Mr. Rives.<br />
<br />
The text of the statute is silent on this point.<br />
The act, however, assumes that every copyrighted<br />
book is to be published. Copies of the book must<br />
be deposited “not later than the day of publica-<br />
tion.” No action for infringement can be brought<br />
unless a notice is printed in the “ copies of every<br />
edition published.’ The question is what the<br />
Court will infer from this language. In “ Drone<br />
on Copyright,” it is said that “ publication is made<br />
an essential prerequisite to securing copyright ; and<br />
hence there can be no statutory copyright in an un-<br />
published work.” The case of Boucicault v. Hart<br />
(Circuit Court of the United States in New York)<br />
held that a mere filing of title conferred no rights,<br />
unless there was a publication in a reasonable time.<br />
There is, however, a dictum in the case of Farmer<br />
vy. Calvert (Circuit Court in Michigan) that publi-<br />
cation 1s not necessary. The point, therefore, is<br />
somewhat doutbful. ‘he Constitution empowers<br />
Congress to pass copyright laws, not only to pro-<br />
tect authors, but (as it declares) ‘to promote the<br />
progress of science and useful arts,” or, in other<br />
words, to encourage the diffusion of knowledge.<br />
Part of the price an author pays for protection is<br />
that his work shall be available for consultation by<br />
all who desire it.<br />
<br />
I am, therefore, of the opinion that the purpose<br />
of the law is that the author shall, within some<br />
reasonable time, make his work public.<br />
<br />
As the question is not definitely settled, I should<br />
consider it unwise for a publisher to defer actual<br />
publication for a long time, as it would be running<br />
a serious risk of having his copyright declared<br />
invalid if he afterwards tried to prevent an<br />
infringement. ®<br />
<br />
———+—<br />
<br />
A Curious ‘Case.<br />
<br />
In the autumn of 1902 a member of the Society<br />
received a communication from a firm of the name<br />
of Messrs, J. E. Stannard & Co., calling itself<br />
advertising agents aad contractors, offering to<br />
procure the copyright of certain of her books in<br />
America, for a fixed price. As, however, the books<br />
<br />
had already been published in England the author<br />
_ was advised that this would be impossible.<br />
<br />
THE AUTHOR.<br />
<br />
The contractors, however, were not to be beaten<br />
and claimed that they had a method of obtaining<br />
protection, although the work had already been<br />
published in England. They promised great things<br />
from the circulation of the book and offered to<br />
obtain the control of the whole American market.<br />
<br />
Still the author hesitated, but finally, under the<br />
advice of the Secretary of the Society, refused to<br />
accept the offer. The Secretary pointed out that<br />
as the American copyright was lost, it would be<br />
much better for her to deal with her former<br />
American publishers —an old-established and<br />
reliable firm—if she desired to test the American<br />
market. Her English publishers gave her the same<br />
advice. Still Messrs. Stannard & Co. were per-<br />
sistent, “ considering that it must be disheartening<br />
to theauthor to feel that rights worth somethousands<br />
of pounds might slip away at any moment.” Again,<br />
in a letter dated October Ist, 1902, they state as<br />
follows :—<br />
<br />
“We think it decidedly unfair that after we have taken<br />
the trouble to do for you what neither of your ‘ firms of<br />
standing’ ever thought of doing, that is, telling you how<br />
to rescue what you have lost, you straightway go and turn<br />
over the information to someone else. We could have<br />
secured the copyrights ourselves and no one would have<br />
blamed us for so doing, instead of which we offered to get<br />
them for you. Our clients learn to rely on us for straight-<br />
forwardness, and it is natural that we should expect the<br />
same in return. We should be pleased to hear from you in<br />
due course. We are tempted with an offer which would<br />
amply recoup us for our trouble, but as it would not be any<br />
<br />
to your advantage if we accepted it we have postponed the<br />
reply until you come to a decision.”<br />
<br />
The author was still obdurate.<br />
In a letter from Messrs. Stannard & Co., dated<br />
October 24th, we find the following paragraphs :—<br />
<br />
‘Since we are not in business as philanthropists we have<br />
advised our American manager by this mail to secure copy-<br />
rights of your books if possible, and retain them in our<br />
name.<br />
<br />
“Failing this, he is to issue a par. to the American<br />
Literary Press that the American Literary Copyrights are<br />
not secured.<br />
<br />
“ Since respectability does not enter into the methods of<br />
American business men, we have no doubt that this will<br />
<br />
have the desired effect, and if some cute American publisher .<br />
<br />
copyrights the works in his own name and prevents you<br />
from issuing them in the U.S.A. you cannot say that timely<br />
warning was not given you.<br />
<br />
‘* As we have pointed out before, the copyrights are worth<br />
as much to us as they are to you. If we get them, the law<br />
is with us. Under no circumstances will we sign your<br />
publisher’s agreement, and unless you are willing to agree<br />
to the terms stated in our agreement we must follow our<br />
own course in the matter.<br />
<br />
“A cablegram (prepaid) will be the only course open<br />
if you wish our American manager to await further<br />
instructions.<br />
<br />
“Since much valuable time has been wasted, we must<br />
ask for a final decision at your earliest convenience.”<br />
<br />
The daring of the gentleman who writes for the<br />
<br />
firm is interesting quite apart from his legal know-<br />
<br />
ledge, which is peculiar, It is abundantly clear<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 237<br />
<br />
to those who have any knowledge of American<br />
Copyright Law that if any person actually obtains<br />
copyright in America without the English author’s<br />
sanction, he must be taking that which does not<br />
belong to him—that is to say, supposing the pub-<br />
lication in both countries to be simultaneous. If<br />
he does not obtain the author’s copyright, but<br />
merely publishes on the American market, he is<br />
only acting as a common but legalised pirate,<br />
<br />
On the 21st of January of the present year,<br />
Messrs. Lane and Stannard, presumably repre-<br />
senting the same firm in the United States,<br />
wrote as follows from New York :—<br />
<br />
“Re the U.S.A. copyrights of your books. We beg to<br />
inform you.that they have been secured in accordance with<br />
the law, and should therefore be pleased to hear from you<br />
with respect to the publishing of the same in this country.<br />
<br />
“As the general publishing price in this country is<br />
$1.50, and the wholesaler’s price but half that amount,<br />
it isnot possible to import an edition and sell at a profit, as<br />
there is a duty of 45 per cent. on imported books. Taking<br />
your offer of two shillings and sixpence (or 60 cents) per<br />
volume, and adding the cost of freight and duty, you<br />
will see that the importing cost would be at least $1 per<br />
volume, and therefore cannot be entertained as a business<br />
proposition.<br />
<br />
“Weare willing and ready to deal with you on equitable<br />
terms for the printing and publishing here, and offer and<br />
require similar terms given to your publishers in England,<br />
with exceptions which you will note in the enclosed<br />
agreement. Under these terms you can have full control<br />
over the MSS., and the books can go to press exactly as<br />
written, which I understand you keenly desire.<br />
<br />
“We wish you to understand, however, that unless they<br />
are purchased by you, the copyrights will remain in our<br />
possession, and we reserve the right, if you refuse our offer,<br />
to sell to an American publishing firm, without stipulation<br />
as to the editing of the MSS. Should, however, you desire<br />
to purchase, your offer would receive premier consideration.<br />
<br />
“In case you accept our offer to publish, the books will<br />
be issued by a New York firm, and will be advertised widely<br />
but economically. Please cable your reply on or before<br />
February 5th, as after that date we shall conclude that you<br />
refuse our offer and shall feel at liberty to conclude negotia-<br />
tions with a firm here for the sale of copyrights with the<br />
privilege of editing the MSS. as they desire.<br />
<br />
‘‘We must warn you that any further shipments of your<br />
English edition to this country will be liable to be seized<br />
and confiscated, but we will, of course, allow you reasonable<br />
time to warn your publishers and agents.”<br />
<br />
The agreement that they asked the author to<br />
sign is interesting and instructive. There are<br />
three books in question: 25,000 copies of two<br />
of the books are to be published, and 50,000 of the<br />
third. The author agrees to pay all expenses of<br />
printing and publishing, including illustrating,<br />
binding, packing, freights, etc., and also one-half<br />
of the total cost of efficiently advertising the said<br />
books, No limit is fixed for the cost of production<br />
or for the advertisements, and the author has to<br />
deposit in cash a sum equal to the estimated cost<br />
of production and in addition a sum equal to the<br />
estimated initial cost of advertising with the Trust<br />
Company of the City of New York. Such deposit<br />
<br />
to be subject only to the draft or cheque of the said<br />
firm on the certification of such bills of indebtedness<br />
by the author if residing in New York, or in her<br />
absence by her legally appointed representatives.<br />
Should, however, bills or accounts as above stated<br />
be presented for certification and no action taken<br />
on the same within seven days, then the said bank<br />
or Trust Company is hereby authorised to pay such<br />
cheques or drafts out of the aforesaid deposits on<br />
receiving an affidavit by the said firm setting forth<br />
such default or negligence. And lastly, in con-<br />
sideration of the above articles being faithfully<br />
performed and carried out, the said firm agree to<br />
pay half profits.<br />
<br />
It is hardly necessary to make any comment on<br />
the above extraordinary agreement or upon the<br />
proposals made during the course of negotiations.<br />
The facts speak for themselves,<br />
<br />
Although the first letters were full of large<br />
promises of profits of all kinds to the author, yet<br />
the last offer is quite distinct. It is possible that<br />
the author might have been led away by the<br />
temptation held out of large returns arising from<br />
obtaining copyright in the United States, but no<br />
author, however unaccustomed to the ways and<br />
methods of publishers and their dealings in literary<br />
wares, could possibly be deceived by the final letter<br />
and the finalagreement. Nothing farther remains<br />
to be done. The author must stand and wait. If<br />
the books are produced in the United States, they<br />
are pirated copies of the English edition. If they<br />
are produced as copyright, under the American<br />
