Omeka ID | Omeka URL | Title | Subject | Description | Creator | Source | Publisher | Date | Contributor | Rights | Relation | Format | Language | Type | Identifier | Coverage | Publisher(s) | Original Format | Oxford Dictionary of National Biography Entry | Pages | Participants | Pen Name | Physical Dimensions | Position End Date | Position Start Date | Position(s) | Publication Frequency | Occupation | Sex | Society Membership End Date | Society Membership Start Date | Start Date | Sub-Committee End Date | Sub-Committee Start Date | Text | To | URL | Volume | Death | Biography | Birth | Committee End Date | Committee of Management End Date | Committee of Management Start Date | Committee Start Date | Committee(s) | Council End Date | Council Start Date | Date | Bibliography | End Date | Event Type | From | Image Source | Interactive Timeline | Issue | Location | Members | Ngram Date | Ngram Text | Files | Tags |
---|
508 | https://historysoa.com/items/show/508 | Index to The Author, Vol. 16 (1906) | <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.+16+%281906%29">Index to <em>The Author</em>, Vol. 16 (1906)</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> | 1906-The-Author-16-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=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906">1906</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/4/508/1906-The-Author-16-index.pdf | publications, The Author |
509 | https://historysoa.com/items/show/509 | The Author, Vol. 16 Issue 01 (October 1905) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+01+%28October+1905%29"><em>The Author</em>, Vol. 16 Issue 01 (October 1905)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1905-10-01-The-Author-16-1 | | | | | 1–32 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1905-10-01">1905-10-01</a> | | | | | | | 1 | | | 19051001 | Che Huthbor.<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 />
You. XVI.—No. 1.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<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 />
Tux Editor begs to inform members of the<br />
Authors’ Society and other readers of 7’he 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 />
See<br />
List of Members.<br />
<br />
Tux List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
RUS GS SEE<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tux Trustees of the Pension Fund met at the<br />
Society’s Offices in April, 1905, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
Vou. XVI.<br />
<br />
OcroBER ist, 1908.<br />
<br />
<br />
<br />
<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
<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 />
Consols 24 %....cceceeccsreeceeceecesenees £1000 0 0<br />
<br />
<br />
<br />
Thocalk Lioans..<...-.--..--.-:--+-- oe 500 0 0<br />
Victorian Government 3 % Consoli-<br />
<br />
dated Inscribed Stock ............++- 291 19 11<br />
<br />
War Loam .:..-.-.-<...--.) sess 201.9 8<br />
London and North Western 3 % Deben-<br />
<br />
ture SlOCK <.2..--5..0. eee eee ee 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates . 200 0 90<br />
<br />
Pothl 3.i.055e oe. £2,448 9 2<br />
<br />