law, the firm will be subject to severe penalties,<br />
and if the books are produced as an authorised<br />
edition, the author’s remedy is to make the whole<br />
case public,<br />
<br />
G. HE.<br />
<br />
“FAIR COMMENT.”<br />
<br />
— oe<br />
<br />
HE Court of Appeal has now given its<br />
judgment in the case of McQuire v. The<br />
Western Morning News Company, Limited.<br />
<br />
The case is a very interesting one, not only from<br />
the point of view of the dramatist, but from the<br />
point of view of the author. All members of the<br />
profession of literature are subject to criticism.<br />
Although each particular case of “unfair com-<br />
ment’? must be to a certain extent decided on its<br />
own especial facts, yet there are certain broad<br />
rules which the Court lays down in order to<br />
determine on what lines and to what extent a<br />
criticism may be libellous.<br />
<br />
The case was brought by an actor who repre-<br />
sented a piece at the Theatre Royal, Plymouth,<br />
<br />
<br />
238<br />
<br />
<br />
<br />
and objected to the comment that appeared next<br />
day in the Western Morning News.<br />
<br />
In the Court of first instance judgment was<br />
given for the plaintiff with £100 damages. The<br />
defendant company pleading that the words were<br />
not libellous, but fair and bond fide criticism on a<br />
matter of public interest.<br />
<br />
The defendants appealed, and on the appeal the<br />
judgment in the Court below was reversed,<br />
<br />
The Master of the Rolls, in delivering an<br />
elaborate judgment, made some very weighty com-<br />
ments on the law of “ libellous criticism.”<br />
<br />
Firstly, as the libel complained of was a dramatic<br />
criticism of the play publicly acted, unless it<br />
exceeded “fair comment,” it could not be counted<br />
as libellous.<br />
<br />
After going carefully over the statements of the<br />
plaintiff and defendants, he proceeded to raise the<br />
most important question of what are the limits of<br />
“ fair comment.”<br />
<br />
“ One thing,” he said, “is perfectly clear. That<br />
the jury have no right to substitute their own<br />
opinion of the literary merits of the work for that<br />
of the critic, or to try the fairness of the criticism<br />
by. any such standard.”<br />
<br />
This point is most important, and although it<br />
has been made before, yet it cannot be sufficiently<br />
insisted upon. If the verdict of whether the<br />
criticism was fair or not depended upon the jury’s<br />
verdict of the merits of the piece, the result might<br />
be in a good many cases extraordinary. Authors<br />
and dramatists know but too well how even the<br />
highest critics have been known to disagree when<br />
writing about or discussing the features of works<br />
of art.<br />
<br />
Secondly, the Master of the Rolls quoted a<br />
saying of Lord Ellenborough’s bearing on this<br />
subject :—<br />
<br />
“The Commentator must not step aside from<br />
the work or introduce fiction for the purpose of<br />
condemnation. Had the party writing the criti-<br />
cism followed the plaintiff into domestic life for<br />
the purpose of slander, that would have been<br />
libellous.”<br />
<br />
And again, from the same judgment, “ Show me<br />
an attack upon the moral character of the plaintiff,<br />
or upon his character unconnected with his author-<br />
ship, and I shall be as ready as any judge that ever<br />
sat here to protect him.”<br />
<br />
Lastly, he states, “I think the word ‘ fair’<br />
embraces the meaning of honest and also of rele-<br />
vancy.” And later, “‘ The comment, in order to be<br />
within the protection of the privilege, had to be<br />
fair, 7.¢., not such as to disclose in itself actual<br />
malice. It also had to be relevant; otherwise it<br />
never was within it. And the judge could hold,<br />
<br />
as a matter of law, that the privilege did not extend<br />
to it.’<br />
<br />
THE AUTHOR.<br />
<br />
These are some of the general points, and in<br />
this particular case the Master of the Rolls stated<br />
that he was clearly of opinion that the verdict was<br />
against the weight of evidence, and that he con-<br />
sidered the latter part of the summing-up of the<br />
judge in the Court of first instance might have led<br />
the jury to apply the standard of their own taste<br />
to the appreciation of the thing criticised, and to<br />
measure the rights of the critic accordingly.<br />
<br />
Members of the Society from time to time come<br />
to the office with questions of this kind, and it is<br />
very useful to put before them those fundamental<br />
facts on which alone an action for libellous criti-<br />
cism will rest.<br />
<br />
G. Hoo.<br />
<br />
—$-—<—-—____<br />
<br />
A COMMA AND A COW.<br />
<br />
++<br />
<br />
PWHE British Medical Journal of the 28th of<br />
March, 1903, had an interesting account of<br />
a dairy visited during an investigation into<br />
“The Milk Supply of Large Towns.” One of the<br />
incidents was described as follows :—<br />
<br />
“The driver having finished milking, his cow<br />
offered to take me into an adjoining room, where<br />
the milk was cooled.”<br />
<br />
In its following issue the British Medical Journal<br />
commented upon the freak of the “ devil” who had<br />
thus with the aid of a comma created a bovine<br />
successor to Balaam’s ass, and gave two amusing<br />
instances of the powers of misplaced punctuation.<br />
In the one a well-known Nonconformist divine,<br />
wishing to disclaim any ambition to appear in the<br />
black coat and white tie, or stock, of orthodoxy, was<br />
credited with a public declaration that he would<br />
“wear no clothes, to distinguish him from his<br />
fellow-Christians.”<br />
<br />
In the other, a Canadian firm having placed a<br />
new patent nursing-bottle on the market, accom-<br />
panied it with these recommendations, for the<br />
guidance of anxious mothers:<br />
<br />
“When the baby is done drinking it must be<br />
unscrewed, and laid in a cool place under a tap.<br />
If the baby does not thrive on fresh milk it should<br />
be boiled.”<br />
<br />
The last example would seem to require some-<br />
thing more than the minding of stops, in order to<br />
satisfy a critical literary taste. It is not, however,<br />
recorded that any baby suffered. In such a case<br />
an interesting question of legal responsibility might<br />
have been raised by an action for negligence against<br />
the vendors of the bottle brought by a chilled or<br />
par-boiled infant suing through his or her “next<br />
friend.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
GENERAL MEMORANDA.<br />
<br />
++<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher,<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
Ill. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
connected with royalties are published in Zhe Author,<br />
Readers can also work out the figures themselves from the<br />
** Cost of Production,”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
o—~<>—<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—< +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. [t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager,;<br />
<br />
239<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
<br />
IN THREE OR MORE ACTs :<br />
<br />
(a.) SALE OUTRIGHT OF THE PERFORMING RIGHT,<br />
<br />
This is unsatisfactory, An author who enters<br />
<br />
into such a contract should stipulate in the con-<br />
<br />
tract for production of the piece by a certaindate<br />
<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (e.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or dificult to collect. The<br />
other safeguards set out under heading (.) apply<br />
also in this case.<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event, It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved,<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance. :<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11, An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA«#<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
&—~<}P— —<br />
HOW TO USE THE SOCIETY.<br />
<br />
advice upon his agreements, his choice of a pub-<br />
<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor<br />
the member has a right to an opinion from the Society’s<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion, All this without any cost to the member,<br />
<br />
bs Ly VERY member has a right toask for and to receive<br />
<br />
<br />
<br />
<br />
240<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements,<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
.8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
—_—_+—>_ +—___—_—_<br />
<br />
THE READING BRANCH.<br />
<br />
— to<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, The term<br />
JISS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
<br />
————_——__.——_o—_____<br />
<br />
NOTICES.<br />
<br />
———>+<br />
<br />
<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s, 6d. subscription for the year.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Communieations for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH,<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
i<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EDITOR on all subjects connected with literature, but on<br />
no other subjects whatever, Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—+— +<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
ge<br />
<br />
R. G. H. PUTNAM, the Secretary of the<br />
American Publishers’ Copyright League,<br />
has forwarded to the offices a pamphlet<br />
<br />
privately printed for the League, entitled “ Opinions<br />
on Questions of Copyright.”<br />
<br />
The pamphlet contains opinions upon the more<br />
important issues that have been in dispute during<br />
the last ten years ending December, 1902. Mr.<br />
Putnam, in his letter to the Secretary, states, ‘he<br />
will be very pleased to meet any special require-<br />
ments that may arise for copies on the part of the<br />
managers of the Society.”<br />
<br />
If, therefore, any member for a special purpose<br />
should desire to have a copy of the pamphlet he is<br />
requested to communicate with the Secretary, who<br />
will, no doubt, under Mr, Putnam’s favour, obtain<br />
the work in question.<br />
<br />
We see, with interest, that the Publishers’ Asso-<br />
ciation of America means to print at different<br />
intervals further similar summaries as they are able<br />
to secure records of decisions on Copyright Cases.<br />
These publications will in time no doubt grow to<br />
great importance, as it will be possible in a handy<br />
form to have a collection of all the leading Copy-<br />
right Cases. We thank Mr. Putnam for his<br />
courtesy and consideration.<br />
<br />
Amone@ the Correspondence we print a letter<br />
from Mr. Thomas Hardy.<br />
<br />
It comes at a very suitable time, as the same<br />
subject was treated in the May number of The<br />
<br />
<br />
<br />
<br />
Author, on page 206, when comment was made on<br />
the Annual Meeting of the Publishers’ Association,<br />
In that article we stated as follows :—<br />
<br />
“ Firstly, we have insisted, and now insist again,<br />
that it is absolutely essential that contracts deal-<br />
ing with the subject of serial rights should be<br />
clear and limited and should not be general or<br />