Subscriptions, 1905. £ Ss. a,<br />
<br />
Jan. 12, Anonymous : 0 2 6<br />
<br />
June 16, Teignmouth-Shore, the Rev.<br />
Canon. : : : : ol 120<br />
<br />
July 13, Dunsany, the Right Hon. the<br />
Lord . . : ‘ °<br />
<br />
Donations, 1905.<br />
<br />
Middlemas, Miss Jean<br />
<br />
Bolton, Miss Anna<br />
<br />
24, Barry, Miss Fanny .<br />
<br />
27, Bencke, Albert<br />
<br />
. 28, Harcourt-Roe, Mrs.<br />
<br />
Feb. 18, French-Sheldon, Mrs.<br />
<br />
Feb. 21, Lyall, Sir Alfred, P.C.<br />
<br />
Mar. 28, Kirmse, Mrs.<br />
<br />
April19, Hornung, EH. W. .<br />
<br />
May 7, Wynne, C. Whitworth<br />
<br />
May 16, Alsing, Mrs. J. E.<br />
<br />
May 17, Anonymous . :<br />
<br />
June 6, Drummond, Hamilton<br />
<br />
July 28, Potter, the Rev. J. Hasluck<br />
<br />
——___—_—_—<>—_+______—_<br />
<br />
COMMITTEE NOTES.<br />
<br />
ee<br />
HE last meeting of the committee before the<br />
vacation was held on Monday, July 10th,<br />
<br />
at 4 p.m. After the minutes had been<br />
<br />
signed, the election of members was proceeded with.<br />
Nine members and ten associates were admitted to<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan<br />
<br />
a<br />
Coo.o Cc oOo<br />
<br />
0<br />
<br />
i<br />
mW ONCOCOCOCOCOUAnNe<br />
<br />
2<br />
<br />
bo<br />
OWwkFournorocococe<br />
<br />
0<br />
0<br />
0<br />
<br />
0<br />
2 THE AUTHOR.<br />
<br />
the lists of the society, bringing the total elections<br />
for the current year up to 137.<br />
<br />
The committee then voted to the chairman the<br />
usual powers to act in cases of emergency during the<br />
vacation.<br />
<br />
Further evidence was placed before the com-<br />
mittee on a matter that had been discussed at a<br />
previous meeting—the general lien claimed by<br />
printers and binders—and counsel’s opinion, which<br />
the Association of Wholesale Stationers had sub-<br />
mitted for their perusal, was carefully considered.<br />
With all the evidence before them the committee did<br />
not see that they would be justified in taking up<br />
the case.<br />
<br />
A curious contract which had been made be-<br />
tween a representative of Messrs. Ward, Lock &<br />
Co., in Melbourne, backed with the authority of<br />
the London house and a member of the society,<br />
together with the correspondence, was read by the<br />
secretary, and the committee decided to print a<br />
full statement of the case in Zhe Author.<br />
<br />
In June the committee decided to take coun-<br />
sel’s opinion on some difficult points of law con-<br />
nected with the publication of an author’s work and<br />
an author's name. ‘This opinion was read. As it<br />
<br />
was distinctly adverse to the claims of the author,<br />
the committee, agreeing with counsel’s opinion,<br />
regretted that they were unable to take action on<br />
<br />
behalf of the author.<br />
<br />
The secretary of the George Crabbe Celebration<br />
had expressed a wish in a letter laid before the<br />
committee that the society should be formally<br />
represented. The celebration would be held at<br />
Aldeburgh in September. The committee decided<br />
to ask Mr. Austin Dobson and Mr. Edward Clodd<br />