indefinite, and when serial rights are sold they<br />
should be sold either to one paper or to a limited<br />
circle of papers for one issue only or for a limited<br />
time.”<br />
<br />
Unfortunately, Mr. Hardy seems to have<br />
suffered from a complaint which is not infrequent<br />
among authors, the revival of an earlier work<br />
without any reference to the author. Legally, the<br />
position is quite correct. If the copyright has<br />
been sold or if serial rights without any limitation<br />
have been transferred, the position is often very<br />
unsatisfactory both for the author, or, as in the<br />
case quoted in the May number, for the publisher.<br />
It is necessary to warn authors who publish serial<br />
work to be careful about their agreements.<br />
<br />
In the early days of the past month the papers<br />
were full of the Stock Exchange walk from London<br />
to Brighton, and applauded the fact vociferously<br />
that out of some 90 starters 72 covered the<br />
distance under thirteen hours. From a physical<br />
point of view no doubt the result is highly satis-<br />
factory. : : :<br />
<br />
In the American Author there is an interesting<br />
article on the mental activity of authors. Mr. John<br />
Swinton, “journalist, orator, and economist,” was<br />
desired to write a novel based on certain economical<br />
questions, consisting of 500 octavo pages, small<br />
pica type, in twenty days. Reckoning a page to<br />
contain about 250 words, this meant a book of<br />
125,000 words. Mr. Swinton objected, but the<br />
representative of the publishing firm was<br />
inexorable, and at last the author stated that<br />
he would make an effort. His own words are<br />
as follows :—<br />
<br />
“He demanded the preface of my book at once. I<br />
pondered. I was familiar with the subject, having thought<br />
and spoken and written much upon it in other years. I<br />
hastily sketched a plan as I talked with him.<br />
<br />
‘“‘He said he would wait in the house till I had written<br />
the preface, which he desired to take to Philadelphia that<br />
evening. Becoming desperate under his urging eye, I sat<br />
down, and in an hour gave him the preface. The first<br />
chapter was mailed in a few days. Chapter followed<br />
chapter. I worked day and night, keeping up pluck with<br />
never-ending pots of coffee. Three hundred of the five<br />
hundred pages were written, and time was nearly up. I<br />
padded. I put in things I had formerly written. The<br />
twenty days were out, and over one hundred pages were<br />
yet needed. I had to get a few days of grace. Finally the<br />
book of 500 pages and 125,000 words was finished. Its<br />
title is ‘Striking for Life,’ ”’<br />
<br />
This was certainly fine mental athletics, but the<br />
<br />
THE AUTHOR.<br />
<br />
241<br />
<br />
article goes on to quote from another American<br />
periodical, the Bookman, a few facts which have<br />
no doubt been fully verified by the writer.<br />
<br />
For instance—Frank Norris wrote 125,000 words<br />
in 89 days. Mrs. Oliphant always wrote at night,<br />
and more than once completed a three volume<br />
novel in six weeks. The following interesting<br />
statements about English authors, from the same<br />
article, may come as a surprise to some :—<br />
<br />
““Weyman writes one novel a year, and cannot be per-<br />
suaded to attempt more. It took Hall Caine three years to<br />
write ‘The Manxman,’ Barrie four to write ‘ Sentimental<br />
Tommy,’ and four more to produce ‘Tommy and Grizel.’<br />
Maurice Hewlett wrote ‘The Forest Lovers’ four times<br />
before he was willing to let it go from his hands, and the<br />
late Bret Harte tore up a dozen pages of manuscript for<br />
every one that he completed. Harold Frederic was five<br />
years writing ‘The Damnation of Theron Ware. ”<br />
<br />
But for sound mental athletics, consider gravely<br />
an offer made by a certain well-known publisher to<br />
a gentleman, whom he desired to employ to grind<br />
out fiction. This offer was quoted in’ the April<br />
number of Zhe Author, and is absolutely authentic.<br />
The serial writer was to have £600 a year. To<br />
earn this money he would have to produce 5,000<br />
words a day for six days a week, without any<br />
provision for sickness or holidays. It will be seen<br />
that work under this offer comes nearly up to that<br />
of Mr. Swinton, but has to be continued year in<br />
and year out, until the publisher, the public, and<br />
the author are tired, and the last, a useless wreck,<br />
loses his position.<br />
<br />
<br />
<br />
In the American Critic an article entitled<br />
“Uncertainties of Literature,” written by Elliot<br />
Flower, follows the same lines as the articles that<br />
appeared in the February and March (1902) num-<br />
bers of Zhe Author, on “Some Free Lance Expe-<br />
riences.”<br />
<br />
In reading the record it would appear that the<br />
struggling ree Lance meets with much the same<br />
treatment on both sides of the water. The record<br />
is tabulated.<br />
<br />
Out of 53 MSS., each MS. had to be sent on<br />
its travels on an average slightly over five times<br />
before it could be placed. Nine were accepted at<br />
once, and 12 on a second trial, but at the other<br />
end of the scale, one was sent out 30 times before<br />
acceptance, one 18 times, and two 13 times.<br />
<br />
There is no doubt that when an author has<br />
reached a certain point of facility in writing there<br />
is nothing like persistence to bring success.<br />
<br />
<br />
<br />
Tux following rhyme, written, perchance, with a<br />
view to ridicule, has been dropped into the Society’s<br />
post bag.<br />
<br />
We print it for what it is worth, in the hope that<br />
<br />
<br />
<br />
<br />
249<br />
<br />
the author will put aside his cloak of modesty and<br />
discover himself.<br />
<br />
No doubt, he calls it an epigram. If so, he<br />
would, we feel sure, be a proper inmate for one of<br />
those beautiful and sanitary buildings that adorn<br />
the hills of Surrey and Sussex.<br />
<br />
To tHE Society of AUTHORS, 39, QUEEN STREET,<br />
SrorEY’s GATE.<br />
You flourish on Authors’ alarms ;<br />
You arouse the unfriendly in Man ;<br />
Then you sell healing balms,<br />
To stifle their qualms,<br />
At the cost of One Guinea per ann.<br />
<br />
But pause for a moment, I pray,<br />
A pen stroke :—your ruin is clear,<br />
From the Street that is clean,<br />
With the name of the QUEEN,<br />
To the street that is doubtful and QUEER.<br />
<br />
ee <><br />
<br />
THE LYTTON CENTENARY.<br />
<br />
— +<br />
<br />
HE Lytton centenary has produced the<br />
ordinary crop of commemorative articles, the<br />
best being Mr. Francis Gribble’s paper in<br />
<br />
the Fortnightly Review, and the more sober appre-<br />
ciation in Blackwood’s Magazine. Of these two<br />
papers we think the latter has the greater value as<br />
criticism, for Mr. Gribble’s virile intolerance of any-<br />
thing savouring of affectation prompts him to con-<br />
vey the suggestion, though he does not actually<br />
formulate the charge, that Lytton’s vapourings<br />
about the Beautiful and the True originated in<br />
preciousness ” and were therefore insincere, and<br />
his resentment of the seeming insincerity prompts<br />
him to do scant justice to Lytton’s compensating<br />
merits.<br />
<br />
With the intolerance of affectation we are in full<br />
sympathy, but we do not endorse the very common<br />
opinion that Lytton was insincere. He was despe-<br />
rately in earnest, ever painfully conscious of his<br />
“mission”; he had indeed that high seriousness<br />
which, according to Matthew Arnold, comes from<br />
absolute sincerity. With it, too, he had a sense of<br />
humour ; “ Kenelm Chillingly” proves that, even<br />
as it proves its author’s funereal gravity and fathom-<br />
less sentimentality. And with those two qualifica-<br />
tions, high seriousness and humour, it is odds but<br />
what any man will go far. The mistake Lytton<br />
made was in allowing his mission to get in the<br />
way of his art. “In forming his conception,”<br />
<br />
Mr. Worsfold says, “the artist should be guided<br />
by the test of ‘great ideas ’; in executing his con-<br />
ception he must be guided by the ‘rules of art,<br />
<br />
THE AUTHOR.<br />
<br />
He, on the one hand, can never be, by the nature<br />
of things, so independent of the mass of mankind<br />
as to make artistic excellence his sole object; on<br />
the other, moral worth, however distinctive, can<br />
never of itself suffice to endow his work with the<br />
characteristic charm of art.” Lytton’s moral inten-<br />
tions were above suspicion, and his literary facility<br />
was so extraordinary that it is not surprising that<br />
he neglected the rules of art when, without them, he<br />
could achieve such an extraordinary vogue as he<br />
did at once.<br />
<br />
The measure of success that was meted out to<br />
him might well, indeed, have turned the brain of a<br />
much more robust man, and the wonder is, not<br />
that he enjoyed such a vogue in the earlier part of<br />
his career, but that he was not spoiled by it and<br />
wholly incapacitated for doing the much better<br />
work that he actually produced in the latter half<br />
of his career.<br />
<br />
Whether Lytton was a great artist or not is a<br />
question little likely to be brought up for discussion<br />
now ; the centenary merely offers opportunity for<br />
reconsidering him as a writer at the expiration of<br />
a given period. What he wrote, he wrote ; some<br />
of it suited and has been accepted ; “and that’s<br />
success.” ‘To describe him in a single epithet is<br />
not possible, but the epigrammatic criticism passed<br />
upon him by a writer in the Academy is pro-<br />
bably as fair a one as could be devised : that he<br />
was so full of talent that there was no room left in<br />
him for genius. That his bicentenary will be com-<br />
memorated, and those books which are read now<br />
be read a hundred years hence, may, we think, be<br />
assumed ; and of many a better writer so much<br />
could not be said.<br />
<br />
Or<br />
<br />
THE DISTRIBUTION OF BOOKS.<br />
<br />
—<br />
<br />
(Reprinted by kind permission from the Publishers’<br />
Circular, May 2nd.)<br />
<br />
R. ANDREW LANG has been “ pitching<br />
in” to the booksellers in the Morning<br />
Post—or, what is much the same thing,<br />
<br />
he has borrowed the stick of a “ trenchant critic ”<br />
who writes in 7’e Author and re-applied it—with<br />
reservations. He lets his “author” point the<br />
moral, and then he adorns the tail, with another<br />
sting of the stick.<br />
<br />
«The bookseller’s affair is,” he says, “to know<br />
about books and men. My author, however,<br />
‘believes that it is nearly impossible to exaggerate<br />
the lethargy and incapacity of the ordinary retail<br />
bookseller.” Mr. Lang kindly adds: “These be<br />
very brave words ; I should hesitate to apply them<br />
<br />
<br />
<br />
PohCenSORNRRI<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
to his Majesty’s ministers, much more to the<br />
ordinary retail bookseller.” Then why, Mr. Lang,<br />
did you not hesitate before-taking such an unfair<br />
statement out of its coffin and publishing it to the<br />
world ?—it would have remained stillborn had you<br />
not godfathered it. ‘“ ‘The habit of reading,’ says<br />