to attend as representatives of the society. Mr.<br />
Clodd has consented to act, but Mr. Austin<br />
Dobson, owing to other engagements, will be<br />
unable to attend.<br />
<br />
There were some other matters either of small<br />
importance or of such a nature as to render it<br />
inadvisable to publish the details at the present<br />
time. Two county court cases were sanctioned<br />
by the chairman during the month of June,<br />
subject to the favourable opinion of the society’s<br />
solicitors, and to their being able to obtain satis-<br />
factory evidence in support of the author’s claim.<br />
<br />
—1 <9<br />
<br />
Cases. :<br />
<br />
SINCE the publication of The Author in July<br />
there have been twenty cases in the secretary’s<br />
hands. This is below the average, but during the<br />
vacation months the business at the office and in<br />
the literary world is quiet. There have been two<br />
cases for infringement of copyright. The first case<br />
the society was unable to take up owing to the fact<br />
<br />
that the advice of the solicitors was against action.<br />
The second case was in Germany, where a publisher<br />
had produced a translation of a story by one of the<br />
members of the society without his sanction or<br />
<br />
contract, and bound it up with other stories not<br />
<br />
written by the member. The statement on the<br />
binding was such as would lead the public to sup-<br />
pose that the whole work was from the pen of the<br />
member whose rights had been infringed. This<br />
case was of some importance, as it occurred out of<br />
England, and there have been recently through<br />
the society’s office other cases in foreign coun-<br />
tries. In answer to an application made by the<br />
secretary the publisher made an offer of a money<br />
payment, which the author had no desire to accept ;<br />
but on the author demanding from the publisher<br />
an ample apology and a promise that the volume<br />
be re-bound in a manner which should not convey<br />
a false impression to the public, the apology was<br />
promptly made and the promise given. This termi-<br />
nation is very satisfactory from every point of view,<br />
for the wider the influence of the society extends<br />
the greater will be the protection which it can<br />
afford to its members.<br />
<br />
There have been twelve cases—almost half the<br />
total number—for money due and unpaid. Of<br />
these nine have been successful, the remaining<br />
three have failed owing to the bankruptcy of the<br />
papers. Two of the claims were against Vanity<br />
Fair, which was in bankruptcy, but which has now<br />
been taken over by Messrs. Harmsworth. Two<br />
claims for accounts were placed in the secretary’s<br />
hands. The accounts have been rendered, and the<br />
money paid. There was one case for money and<br />
accounts under a bankruptcy in the United States.<br />
The progress of bankruptcy proceedings appears to<br />
be as lengthy in the States as in England, and<br />
although the liquidation has been proceeding for<br />
some time, the final settlement has not yet been<br />