my author, ‘is being all over the country dis-<br />
couraged by the insutficiency of the vast majority<br />
of booksellers.’” Mr. Lang quotes this silly libel,<br />
and adds that he deems it “ much too sweeping.”<br />
How much ?<br />
<br />
“*The country,’ says my author ferociously,<br />
‘would be benefited by the bankruptcy of the<br />
<br />
whole lot of booksellers, and the transference of<br />
<br />
their business to more competent hands.’” Mr.<br />
Lang’s comment is: “This man _ has suffered<br />
much.” How much? Anyone would think the<br />
whole of the booksellers of the United Kingdom<br />
had united to offend him by refusing to stock his<br />
works, but all we are told is that some unnamed<br />
“suburban bookseller” failed to get him a cheap<br />
copy of Milton’s poems.<br />
<br />
“The book never came, but at the end of a<br />
fortnight the bookseller found energy enough to<br />
send a messenger to say it could not be procured.”<br />
<br />
If this cock-and-bull story were true, what<br />
ground is there in it for libelling the whole book-<br />
selling trade of the country ? Another ‘“ example,”<br />
as Mr, Lang calls it, of this man’s sufferings at the<br />
hands of the whole trade is that, despairing of<br />
getting a learned work on Egyptology from the<br />
suburban bookseller—apparently he did not even<br />
ask for it—he gives its title and the address of its<br />
publisher to a tobacconist, who at once procured it<br />
—whether the confiding tobacconist ever got paid<br />
for it we are not told. But why should Mr. Lang<br />
give credence and publicity to such a Blue Fairy<br />
story as this ? ’<br />
<br />
“The larger part of the reading public cannot<br />
get the books it desires,” says Mr. Lang’s “ tren-<br />
chant critic.” If this is trne it only goes to prove<br />
that the larger part of the public is what Carlyle<br />
said it was.<br />
<br />
How interesting it would be to have the name<br />
and address of this “author” who would like to<br />
see the whole bookselling trade made bankrupt<br />
because some apocryphal suburban bookseller could<br />
not procure for him a copy of the “ Chandos’<br />
Milton. Mr. Lang’s pen is not often dipped in<br />
disappointed author’s bile, and it is not as if he<br />
believed the charges were true; then why give<br />
currency to anonymous and unfounded abuse of<br />
the booksellers ?<br />
<br />
There are thousands of booksellers in the United<br />
Kingdom selling millions of books every year, and<br />
yet they are all condemned in this wholesale way<br />
because some nameless author says he could not<br />
get a cheap book from some unnamed bookseller.<br />
<br />
243<br />
<br />
It is true that one or two other “examples ” are<br />
given by Mr. Lang. Some old lady in Norway<br />
wrote for Mr. Lang’s books to an Edinburgh book-<br />
seller, who gaily replied that they were all out of<br />
print. Are we to infer from the strange conduct<br />
of this prevaricating Edinburgh bookseller that<br />
Mr. Lang has no honour in his own country ?<br />
Heaven forbid! Booksellers would be the last to<br />
claim that their knowledge and methods were never<br />
at fault—but even those of authors are not perfect.<br />
<br />
o—~<—<br />
<br />
HALF-PROFITS ON SHEETS TO<br />
AMERICA,<br />
<br />
— +<br />
<br />
T may seem dull reading to the constant reader<br />
of The Author to see the repetition of certain<br />
forms of agreement, certain clauses, certain<br />
<br />
methods of publishing, accompanied with the same<br />
comments; but as long as publishers persist in<br />
bad clauses so long must Ve Author's objections<br />
persist also.<br />
<br />
There is a clause often embodied in agreements<br />
issued by the best houses in London in which the<br />
author, who does not obtain the American Copy-<br />
right, is entitled to half of the profits on the sale<br />
of sheets to America. If this clause is inserted in<br />
the usual half-profit agreement there is little to be<br />
said against it. The only points at issue, then,<br />
are, Is a profit-sharing agreement desirable? In<br />
what proportion should profits be divided between<br />
author and publisher? But if the clause is inserted<br />
in an agreement where the author is to obtain a<br />
royalty on the publication of the English edition,<br />
there are two very strong points of objection.<br />
<br />
This sale to an American house is mere agency<br />
work. If conducted through the medium of an<br />
author’s agent the latter would be highly pleased<br />
with the payment of 10 per cent. on the net result.<br />
Not so the publisher, although he is constantly<br />
crying out against the agent and his charges, It<br />
is a well-known fact—instances have often been<br />
quoted—that the publisher, although he expresses<br />
strong disapproval of the intervention of the agent<br />
who charges a modest 10 per cent., makes—when<br />
he endeavours to undertake any of the agent’s<br />
duties—a general charge of 50 per cent. The<br />
lowest percentage which has ever been seen in any<br />
agreement before the Secretary of the Society was<br />
25 per cent. Further arguments against allowing<br />
a publisher to undertake an agent’s work need not<br />
be repeated here.<br />
<br />
The second objection rests on the fact that a<br />
clause drafted on these lines is a distinct pitfall to<br />
the author. It is a pitfall for the following<br />
reasons :—1. Because to the ordinary person the<br />
<br />
<br />
<br />
<br />
244<br />
<br />
difficulties with which the clause is pregnant are<br />
altogether invisible. 2. Because the amount the<br />
author receives in royalty is always calculated—<br />
see the books of the Society on the point—on the<br />
basis that the full cost of composition is charged<br />
against the English edition. If this were not<br />
the case, the author ought to receive a higher<br />
royalty on British sales. :<br />
<br />
Let us explain what we mean more fully.<br />
<br />
ake the ordinary 6s. book :—<br />
<br />
Cost of composition of 3,000 copies ... £30 0 0<br />
<br />
<br />
<br />
Cost of printing ; ee 16 0 8<br />
Cost of paper a 2 58 0 0<br />
Total... ..£104 0 0<br />
<br />
Of the 3,000 copies the publisher sends 2,000 to<br />
America, and receives for the same (say) 1s. a copy<br />
£100. The cost of composition was compulsory<br />
for the completion of the English edition, the<br />
author’s royalty, as stated, being based on_ this<br />
understanding ; but the publisher takes two-thirds<br />
of this cost towards the American edition, as well<br />
as two-thirds of the cost for the print and the paper,<br />
leaving to be divided between himself and the<br />
author—<br />
<br />
By sale of 2,000 copies to America ...£100 0 0<br />
‘Two-thirds cost of production ~ 69 6 8<br />
<br />
<br />
<br />
£30 13 4<br />
<br />
As the cost of composition has no right to be<br />
charged against the American edition, but only the<br />
cost of print and paper, the difference would work<br />
out as follows :—<br />
<br />
By sale of 2,000 copies to America ...£100 0 0<br />
‘Two-thirds cost of print and paper... 49 6 8<br />
<br />
£50 13 4<br />
<br />
Instead, therefore, of the author receiving<br />
£25 6s. 8d., by the publisher’s method of calcu-<br />
lation of half profits, the author receives<br />
£15 6s. 8d. and the publisher £35 6s. 8d. It<br />
is almost as reasonable an arrangement as the<br />
ordinary half-profit agreement, whose clauses and<br />
workings have so often been exposed in Zhe<br />
Author.<br />
<br />
To show how this method may be worked out in<br />
the interests of untrustworthy publishers unfairly to<br />
the author, say the publisher in the first instance<br />
only publishes a thousand copies. The cost of<br />
composition would still be £30; printing, £10;<br />
paper, £20. He sells 500 copies to America, and<br />
on the same principle the following sum is worked<br />
out —<br />
<br />
THE AUTHOR.<br />
<br />
Half cost of production .. £30 0 0<br />
By sale of 500 copies to America at 1s.<br />
<br />
per copy ... one ae «=. 202 0 0<br />
<br />
£5 0.0<br />
<br />
This would leave a deficit against the author’s<br />
account of £2 10s., as the sale to America has<br />
failed to cover the cost of production.<br />
<br />
As soon as the edition is sold and the amount is<br />
worked out against the author he prints 10,000<br />
copies for the English edition, but never takes into<br />
account the proportion of the cost of production of<br />
the 500 sent to America to the 10,000 printed in<br />
England. Again, supposing you take the first<br />
instance and 20,000 were subsequently sold, the<br />
cost of the 2,000 sold to America is still taken in<br />
proportion to the cost of the 3,000 of the first<br />
edition printed, and not in proportion to the whole<br />
cost.<br />
<br />
It will be seen, therefore, that, quite apart<br />
from the contract being unfair and a pitfall<br />
to the unwary (as on the face of the agree-<br />
ment the difficulty is invisible), even if it is<br />
worked out by a publisher with an honest idea of<br />
doing nothing dishonourable, the result of its<br />
working, its natural evolution, becomes a fraud<br />
on the author, as it is impossible to calculate this<br />
sale to America on the basis of future sales. It<br />
must always be calculated upon the sales that have<br />
already been made. The position is ridiculous. It<br />
is to be hoped that the Publishers’ Association will<br />
dissociate themselves from this form of agreement.<br />
<br />
G. H. T.<br />
<br />
—_—--<br />
<br />
AUTHORS AND MODERN THRIFT.<br />
<br />
<br />
<br />
II.—The Purchase of an Annuity.<br />
<br />
O possess an annuity is the dearest desire of a<br />
poor man’s heart. An income assured for life,<br />
against which neither the rumours of wars<br />
<br />
nor the depressions of the money market has any<br />
effect, isperhaps the most comforting of all prospects.<br />
For this reason doubtless—the immunity from finan-<br />
cial worry—the lives of annuitants extend beyond<br />
the common span. One company, in a recent report,<br />
stated that the average age of the annuitants dying<br />
during the year under review was eighty-eight.<br />
The records of other companies confirm this experi-<br />
ence, which is remarkable in view of the fact that<br />
many of the annuitants are in weak health when<br />
they effect their policies, and would not be accept-<br />
able for life insurance except at special rates.<br />
<br />
The Moral Objection is one which arises in the<br />
consideration of the annuity. It is held that as<br />
the capital invested with the company is forfeited<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
to them at the death of the assured ; that the con-<br />
tract is a peculiarly selfish one; at least this is<br />
often the opinion of near relatives. The question,<br />
however, depends wholly upon circumstance. For a<br />
married man with distracting responsibilites to<br />
sink all his available capital might very well be an<br />
unwise step. On the other hand, there area variety<br />
of situations in which to purchase an annuity might<br />
be a most prudent step, inasmuch as the annuitant<br />
is relieved immediately of all anxiety—providing<br />
the annuity is of sufficient amount—as regards<br />
his future.<br />
<br />
Annuity versus Investment—It is generally<br />
agreed by financial authorities that the highest<br />