completed. Accounts have been rendered, but no<br />
money has been paid. There have been three<br />
cases for the return of MSS. In two the applica-<br />
tion of the secretary has been successful, and it is<br />
hoped that a satisfactory result may be obtained in<br />
the third case also, although it has not yet ter-<br />
minated. One dispute which has occurred with<br />
regard to an agreement, is still in the course of<br />
negotiation.<br />
<br />
The total result therefore may be reckoned satis-<br />
factory, as the majority of cases have been entirely<br />
successful.<br />
<br />
The action takenin the above matters was taken<br />
by the secretary, who conducted the negotiations,<br />
but in three other disputes it has been necessary<br />
to place the conduct in the hands of the society’s<br />
lawyers. One, relating to an infringement of<br />
copyright, is still in course of settlement ; one for<br />
money and accounts has been unfortunately<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
terminated by the bankruptcy of the defendant.<br />
One most important case has been taken in the<br />
French courts. The committee found it necessary<br />
to take counsel’s opinion in the first instance, from<br />
a French lawyer, and finally, counsel’s opinion,<br />
being in favour of action, the matter was placed<br />
in the hands of a French solicitor. The con-<br />
nection between the English Society of Authors<br />
and the Société des Gens de Lettres has enabled<br />
the committee to carry the matter through with<br />
expedition, and it is to be hoped in the end<br />
with a satisfactory result. ‘This connection<br />
enabled the English society to place the case in the<br />
hands of the lawyers of the French society, who,<br />
most conversant with the French copyright law,<br />
are, therefore, the most fitted to take action on<br />
its behalf.<br />
<br />
July Elections.<br />
<br />
Basevi, Col. C. E.. 25, Earl’s Court Square,<br />
<br />
S.W.<br />
Davies, Edwin. . 14, Bridge Street,<br />
Brecon.<br />
Dunsany, The Right Carlton Club.<br />
Hon. The Lord :<br />
Foster, Miss Bertha The Red House, Bar-<br />
Clementia : : ham, Canterbury.<br />
Gouldsbury, H. C. . 2, Brompton Square,<br />
<br />
S.W.<br />
The Manor House Col-<br />
tishall, near Norwich.<br />
<br />
Hachblock, Miss Emily.<br />
<br />
Harvey, Miss Edith M.<br />
Huggard, Dr. W. R. H. B. M. Consul, Davos<br />
Platz, Switzerland.<br />
<br />
8, Mornington Avenue<br />
Mansions, West Ken-<br />
sington, W.<br />
<br />
28, Abingdon Villas,<br />
Kensington.<br />
<br />
115, Strand W.C.<br />
<br />
24, Belsize Park, Hamp-<br />
stead, N. W.<br />
<br />
Kingshurst, Paignton,<br />
South Devon.<br />
<br />
Lee, Miss Elizabeth<br />
<br />
Lynch, Frances<br />
Magdalen<br />
<br />
Magnus, George G. .<br />
<br />
McChesney, Miss Dora<br />
Greenwell<br />
<br />
Morrison, E.W.<br />
<br />
Muir, Ward . Crouch, Boro’ Green,<br />
Kent.<br />
<br />
Murphy, Miss Agnes G. c/o National Bank of<br />
Australasia, 123,<br />
<br />
Bishopsgate Street<br />
Within, E.C.<br />
Potter, The Rev. Canon<br />
J. Hasloch<br />
Toynbee Paget, M.A.,<br />
D, Litt., Oxon.<br />
Yeats, W. B.<br />