return on money it is possible to obtain from abso-<br />
lutely secure investment is 8 per cent. he<br />
return from the annuity is much higher, varying<br />
from 5 to 20 per cent., according to age. A<br />
man of sixty would receive £30 a year from his<br />
investment of £1,000, whereas the annuity would<br />
produce him an income of £94. The difference<br />
might very well mean to him the path from penury<br />
to comfort. In consequence of the curious life-<br />
giving properties of the annuity it is regarded with<br />
disfavour by some of the insurance companies, as it<br />
is not a department which is very profitable to<br />
them. The occasional early death of an annuitant<br />
does not recompense them for the abnormally long<br />
lives on which they continue to make a high return.<br />
Another aspect of the annuity in comparing it with<br />
investments is that the return never varies. The<br />
recent depreciation in the value of Consols and<br />
certain railway stocks indicates a risk which<br />
attaches even to “ gilt-edged”’ investments.<br />
<br />
The choice of an annuity is necessarily confined<br />
to persons of capital. But the return per hundred<br />
pounds is the same as per thousand, and to persons<br />
whose income comes to them, as it were, in flashes,<br />
a few hundred pounds might very well be sunk in<br />
producing a small income which has the immense<br />
advantage of being guaranteed to them for life.<br />
The choice of an annuity, being a perfectly simple<br />
contract untroubled by side issues, is one which<br />
offers no difficulty. All the well-known British<br />
offices are absolutely safe. The object, therefore,<br />
should be to purchase the annuity in the office<br />
offering the largest return for the particular age.<br />
The returns differ far more than in ordinary<br />
insurance. For example, a man of sixty can pur-<br />
chase for £1,000 a life annuity of £94 in one<br />
office, whilst another will return him only £80 10s.<br />
The difference is over 14 per cent. Both offices<br />
are of the highest standing, but a man would be<br />
very unwise to take the latter policy when the<br />
former is obtainable. ‘The differences indicated at<br />
several ages is clearly shown in the following<br />
table. The terms quoted by the Post Office are<br />
<br />
also given for the purpose of comparison.<br />
<br />
THE AUTHOR.<br />
<br />
245<br />
INVESTMENT oF £1,000,<br />
Males.<br />
|<br />
| Age 40. Age 50,<br />
<br />
<br />
<br />
Highest re-| £ 5, d.| £ s.. d.| & $d. & sg<br />
2 Gunn 62 10 0173 10.0104. .0 1134 oO 8<br />
Lowest re- |<br />
<br />
tora =... | 62 1 0.) 63 10 0130-10 06 114 8 6<br />
<br />
<br />
<br />
<br />
<br />
Difference..| £9 15 0/10 0 0/1810 01/19 15 0<br />
<br />
Average of |<br />
50 offices. | 5 |<br />
<br />
! W1t 8) 68 7 6 | 8812 61196 6 §<br />
Post Office..| 55 17 6 |.66 18 4187 1 8 195 9 9<br />
Females.<br />
<br />
: ee<br />
Age 40, | Age 50 Age 60. | Age 70,<br />
|<br />
<br />
<br />
<br />
d.| ee a A es as ga.<br />
<br />
Highest re-} £ s. | £ 8.<br />
CHI cs 56 12 0 | 66 10<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
O18 0 0 1193 0 6<br />
Lowest re- | |<br />
nibunloy eee 48 0 0/5616 8| 7218 4|105 6 8<br />
Difference..|£8 12 0| 918 4/1211 8|1713 4<br />
Average of<br />
50 offices.| 52 11 8 | 62 1 817915 O1115 0 0<br />
Post Office..|] 50 5 0{60 510/78 8 4 111416 8<br />
|<br />
<br />
<br />
<br />
-Vote.—For the return per £100 in each instance divide:<br />
by ten.<br />
<br />
There is no doubt, however, that the complete<br />
surrender of capital to the company is a material<br />
objection, in some minds, to the purchase of an<br />
annuity. “Should I die the day after, they argue,<br />
the money is absolutely lost, and my estate receives<br />
nothing!” The number of annuitants dying in<br />
the early days of their contract is so small as to be<br />
beyond practical consideration ; but all the same<br />
this objection remains. To meet this several com-<br />
panies have lately devised a plan by which the<br />
income is guaranteed over a stated number of years,<br />
usually ten or twenty. This provides against the<br />
early death of the annuitant, as, in any case, a<br />
return of ten or twenty payments is guaranteed to.<br />
the estate. We have shown that the best return<br />
obtainable for age sixty for £1,000 is £94 per<br />
annum. With the annuity guaranteed for tem<br />
years the return would be £80 3s. and for twenty<br />
years £62 9s. Such tables would appeal to persons.<br />
who wish to provide their estate against the risk<br />
of early death. But, on the other hand, most per-<br />
sons of mature age are more or less covered by life<br />
insurance, and it is perhaps better business to<br />
accept the slight risk of early death in order to:<br />
procure the materially higher income.<br />
<br />
<br />
<br />
<br />
246<br />
<br />
THE ANNUAL DINNER OF THE SOCIETY<br />
OF AUTHORS.<br />
<br />
1+<br />
<br />
HE annual dinner of the Society, held at the<br />
Hotel Cecil, on Thursday, April 30th, was<br />
attended by about 170 members and guests.<br />
<br />
Mr. Douglas Freshfield, Chairman of the Committee<br />
of Management, was in the chair, with Captain<br />
Sverdrup, of the Fram, one of the gold medallists<br />
of the Royal Geographical Society for this year,<br />
on his right hand and Sir Clements Markham,<br />
K.C.B., President R.G.S., on his left ; and the<br />
vice-chairs were occupied by Mr. G. H. Thring<br />
(Secretary), Mr. Rider Haggard, Mr. Anthony<br />
Hope Hawkins, and Dr. 8. Squire Sprigge. When<br />
dinner was over the Chairman proposed the health<br />
of the King in a brief speech, followed by that of<br />
the Queen and Royal Family.<br />
<br />
After these loyal toasts had been duly honoured,<br />
Mr. Douglas Freshfield rose again to propose the<br />
toast of the Incorporated Society of Authors.<br />
Making reference to the important work done by<br />
the Society for authors at large and for its members<br />
in particular in enabling them to obtain the full<br />
market value for their work, he described it as a<br />
Society for the Protection of Authors. In their<br />
business relations with publishers authors often<br />
needed protection. He deprecated the idea that<br />
the Society led a crusade against publishers, and<br />
preferred to consider it as working to promote<br />
an alliance necessary to both; he likened it rather<br />
to a trades union, having, however, no power to call<br />
its members out on strike. Mr. Freshfield also<br />
referred to the subject of the foundation of an<br />
Academy of Literature, as a question of interest to<br />
authors, on which he believed that there was some-<br />
thing to be said on both sides, though he indicated<br />
his own doubts as to the advantages to literature<br />
and the public taste that might be derived from<br />
such a body counterbalancing the obvious draw-<br />
backs and difficulties connected with its creation<br />
and renewal.<br />
<br />
Mr. Rider Haggard replied for the Society in a<br />
vigorous speech, in which he deprecated the<br />
expression of any desire by authors for the institu-<br />
tion of an Academy, and inquired what the methods<br />
were likely to be by which election to such an<br />
Academy might be secured. He declared that he<br />
had no wish to see authors—men of letters—touting<br />
round to other men of letters in order to secure<br />
election to the Academy. He asked by what stan-<br />
dard it was proposed that their claims to election<br />
should be judged. Was popularity to be the test,<br />
and was the author of whose work many thousand<br />
copies were sold before it appeared to be the one<br />
elected to the Academy, or he whose work was<br />
considered to have high literary qualifications ?<br />
<br />
THE AUTHOR.<br />
<br />
He hoped that the question of the Academy<br />
would be left alone, and expressed the belief<br />
that every class had the right to combine<br />
for the mutual comfort and protection of its<br />
members, and that this was the spirit which<br />
actuated those who founded the Society of Authors,<br />
of which he had been a very early member. While<br />
alluding to the question of the prices paid for<br />
literary work and the success of the Society in<br />
bettering the position of authors with regard to<br />
payment, Mr. Haggard asked why Milton sold<br />
““Paradise Lost” for £10? He answered his own<br />
question by saying, with emphasis, that it was<br />
because he could not get any more. For unpaid<br />
work, amateur work, he expressed no great respect,<br />
indeed he questioned the merits of work done<br />
without hope of reward in such terms that some of<br />
his hearers were inclined to express dissent from<br />
his views. In the course of his speech Mr. Haggard<br />
referred to the friendly relations which he believed<br />
to be those that should rightly exist between<br />
author and publisher, and in conclusion he paid a<br />
graceful tribute to the memory of Sir Walter<br />
Besant.<br />
<br />
In proposing the toast of the guests of the<br />
Society of Authors, Mr. Richard Whiteing referred<br />
to those preseut who, representing science, had<br />
maintained the connection ever existing between<br />
science and literature. He mentioned among those<br />
present Mr. C. Longman, Dr. Clifford Allbutt, Dr.<br />
Mill, Sir William Church, P.R.C.P., Sir Henry<br />
Howse, P.R.C.S., and Mr. G. W. Prothero. In par-<br />
ticular he made allusion to the work done recently<br />
by Captain Sverdrup on board the Fram, and to the<br />
kindred services to science and exploration with<br />
which the name of Sir Clements Markham is<br />
associated. With these gentlemen he joined Mr.<br />
Henry Newbolt as representing the guests of the<br />
Society.<br />
<br />
In replying for the guests, Sir Clements Markham<br />
laid emphasis upon the recent achievements of<br />
Captain Sverdrup in the department of scientific<br />
Polar exploration, and mentioned that Captain<br />
Sverdrup himself would probably find difficulty in<br />
making a lengthy reply to the toast in any but a<br />
foreign tongue. Unfortunately this was the case,<br />
and Captain Sverdrup, to the regret of his hosts<br />
and fellow-guests, confined himself to a_ brief<br />
expression of thanks for the cordial welcome<br />
received by him.<br />
<br />
Mr. Henry Newbolt, replying in his turn for the<br />
guests, described himself as being in a sense a<br />
publisher as well as an author, and was inclined to<br />
think that the attitude of author and publisher<br />
towards one another must necessarily be charac-<br />
terised by some hostility due to their relative<br />
positions and interests. Referring to standards by<br />
which modern literature may be judged, Mr.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Newbolt took a hopeful view of his contemporaries,<br />
but compared their passage past our range of<br />
vision to that of a procession, pointing out that<br />
the procession as it goes by seems to be a confused<br />
succession of units, while the relative merit of the<br />
figures and groups composing it can best be appre-<br />
ciated as it passes into the distance.<br />
<br />
At the conclusion of Mr. Newbolt’s speech Mr.<br />
Oscar Browning rose to give the health of the<br />
chairman. Mr, Browning avowed himself able in<br />
doing this to speak from long acquaintance with<br />
the subject of his speech, whom he had first<br />
known as climbing Mont Blane while a school-<br />
boy at Eton, when he was himself a master<br />
there, and with whose work as an explorer of<br />
mountain peaks and ranges, and discoverer of<br />
ground untrodden by previous climbers, he had<br />
been familiar from his earliest days.<br />
<br />
Mr. Freshfield, in thanking those present for the<br />
warmth with which they had received the toast,<br />
made graceful reference to his memories of Mr.<br />
Browning as an Eton master, and to the long<br />
friendship with him which so many Eton and<br />
Cambridge men had enjoyed.<br />
<br />
A soirée was held after the toasts had been<br />
drunk, and the members and guests had an oppor-<br />
tunity of meeting one another.<br />
<br />
The following is a list of those present :—<br />
<br />
Ackermann, A. 8. E.<br />
Ackermann, Mrs.<br />
Allbutt, Prof. Clifford<br />
Armstrong, E. A.<br />
Ashley, Mrs.<br />
Back, Mrs. Eaton<br />
Baildon, H. Belsize<br />
Batty, Mrs. Braithwaite<br />
Begbie, Miss A, H.<br />
Bell, Mackenzie<br />
Berene, Sir<br />
K.C.M.G.<br />
Besant, Geoffrey<br />
Besier, Rudolf<br />
Bird, C. P.<br />
Boddington, Miss Helen<br />
Bolam, the Rev. C. E.<br />
Boutwood, Arthur<br />
Boutwood, Mrs.<br />
Browning, Oscar<br />
Bryden, H. A.<br />
Buxton, Dudley<br />
Buxton, Mrs. Dudley<br />
Campbell, Miss Mont-<br />
gomery<br />
Carlile, John C.<br />
Childers, Erskine<br />
Church, Sir William &.,<br />
PEC, P,<br />
Churchill, Lt.-Col. Seton<br />
<br />
Henry,<br />
<br />
Colquhoun, Archibald<br />
<br />
Colquhoun, Mrs. Archi-<br />
bald<br />
<br />
Craig, Lt.-Col. R. Mani-<br />
fold<br />
<br />
Crawshay, Mrs.<br />
<br />
Croker, Mrs. B. M.<br />
<br />
Davidson, Miss L. C,<br />
<br />
Davy, Mrs. E. M.<br />
<br />
Doudney, Miss Sarah<br />
<br />
Douglas, Sir George,<br />
Bart.<br />
<br />
Dowsett, C. F.<br />
<br />
Duncan, Miss Sarah<br />
Jeanette<br />
<br />
Esler, Rentoul<br />
<br />
Esler, Mrs. Rentoul<br />
Free, the Rey. Richard<br />
Freshfield, Douglas<br />
Galpin, H.<br />
<br />
“ Wirt Gerrare ”<br />
Gowing, Mrs. Aylmer<br />
Grierson, Miss<br />
<br />
Griffin, H. M.<br />
<br />
*‘ Victoria Cross ”’<br />
Groser, Horace G.<br />
Gunter, Lt.-Col. E.<br />
Haggard, Miss Dorothy<br />
Haggard, Miss Angela<br />
Haggard, H. Rider<br />
<br />
Hallett, Col. W. Hughes<br />
Harrison, Miss Rose<br />
Hawkins, A. Hope<br />
Henslowe, Miss<br />
Hepburn, David<br />
Hills, A. E.<br />
Hodges, W. O.<br />
Holman, Martin<br />
Howse, Sir Henry G.,<br />
P.R.C.S.<br />
Humphreys, Mrs. Des-<br />
mond (‘‘ Rita ’’)<br />
Hutchinson, the Rey,<br />
HN,<br />
lliffe, Mrs.<br />
Irvine, Mrs. Duncan<br />
Irvine, Duncan<br />
Jacobs, W. W.<br />
James, Miss W. M.<br />
( Austin Clare”)<br />
Jenkins, Mrs. L. Hadow<br />
Keltie, J. Scott<br />
Kenealy, Miss Arabella<br />
Lechmere, Mrs.<br />
Lechmere, Mr.<br />
Lee, Miss Alice<br />
Lefroy, Mrs.<br />
Lennox, Lady William<br />
Little, J. Stanley<br />
Little, Mrs.<br />
Longman, C. J.<br />
Lowndes, Mrs. Belloc<br />
‘Maarten Maartens ”<br />
Magnus, Laurie<br />
Markham, Sir Clements,<br />
KO. BE RS:<br />
Marks, Montagu<br />
Mason, Miss EH. M.<br />
Meadows, Miss<br />
Mill, Dr. H. R.<br />
Montagu, Mrs. Drogo<br />
<br />
247<br />
<br />
Morris, Mrs. Frank<br />
Moscheles, Felix<br />
Newbolt, H.<br />
Oppenheim, E. Phillip<br />
Pennethorne, Deane<br />
Pennethorne, Mrs.<br />
Perrin, Mrs.<br />
<br />
Perris, G. H.<br />
Petano, D. K.<br />
Phibbs, Miss I. M.<br />
Praed, Bulkeley<br />
Praed, Mrs. Campbell<br />
Prelooker, Jaakoff<br />
Prothero, G. W.<br />
Rae, John<br />
<br />
* Allen Rainé”<br />
Reeves, Mrs.<br />
<br />
Reich, Emil<br />
<br />
Rogers, A.<br />
<br />
“ Leicester Romayne ”<br />
Royle, William<br />
Savory, Miss Isabel<br />
Stanton, Miss H. M.<br />
Stanton, Stephen J. B.<br />
Stroud, F.<br />
<br />
Stroud, Miss<br />
<br />
Smith, Mrs. Isabel<br />
Spielmann, M. H.<br />
Sprigge, Mrs. Squire<br />
Sprigge, 8. Squire<br />
Sverdrup, Capt.<br />
Thring, Mrs.<br />
Thring, G. H.<br />
Trench, Herbert<br />
Tweedie, Mrs. Alec<br />
Walrond, Charles<br />
Wells, Mrs.<br />
<br />
Wells, H. G.<br />
<br />
White, Arnold<br />
Whiteing, R.<br />
Wilson, Mrs.<br />
<br />
—_——___—_1+—>—_ 2 —____—-<br />
<br />
EDUCATE YOUR OWN CHILDREN.<br />
<br />
9<br />
<br />
EFORE the South African War it was some-<br />
times asked whether such and such a<br />
colony was really loyal.<br />
<br />
That question has been answered. ‘To-day, at any<br />
rate in Canada, an Englishman may be forgiven<br />
if he sometimes asks of himself “ Does the old<br />
country really want to keep us?”<br />
<br />
If she does not, why not say so openly, and let<br />
those who wish to, return to her, and those who<br />
wish to, join hands with the States.<br />
<br />
But if England really wants to keep Canada,<br />
<br />
<br />
<br />
<br />
248<br />
<br />
why does she allow the United States to educate<br />
the public opinion of her colony ?<br />
<br />
It is not enough that most of our daily news<br />
comes to us coloured to suit America, that our<br />
telegrams are not altogether reliable, that there<br />
are so many Americans amongst us and such go-a-<br />
head American towns close to us, that our people<br />
must take some tones and colours from their<br />
neighbours which an Englishman born would<br />
rather they did not ?<br />
<br />
To all this is added, for the sake of a few paltry<br />
pounds in the pocket of the English Post Office,<br />
the fact that almost all our light literature and<br />
practically all our magazines are American.<br />
<br />
The way of it is thus: American periodicals<br />
are not better than English. Far from it. Better<br />
illustrated two or three of them may be, but no<br />
one who could get a Blackwood would, I assume,<br />
take any ten American magazines in exchange<br />
for it.<br />
<br />
And our people know this; but the American<br />
magazines are cheaper than ours, thanks to the<br />
extremely high postal rates which our magazines<br />
have. to pay.<br />
<br />
Magazines which cost the same at the offices of<br />
publication differ as one to two in price when they<br />
reach the Canadian market.<br />
<br />
Here is an illustration: The Strand and<br />
Pearson's are both published in New York as well<br />
as in London. Our booksellers sell the old-style<br />
edition, of course, which costs them 74 cents in<br />
New York, and is mailed to them at 1 cent<br />
per lb. If they bought the English edition they<br />
would have to pay about 9 cents in London, and<br />
8 cents per 1b. postage.<br />
<br />
The result of this kind of thing is that, taking<br />
the figures of one of our booksellers here as a<br />
criterion, we seil four American magazines for<br />
every British magazine, though we are a British<br />
people and like our own wares best.<br />
<br />
My first.point is a national one.. If you want<br />
to keep Canada British, you had better feed her<br />
mind on British literature.<br />
<br />
My second is for the authors. If you want to<br />
keep a market for British books in Canada, you<br />
had better ask British publishers to advertise a<br />
little (not necessarily in the vilely bad taste common<br />
on this continent, but in such a way that a man’s<br />
intimate friends may have a chance of finding out<br />
that he has written a book), and press for such<br />
postal rates as will allow the magazines in<br />
which they advertise to compete with American<br />
magazines,<br />
<br />
If any one is sufficiently interested in my subject<br />
to pursue it for himself, let him take up any of the<br />
leading magazines of the States and see how they<br />
advertise their books.<br />
<br />
When “David Harum” came out you could<br />
<br />
THE AUTHOR.<br />
<br />
not walk through the streets of Ottawa without<br />
being flipped in the face by long streamers of<br />
“extracts ” which floated from the booksellers’<br />
doors ; you could not open a magazine without<br />
setting free a shower of notices ; the book haunted<br />
you. As to our books, I had to start a crusade<br />
against our booksellers, to wake them up to the<br />
fact that ‘The Four Feathers ” had been written.<br />
<br />
Are we not big enough as a nation to sacrifice a<br />
few dollars, that our children may learn at their<br />
mother’s knee, and not at another’s ?<br />
<br />
CLIVE PHILLIPPS-WOLLEY.<br />
—_—_____» <> ____<br />
<br />
“SIR MACKLIN.”<br />
<br />
a<br />
<br />
OLLECTIVE psychology is a subject which,<br />
as this volume” testifies, has not escaped the<br />
attention of Mr. A. B. Walkley, but one<br />
<br />
reader, at least, inclines to the opinion that he has<br />
not applied his knowledge with sufficient particu-<br />
larity in this present instance. Had he done so he<br />
would not have forgotten that devices proper to<br />
the rhetorician are not always proper to the author<br />
and that a looseness of argument may pass un-<br />
challenged in the spoken word, but cannot escape<br />
so lightly in the written word: in short, that good<br />
lectures do not necessarily make good books.<br />
There is a certain sort of banter, wholly or partly<br />
good-humoured, that frequently is not only lawful but<br />
expedient to a lecturer who desires to carry with<br />
him the last obstinate objector in his audience ;<br />
but the same banter may have a contrary effect<br />
when the lecture is reproduced in the unsympathetic<br />
medium of printer’s ink and submitted to the<br />
leisurely consideration of the same individual in<br />
the seclusion of his library.<br />
<br />
I seem to detect such partly good-humoured<br />
banter in the first lecture in the volume before me.<br />
I am conscious of an attempt on Mr. Walkley’s<br />
part to anticipate any suggestions I may make of<br />
flaws in his work and to dispose of them before-<br />
hand by belittling my qualifications to estimate its<br />
value. He puts me in my place, so to speak, and<br />
the human nature in me is disposed to rebel<br />
against the operation.<br />
<br />
‘Everyone who expresses opinions, however<br />
imbecile, in print calls himself a ‘critic.’ The<br />
greater the ignoramus, the greater the likelihood<br />
of his posing as a ‘critic.’” Sentences of this<br />
kind may serve to raise an unthinking laugh and<br />
break the ice between lecturer and audience, but<br />
they are not worthy of being perpetuated in print ;<br />
<br />
<br />
<br />
* “ Dramatic Criticism,’ by A. B. Walkley. London:<br />
John Murray, 1903. (5s. net.)<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 249<br />
<br />
their inaccuracy is only equalled by their antiquity.<br />
The sole reason that 1 can find for their preserva-<br />
tion here is a desire to rule me, and others like me,<br />
out of court by writing me down an ass before I<br />
begin to suggest that perhaps Mr. Walkley does<br />
not embody all the law and the prophets. As a<br />
mere caudal appendage of “that great baby, the<br />
public,” I may be a barbarian, or, isolated, a harm-<br />
less citizen or a placid British vestryman ; with<br />
luck I may be an amateur of culture, in which<br />
case my judgment is probably spoiled by the<br />
literary bias, or a mundane person, in which case<br />
I have a bias either of the individual or the vogue.<br />
Whatever I may be, I don’t matter, which is a<br />
soothing reflection for Mr. Walkley and a chasten-<br />