<br />
Fiveways,<br />
Bucks,<br />
<br />
18, Woburn Buildings,<br />
Euston Road, N.W.<br />
<br />
Burnham,<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY,<br />
<br />
———+——<br />
<br />
(in the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
ARCHITECTURE.<br />
<br />
STONE GARDENS. With practical Hints on the Paving and<br />
Planting of them. By Rose Haiag THOMAS. 143 x 103.<br />
<br />
Simpkin Marshall. 7s. 6d. n.<br />
BIOGRAPHY.<br />
MEL. B. SPuRR. His Life, Works, Writings, and<br />
Recitations. By H. A. SpurR. 74 x 5. 235 pp.<br />
A. Brown.<br />
<br />
LADY KNIGHT’s LETTERS FROM FRANCE AND ITALY,<br />
1776—1795. Edited by Lapy ExLLiotr DRAkg, and<br />
published by A. HUMPHREYS. 10s. n.<br />
<br />
MICHAEL DE MonTAIGNE. By EDWARD DOWDEN, LL.D.<br />
(FRENCH MEN oF LETTERS. Edited by ALEXANDER<br />
Jessup. Lirr.p.) 7? x 5. 383 pp. Lippincott. 6s. n.<br />
<br />
THE LIFE or CHARLES LAMB. Two yols. By E. V.<br />
Lucas. 9 x 6. 400 & 429 pp. Methuen. 21s. n.<br />
<br />
CLASSICAL.<br />
THE GEORGICS OF VIRGIL. Translated<br />
Verse. By LoRD BURGHCLERE.<br />
88 x 7, 195 pp. Murray. 10s. 6d. n.<br />
<br />
DRAMA.<br />
<br />
MOLLENTRAVE ON WoMEN. A Comedy in Three Acts. By<br />
ALFRED Surro. 7} x 4$. 86 pp. French. 1s. 6d. n.<br />
<br />
ECONOMICS.<br />
THE PRACTICAL BOOK-KEEPER AND ACCOUNTANTS’<br />
Guipr. By JoHN ScouLLER. 84 x 5}. 217 pp.<br />
Simpkin Marshall. 5s.<br />
<br />
EDUCATIONAL.<br />
<br />
Tue LitTtLE Book oF HEALTH AND COURTESY. By<br />
P. A. BARNETT. For Boys and Girls. 6 x 4. 24 pp.<br />
Longmans. 3d.<br />
<br />
Horace. OpESI., IL, III., IV. (Blackie’s Latin Tests.)<br />
Edited by W.H. D.Rouss, Lirr.D. 64 x 44. 125 + 111 pp.<br />
Blackie. 8d. each.<br />
<br />
LittLE Frencu Fork. A First Book in French, for<br />
Little Children. With Illustrations. Second Edition<br />
<br />
into English<br />
Second edition.<br />
<br />
enlarged. Horace Marshall & Son. 9 x 6}. 2s.<br />
First Frence Boor. By D. Mackay and F.J. CURTIS.<br />
7k x 4%. 170 pp. Whittaker. 1s. n.<br />
FICTION.<br />
<br />
HuGH RENDAL. By LIONEL PORTMAN. 7} x 5. 304 pp.<br />
Alston Rivers. 6s.<br />
<br />
THE MAID OF THE RIVER.<br />
7% x 51. 419pp. John Long. 6s.<br />
<br />
A Jay or Iraty. By BERNARD CAPES. 7} x 4.<br />
316 pp. METHUEN. 6s.<br />
<br />
THE ROMANCE OF LOHENGRIN.<br />
Opera. By BERNARD CAPES.<br />
6s.<br />
<br />
THe CONFLICT OF OWEN PRYTHERCH. By WM.<br />
GALLICHAN (“Geoffrey Mortimer ’’). 75 x 43. 300 pp.<br />
Edinburgh : Morton. London: Simpkin Marshall. 6s.<br />
<br />
Fortoune’s Favourite. By KATHERINE TYNAN.<br />
72 x 42. 312 pp. White. 6s.<br />
<br />
By M. 8S. CAMPBELL PRAED.<br />
<br />
Founded on Wagner's<br />
8 x 5}. 271 pp. Dean.<br />
THE AUTHOR.<br />
<br />
PLAYING THE KNAVE. By FLORENCE WARDEN. 7} x 438,<br />
317 pp. Laurie. 6s.<br />
<br />
Mrs. ALLMERE’S ELOPEMENT.<br />
74 x 49. 316 pp. Nash. 6s.<br />
<br />
THE KrnG’s MESSENGER. By Louis TRAcYy. 7% x 43.<br />
312 pp. White. 6s.<br />
<br />
THE EXPLOITS OF JO. SALIS.<br />
WILLIAM GREENER. 7% x 5.<br />
Blackett. 6s.<br />
<br />
THE MARQUIS OF PUTNEY. By RICHARD MAarsuH.<br />
7% x 5. 309 pp. Methuen. — 6s,<br />