ing one for me. And yet I can’t help wondering<br />
if it is quite true.<br />
<br />
“From the people whom the critic criticises it<br />
would be unreasonable to expect sympathy,” Mr.<br />
Walkley remarks ; he omits to say what it would<br />
be reasonable to expect from the people who<br />
criticise the critic ; perhaps the possibility never<br />
entered his head. But he also observes that ‘just<br />
as one solid body cannot collide with another with-<br />
out the manifestation of a form of energy which<br />
we call heat, so one mind cannot impinge upon<br />
another without the manifestation of that form of<br />
energy which we call criticism.” Inasmuch as it<br />
is due to Mr. Walkley, with Mr. Murray as a con-<br />
tributory party, that his mind has impinged upon<br />
mine, it is not only excusable but natural that I<br />
should manifest energy with the best of them.<br />
<br />
My dissatisfaction with this book is due to the<br />
fact that it does not take me any further forward<br />
than I was before ; it is nebulous and inconclusive.<br />
Portentously serious in intention it is not a serious<br />
contribution to the literature of criticism. The<br />
author has an irritating trick of proving all sorts<br />
of things, and then, when he has triumphantly<br />
written Q.E.D. at the end of his argument, hastening<br />
to explain that the theorem is wholly immaterial.<br />
He reminds me of Sir Macklin, who, as every<br />
schoolboy knows,<br />
<br />
“was a priest severe<br />
In conduct and in conversation,<br />
<br />
It did a sinner good to hear<br />
Him deal in ratiocination.<br />
<br />
“ He could in every action show<br />
Some sin, and nobody could doubt him,<br />
He argued high, he argued low,<br />
He also argued round about him.”<br />
<br />
It is not for me to suggest whom to cast for the<br />
bishop in the story.<br />
<br />
Thus he refers to Gibbon’s division of critics<br />
into three classes, takes leave to reduce them to<br />
two, compares these two, showing in the process<br />
that there is not so much difference between them<br />
as they themselves suppose, and then, having<br />
<br />
compared and contrasted them to his own entire<br />
satisfaction, war's us that the contrast must not be<br />
taken too seriously. By such a device the most<br />
exiguous contribution to literature might be<br />
bumped out to the most ample proportions, but<br />
its value, when so bumped out, would be open to<br />
question.<br />
<br />
On page 20 he quotes Mr. Birrell as follows :—<br />
<br />
“T have had some experience of authors, and have<br />
always found them better pleased with the ‘ unprofes-<br />
sional’ verdicts of educated men, actively engaged in the<br />
work of the world than ever they were with the laboured<br />
praise of the so-called ‘ expert.’ ”<br />
<br />
Then on page 35 he examines the passage as<br />
follows :—<br />
<br />
“ After the crowd, the average or uncultivated amateur,<br />
let us turn to Mr. Birrell’s candidate for the critical post—<br />
the man of affairs or of the world who dabbles in the arts ;<br />
in other words, the amateur of culture. Mr. Birrell puts in<br />
a very artful plea for this class. He says the authors like<br />
them, preferring their verdicts of approval to the ‘ laboured ’<br />
praise of the so-called ‘expert.’ Here, however, we must<br />
be on our guard against the rhetorical device of the pro-<br />
fessional advocate—the familiar device of comparing one<br />
thing at its best with another thing at its worst. The<br />
praise of the ‘expert’ is not necessarily ‘laboured.’ And<br />
you will observe that the authors like the men of the world<br />
when they deliver verdicts of approval. What the authors<br />
think of this class when they deliver verdicts of disapproval<br />
we are not told.”<br />
<br />
I have italicised the words in these two passages<br />
which reveal the discrepancy between the text as<br />
given by Mr. Walkley and the text as criticised<br />
by him. I refrain from giving the exact text<br />
of Mr. Birrell’s words, and merely submit that the<br />
discrepancy ought not to have been passed in a<br />
considered argument, not so much because it<br />
affects, or does not affect, Mr. Walkley’s point<br />
as because it affects his credit as a dialectician.<br />
<br />
That there is plenty of good stuff in the book, of<br />
course, goes without saying ; most of it is Aris-<br />
totle’s, and a perverse and tricksy memory brings<br />
before me some lines from an obscure burlesque :—<br />
<br />
“My grievance is that in these modern plays,<br />
<br />
There's nothing new and good ; whate’er of praise<br />
<br />
Their lines deserve, you'll find in the antique ;<br />
<br />
Whatever's idiotic isn’t Greek.”<br />
<br />
With the necessary modifications the quotation<br />
has point, and in all seriousness I cannot think<br />
<br />
: : :<br />
that this volume will add to Mr. Walkley’s<br />
reputation.<br />
<br />
Meandering has a fascination for most ‘‘amateurs<br />
of culture.” I would like to meander a little and<br />
express an opinion which, however imbecile, I hold<br />
: : : z<br />
in common with a good many other people. That<br />
opinion is that what is wrong with the dramatic<br />
critic of the day is his appalling lack of the sense<br />
of humour. It is all very well for M. Anatole<br />
France to talk about “the adventures of a soul<br />
among master-pieces,” and for Mr. Walkley to<br />
announce that “judices nati’? may still be found<br />
<br />
<br />
<br />
<br />
<br />
<br />
250<br />
<br />
amongst us. I admire the pretty fancy of the one<br />
and rejoice at the good tidings of the other ; but<br />
recent happenings in the dramatic world dispose<br />
me to think that so far as the stage is concerned<br />
people take themselves much too seriously. Mr.<br />
Walkley snorts at the fatuity of the question,<br />
«« What is the wse of dramatic criticism?” Well,<br />
it is a fatuous question. Mr. Walkley replies to<br />
it from the point of view of the dramatic critic :—<br />
<br />
“ The use of any art is asa channel for the communication<br />
of ideas and emotions between man andman. It is a mode<br />
by which the producer of the art shares out his moods, his<br />
soul-states, his views of life, with the consumer. This is<br />
what is meant in popular language by ‘ being interesting.’<br />
Just as you may have an interesting novel or an interesting<br />
play, so you may have an ‘interesting ’ dramatic criticism.<br />
And that is the use of it.”<br />
<br />
I find that answer very satisfactory, and hope<br />
that the “ club of play-goers ”—there is a world of<br />
sarcasm in the employment of that form of the<br />
genitive case—will perpend it. From the point of<br />
view of the manager a dramatic criticism in, say,<br />
the 7'imes, at the price of a stall costs only sixpence<br />
more than the hire of ten sandwich-men at a<br />
shilling a head for the day, and it carries farther.<br />
It advertises the “show.” And that is another<br />
use of it.<br />
<br />
As I suggested at the outset, I hesitate to put<br />
forward these comments as a “criticism” of Mr.<br />
Walkley’s book ; they are merely indicative of my<br />
soul’s adventures in that masterpiece. I hope I<br />
shall not be deemed irreverent if 1 speed them with<br />
yet one more quotation, protesting that they are<br />
quite honest in intention, and not born of that<br />
little-emindedness which finds pleasure in cheap<br />
sneers :<br />
<br />
“Go, soul, the body’s guest,<br />
Upon a thankless arrant ;<br />
Fear not to touch the best,<br />
The truth shall be thy warrant.”<br />
Vy. iE. M.<br />
<br />
ee<br />
<br />
POPULARITY.<br />
<br />
oe<br />
<br />
OBERT VINCENT, historian and man of<br />
letters, had received his death sentence.<br />
The physicians gave him one short year to<br />
live ; but their word was the signal for a cloud,<br />
impalpable as yet, but darker than that of death,<br />
to rise upon the dying man’s horizon. He was a<br />
young man, and it seemed to the world as if it was<br />
but yesterday that he had succeeded in making<br />
his name. But the world was mistaken. The<br />
initiated knew that the reputation which Robert<br />
Vincent had won was of no mushroom growth.<br />
He had won it by sweat, by blood, by years of<br />
patient labour and research. Nay, as was being<br />
proved now, he had bought it with his very life.<br />
<br />
THE AUTHOR.<br />
<br />
To this small band of scholars Robert Vincent<br />
had been known for years, young as he still was,<br />
as the rising historian of the day, as a writer in<br />
whom in the highest degree scholarship, imagina-<br />
tiveness, and honesty were combined.<br />
<br />
To this small band he was the ideal historian<br />
for whom the world had waited so long. Scholarly<br />
historians there have been. Honest historians’ are<br />
not altogether unknown. Picturesque writers of<br />
history have made their works as household words<br />
tous. But the combination of the three qualities<br />
in one person has often been pronounced to be an<br />
impossibility. 1t appeared in Robert Vincent, and<br />
scholars awaited with bated breath its further<br />
development. But the world in general, the<br />
world which nearly every man secretly craves to<br />
enlist on his side, even when he most professes to<br />
despise it, turned, for a long time, a deaf ear to<br />
the teaching of the historian. To those who<br />
knew, this deafness was simply a question of time.<br />
The world would hear, and hearing would accept<br />
Robert Vincent at his true value. The event proved<br />
that, for once ina way, those who knew were right.<br />
<br />
Robert Vincent won his place as a world power<br />
in literature by the publication of his great book,<br />
“The Welding of the Races.”<br />
<br />
It was a great book in every way. Great in<br />
conception, great in execution. Well balanced,<br />
accurate, and judicial, yet written in language<br />
almost passionately picturesque. ‘The Welding of<br />
the Races ” threw its search light on a period of<br />
English History at once the most obscure and the<br />
most salient. ‘‘As at the touch of an enchanter’s<br />
wand,” the darkness which for hundreds of<br />
years had lain upon the early middle ages was<br />
dissipated, and Englishmen knew at last the secret<br />
of the greatness of their country. “The dark<br />
ages have for England ceased to exist,” was the<br />
judgment of the greatest German critic.<br />
<br />
The wisdom of the small band of scholars<br />
was justified. The world knew and, knowing,<br />
acclaimed, as with one voice, Robert Vincent as the<br />
greatest writer of the century. The author him-<br />
self would have been more than human if he had<br />
not exulted in his triumph. He was young and<br />
he was ambitious, and it is given to few men<br />
indeed to realise, to any great extent, the ambition<br />
of their lives.<br />
<br />
“The Welding of the Races” rapidly proved<br />
itself the success of the day, and the fortunate<br />
author felt that his name had been made for all<br />
time, that he was destined to be numbered with<br />
the great ones of the earth. “‘ Westminster Abbey,”<br />
<br />
he said laughingly to his wife, “ will know me yet.”<br />
And then the end came.<br />
<br />
No prank which the Great Jester loves to play<br />
is dearer to his heart than the summoning of a<br />
man from the prize to gain which he has given<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the best years of his life, given his very soul,<br />
when it is almost within his grasp. We die just<br />
when we are beginning to know how to live. So<br />
it was to prove with Robert Vincent.<br />
<br />
Perhaps it was due to the strain which the<br />
completion of his work had put upon him, perhaps<br />
there was an original weakness of constitution<br />
hitherto unsuspected, or perhaps—. Anyhow,<br />
whatever may have been the cause, at the very<br />
height of his fame the sentence, from which there<br />
is no appeal, was pronounced, “ You must die!”<br />
<br />
There is no need to dwell on the dull, sickening<br />
sense of hope frustrated which fell like a black<br />
shadow on Robert Vincent’s heart when he knew<br />
that he must leave the world, which appeared to<br />
him just then to be so full of brightness and<br />
beauty. But he was no coward, his life had shown<br />
that, and he resolved to face the music like a man,<br />
<br />
“My body will die,” he said to his wife, “but<br />
my soul will live ; for that I have won immortality.<br />
I have put my whole soul into ‘The Welding of<br />
the Races,’ and while England lasts it will last<br />
also.” This he said in no vainglorious spirit.<br />
To him it was a simple fact. But as he grew<br />
weaker there came upon him a mental uneasiness<br />
which puzzled greatly his wife and his doctors.<br />
To some extent, but to some extent only, it seemed<br />
to be assignable to the stress of previous literary<br />
work. The fact was, the dark, impalpable cloud<br />
gathered blackness and substance as time went on.<br />
It pressed in upon him, making the last few weeks<br />
of his life into a hideous, waking nightmare.<br />
<br />
“Qlang, clang! throb, throb! What are they<br />
printing so close to me? Who are printing? Is<br />
it Gradband & Shimmery ?”<br />
<br />
“No, dear,’ said his wife gently, “there is no<br />
printing near you.’ The doctor, who overheard<br />
the mutterings, looked grave and asked the wife<br />
<br />
“Did your husband ever have any dealings with<br />
these publishers, Gradband & Shimmery ?”’<br />
<br />
“No,” she replied, ‘not that I know of. I<br />
never heard their names.”<br />
<br />
“Of course not,” said the doctor with a smile,<br />
“it is scarcely likely that Mr. Vincent would have<br />
had anything to do with publishers of that class.”<br />
<br />
The doctor was quite right. It was indeed<br />
unlikely—the most unlikely thing in the world.<br />
For Messrs. Gradband & Shimmery were known<br />
as publishers of fiction of the baser sort, fiction<br />
which had an enormous circulation among City<br />
¢lerks and shop girls.<br />
<br />
The stuff which this firm turned out in vast<br />
quantities was lurid and sensational to a degree,<br />
especially that for which “Sydney Trevor,”<br />
popularly supposed to be an assumed name, was<br />
responsible, but it could no more claim to be<br />
literature than a farthing rushlight could claim<br />
to be the moon.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
251<br />
<br />
Of course it was too wildly absurd to suppose<br />
that Robert Vincent, of all people in the world,<br />
could have had any dealings with such a firm as<br />
this. And the doctor made a mental note of his<br />
uneasiness as a curious illustration of an obscure<br />
brain lesion. But this did very little good to the<br />
patient himself. The noise of the printing presses<br />
at work seemed to become louder and more insis-<br />
tent every day. Every day too his imagination<br />
seemed to be haunted by a terror which ever drew<br />
closer and closer. His lucid intervals proved to<br />
those about him that he had no fear of death, nor<br />
even of the act of dying; but even his lucid<br />
intervals were haunted by the shadow of the fear<br />
which oppressed him so terribly in his delirium.<br />
Whatever the fear might be, it was associated with<br />
the idea of printing, and with the names of<br />
Gradband & Shimmery. Nothing that his wife<br />
could do or say—no news she might bring him of<br />
the ever increasing success of his book, no assur-<br />
ances of the high position, daily becoming more<br />
manifest, which he had secured for himself in<br />
literature, was able to expel this fear devil from<br />
his soul. Thereit sat, grinning at him till he died.<br />
<br />
As soon as Robert Vincent’s death was an-<br />
nounced, steps were taken by those whose word<br />
carried weight with the authorities to secure a<br />
place for him in Westminster Abbey. It seemed<br />
likely that their efforts would be crowned with<br />
suecess, and that the historian’s jesting remark to<br />
his wife would prove to be a true prophecy.<br />
<br />
It was urged that the country had only one<br />
way now of paying the recognition it owed to an<br />
admitted genius. What the leaders of thought<br />
said, the general public echoed with all its heart.<br />
No name was so constantly on men’s lips and<br />
before their eyes during these days as the name of<br />
Robert Vincent, historian and man of letters.<br />
Westminster Abbey was the place for him, and to<br />
Westminster Abbey he must be taken. And then<br />
suddenly all this talk stopped.<br />
<br />
Messrs. Gradband & Shimmery flooded the<br />
country with their advertisements—newspapers,<br />
<br />
hoardings, omnibuses, trains, sandwich-men—<br />
every available means of advertisement were<br />
<br />
pressed into the service of Messrs. Gradband &<br />
Shimmery. There had never been known, since<br />
books were first printed, such gigantic enterprise<br />
in advertising methods. Wherever men looked<br />
they saw the names of Gradband & Shimmery ;<br />
and underneath, only in larger characters, the<br />
name of “Sydney Trevor” in inverted commas ;<br />
and below that the name of Robert Vincent ; and<br />
below that again a list of books whose lurid and<br />
sensational titles spoke for them.<br />
<br />
Then the world learnt that Robert Vincent was<br />
identical with ‘Sydney Trevor,” and Westminster<br />
Abbey knew him not. CO. L:<br />
<br />
<br />
<br />
<br />
ESSAY ON CRITICISM.<br />
<br />
Oe<br />
<br />
(Reprinted from Longman’s Magazine, by kind permission<br />
of the Author and the Publisher).<br />
<br />
(By A Lapy NoveEtist).<br />
<br />
S there no real critic on these shores<br />
Yet to be found? O Tempora, O Mores !<br />
How shall they judge who measure all by<br />
rule<br />
While Genius, for them, might dwell in Thule?<br />
Tis quality, not quantity, decides<br />
The merit of such work as mine—Quid rides ?<br />
When will they learn the truth that each great<br />
writer<br />
<br />
Of prose or poetry—non fit—nascitur ?<br />
When cease to sneer with condescending smile<br />
At woman—vyarium et mutabile ?<br />
Yet why should I the critics heed? Whate’er<br />
They say, ’tis mine—aequam mentem servyare.<br />
My place among the Immortals is secure,<br />
*Tis mine—divino ac humano jure.<br />
I feel within my breast the sacred fire,<br />
And I—I know it—non omnis moriar.<br />
Already on Parnassus’ sacred slope<br />
I dwell with Melpomene and Calliope.<br />
No marble tomb I crave, no trophies pious,<br />
My monument is—aere perennius.<br />
<br />
<br />
<br />
FR.<br />
<br />
a a<br />
<br />
CORRESPONDENCE.<br />
<br />
—1—~> +<br />
<br />
AN ANSWER TO “A PROTEST.”<br />
<br />
Sir,—In reference to a letter entitled “A Pro-<br />
test’ in last month’s Author, I would like to say<br />
a few words in common justice to all concerned in<br />
the arrangement of the Society’s annual social<br />
function.<br />
<br />
In the first place, it is a puzzle how the receipt<br />
of the announcement of a dinner could shock even<br />
the most highly strung and sensitive nerves.<br />
<br />
If Shakespeare had lived in the twentieth century<br />
he would no doubt have participated in a meal at<br />
the Hotel Cecil with as much equanimity—and<br />
perhaps even enjoyment—as any other author.<br />
<br />
Next I would like to point ont to the writer in<br />
question that as the Soviety is formed for the pro-<br />
tection and maintenance of literary property, it<br />
must needs respect itself. So, if the Society of<br />
Authors were to hold its annual festival at a third<br />
or fourth rate restaurant, and charge a low price,<br />
as suggested, it would certainly be considered an<br />
inferior concern, and be looked down upon<br />
accordingly. :<br />
<br />
Further, the writer contradicts himself, for he<br />
says that he has attended several dinners each at<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
increased cost, and then confesses having been<br />
present at a guinea one. Comment is needless. If<br />
the protester could be present at a guinea dinner<br />
it seems inconsistent that the suggestion of a 10s.<br />
one should give him a shock.<br />
<br />
As I did not attend any of the guinea functions<br />
I cannot speak from personal experience as to<br />
whether it would have been “ dear at eighteenpence,’””<br />
but I can honestly say that at all the four dinners<br />
which I have attended the food was as good and<br />
as well served as one could wish.<br />
<br />
I have always understood that the Society does<br />
not wish to make money by the dinner, but charges<br />
a price sufficient to cover expenses. If the com-<br />
plainant refers to the ‘ Annual Report,” he will<br />
find that the Society was 5s. 10d. out of pocket by<br />
last year’s dinner ; hence, no doubt, the decision<br />
to raise the price.<br />
<br />
With regard to the guests, it seems to me that<br />
the Society is honowred by the presence of such<br />
men as Sir Clements Markham, Captain Sverdrup.<br />
and others ; men noted for their good and useful<br />
work, some in one field, some in another. I have<br />
never heard of the Society asking subscriptions,<br />
so I don’t quite see how it can be brought down<br />
to the level of a charitable organisation.<br />
<br />
Lastly, I will say that I am so far in sympathy<br />
with the writer of “A Protest” that I think it<br />
would be more agreeable if it were possible to<br />
arrange a festival, or annual gathering, in which<br />
all the members could participate. It is clearly<br />
impossible to please everyone in a large body of<br />
people like the Authors’ Society, and if authors are<br />
“proverbially irritable,” what a large amount of<br />
self-control is needed by a committee formed of<br />
authors, whose task in endeavouring to please all<br />
can scarcely be an enviable one.<br />
<br />
H. M. E. Stanton.<br />
May 4th, 1903.<br />
<br />
SERIAL RIGHTS IN STORIES.<br />
<br />
S1n,—As I receive inquiries concerning my “new<br />
story” in the Sphere for May 2nd and 9th, will you<br />
allow me space to say that, so far from. being new,<br />
it is a resuscitated old story which appeared in a.<br />
country journal nearly twenty years ago, and that<br />
I am in no way responsible for its publication as if<br />
new ? ae<br />
<br />
I make this an opportunity of reminding inex-.<br />
perienced writers of fiction that, in disposing of<br />
‘serial rights” in their productions, they should<br />
take care to limit the time during which such<br />
rights may be exercised.<br />
<br />
Tuomas Harpy. | https://historysoa.com/files/original/5/485/1903-07-01-The-Author-13-10.pdf | publications, The Author |