<br />
THE WHITE LaDy, By MAY CROMMELIN. 7} x 5. 465 pp.<br />
John Long. 6s.<br />
<br />
THE CONQUERING WILL. By SILAS<br />
74 x 5. 324 pp. Warne. 2s.<br />
<br />
Vivien. By W. B. MAXWELL. 73 x 5.<br />
Methuen. 6s.<br />
<br />
RED 0’ THE FEUD.<br />
342 pp. Werner Laurie. 6s.<br />
<br />
THE LOST PIBROCH AND OTHER SHEILING STORIES. By<br />
NEIL MuNRO. 5th Edition, 74 x 5. 285pp. Black-<br />
wood. 3s. 6d.<br />
<br />
THE PRIDE OF Mrs. BRUNELLE. By ARTHUR H. HOLMES.<br />
T. Burleigh.<br />
<br />
THE FERRYMAN, By HELEN MATHERS. 73 x 5. 309 pp.<br />
Methuen. 6s.<br />
<br />
KNOCK AT A VENTURE. By EDEN PHILLPOTTS. 73 x 5.<br />
312 pp. Methuen. 6s.<br />
<br />
THE QUEEN’Ss MAN. By ELEANOR C. PRICE. 73 x 5.<br />
319 pp. Constable. 6s.<br />
<br />
A HIGHLAND WEB. By L. H.SouvTar. 7} x 5,<br />
Edinburgh ; Morton. 6s.<br />
<br />
STANDERTON UNDER MARTIAL LAw. By EmILy OLIVIA<br />
CAROLIN. 64 x 3%. 171 pp. Drane. 1s.<br />
<br />
THE PATIENT MAN. By PERCY WHITE. 7} x 5. 312 pp.<br />
Methuen. 6s.<br />
<br />
THE PASSPORT.<br />
Methuen. 6s.<br />
<br />
THE HoUsE BY THE RIVER. By FLORENCE WARDEN.<br />
73 x 5. 309 pp. Unwin. 6s.<br />
<br />
A SERVANT OF THE PUBLIC.<br />
7? x 43. 362 pp. Methuen. 6s.<br />
<br />
THE Man. By Bram STOKER.<br />
Heinemann. 6s.<br />
<br />
THE FALL OF THE CARDS.<br />
292 pp. Harper. 6s.<br />
<br />
A Roya Rascau. Episodes in the Career of Colonel<br />
Theophilus St. Clair, K.C.B. By Magor ARTHUR<br />
GRIFFITHS. 74 x 4%. 309 pp. Unwin. 6s.<br />
<br />
A QUAKER Woornc. By Mrs. Frep ReyNoLDS, 73 x 44.<br />
314 pp. Hutchinson. 6s.<br />
<br />
THE MAGNETIC GirL. By RICHARD MarsuH.<br />
126 pp. Long. 6d.<br />
<br />
THE SEVENTH DREAM. By “Riva.”<br />
Hurst & Blackett. 3». 6d.<br />
THE DANGER OF INNOCENCE.<br />
HAMILTON.<br />
<br />
Greening. 1s,<br />
<br />
No. 3, THE SQUARE,<br />
124 pp. Long. 6d.<br />
<br />
STARVECROW Farm. By STANLEY WEYMAN,<br />
345 pp. Hutchinson. 6s.<br />
<br />
THE IMPROBABLE IpYLL. By DoroTHEA<br />
73 x 5. 316 pp. Methuen. 6s.<br />
<br />
A Nine Days’ WonpER. By B. M. Croker. 7<br />
316 pp. Methuen. 6s.<br />
<br />
A MAKER or History. By E. PHILLIPS OPPENHEIM.<br />
7@ x 5. 315 pp. Ward Lock. 6s.<br />
<br />
Our JosHUA, RADICAL, OCTOGENARIAN, CELEBRITY,<br />
AND Pup-BREEDER, ACCORDING TO ME, HIS WIFE,<br />
Edited by THEODORA WILSON WILSON. 64 x 4, 202 pp.<br />
Bristol : Arrowsmith. 1s,<br />
<br />
By CHARLES MARRIOTT.<br />
<br />
A British Spy. By<br />
296 pp. Hurst &<br />
<br />
K. Hockine.<br />
527 pp.<br />
<br />
By HALLIWELL SUTCLIFFE. 74 x 5.<br />
<br />
298 pp.<br />
<br />
By R. Bagot. 72 x 5}. 399 pp.<br />
By ANTHONY Hope.<br />
7G x 5, 436 pp.<br />
<br />
By R. K. WEEKES. 7} x 5.<br />
<br />
83 x 5B.<br />
<br />
7% x 5. 311 pp.<br />
<br />
A Flippancy. By Cosmo<br />
4g<br />
<br />
Popular Edition. 74 x 299 pp.<br />
<br />
By FLORENCE WARDEN. 83 x 53.<br />
1 x 0.<br />
GERARD,<br />
<br />
xX oOo<br />
<br />
A MAN AND A Motor anp SUBSEQUENTLY A WIFE.<br />
By R. W. BrapsHaw NEEDHAM. Popular Edition.<br />
7; X 5. Clement’s Publishing Co. 6d. n,<br />
<br />
GARDENING.<br />
<br />
coe nts i GARDEN DzsIcn. By C. 'HONGER. (Hand-<br />
ooks of Practical Gardening). 72 x 51. 90 pp. .<br />
2s. 6d. nét. Le ae<br />
CARNATIONS AND Pinks. Edited by E. T. Cook. ( The<br />
Country Life” Library.) 91 x 53. 162 pp. Newnes.<br />
<br />
3s, 6d. n.<br />
HISTORY.<br />
<br />
YEAR Books oF THE REIGN oF KING EDWARD THE<br />
THIRD. Years XVIII. and XIX. Edited and Trans-<br />
lated by LUKE OWEN PIKE. 10 x 6}. 616 pp. Wyman.<br />
<br />
MILITARY.<br />
<br />
WELLINGTON’S CAMPAIGNS, 1808—1815 ; also Moors’s<br />
CAMPAIGN OF CorUNNA, Part IL. 1811—12—13,<br />
Banosa to Vittoria, and Invasion of France. By<br />
MAJOR-GENERAL C, W. ROBINSON, ©.B. 8} x 53. Rees,<br />
Bs. 6d.<br />
<br />
POETRY.<br />
<br />
PoErMs. By AUSTIN Dosson (selected). (Dryden Library.)<br />
6x 4. 184 pp. Kegan Paul. 2s. n.<br />
<br />
DreAM CoME TRUE. By L, Binyon. 28 pp.<br />
The Eragny Press.<br />
<br />
OSRAC, THE SELF SUFFICIENT, By J. M. Stuart Youne.<br />
The Heimes Press. 7s. 6d.<br />
<br />
A NINETEENTH CENTURY IDYLL.<br />
& F. Denny, 147, Strand.<br />
<br />
7k x 44.<br />
<br />
By N. ARLING. A.<br />
ls. 6d. and 3s.<br />
<br />
POLITICAL.<br />
<br />
THE CANADIAN ANNUAL REVIEW OF PUBLIC AFFAIRS,<br />
Fourth year of issue. By J.C. Hopxrns, F.S.S. 9 x 6.<br />
630 pp. Toronto: The Annual Review Publishing<br />
Co. London: P. 8. King. 12s. 6d. n.<br />
<br />
REPRINTS.<br />
<br />
DIARY AND LETTERS OF MADAME D’ ARBLAY (1778—1840).<br />
As Edited by her niece Charlotte Barrett, with Preface<br />
and Notes. By Austin Dosson. Insix volumes. Vol. VI.<br />
9 x 5}. 502 pp. Macmillan. 10s. 6d. n.<br />
<br />
A SIXTEENTH CENTURY ANTHOLOGY. Edited by ARTHUR<br />
Symons (Red Letter Library). 6 x 4. 468 pp. Blackie.<br />
<br />
THE RED LETTER SHAKESPEARE. Ldited by HE. K-<br />
CHAMBERS. HENRY THE FIFTH. 61} x 33. 141 pp.<br />
Blackie. 1s. 6d.<br />
<br />
THE LABYRINTH OF THE WORLD AND THE PARADISE OF<br />
THE HEART. Edited and Englished by the Counr<br />
Lutzow (Temple Classics). 6 xX 4. 366 pp. Dent.<br />
ls. 6d. n.<br />
<br />
THE REIGN OF QUEEN ANNE. By JUSTIN McCARTHY.<br />
(The St. Martin’s Library Fine Paper Edition.) 64 x 44.<br />
600 pp. Chatto & Windus. 2s. n.<br />
<br />
POEMS OF COLERIDGE. Selected and Arranged with an<br />
Introduction and Notes. By ARTHUR SYMONS. 7 x 44.<br />
223 pp. Methuen. 2s. 6d. n.<br />
<br />
SCIENCE.<br />
<br />
PRECIOUS STONES CONSIDERED IN THEIR SCIENTIFIC<br />
AND ARTISTIC RELATIONS. By A, H. CHURCH, F.R.S.<br />
New edition. 73 x 5}. 135 pp. Wyman. 2s. 3d.<br />
<br />
SPORT.<br />
<br />
The Method at a Glance.<br />
9 x 6. 716 pp.<br />
<br />
By G. W.<br />
Macmillan,<br />
<br />
GREAT BATSMEN.<br />
BELDAM and C. B. Fry.<br />
21s, n.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
By G. W. BELDAM AND<br />
<br />
Illustrated.<br />
141 pp. Newnes. 3s. 6d, n.<br />
<br />
83 x 54.<br />
<br />
GoLr FAULTS.<br />
J. H, TAYLOR.<br />
<br />
THEOLOGY.<br />
<br />
THESE SAYINGS OF MINE. A Manual on the Beatitudes<br />
for Christian People. By F. G. LAVERACK. 7% x 5.<br />
144 pp. A. Brown.<br />
<br />
TRAVEL.<br />
<br />
A SRARCH FOR THE MASKED TAWAREKS. By W. J.<br />
Harpine King. 8} x 53. 334 pp. Smith Elder. 6s.<br />
<br />
THE WorRLD OF To-pAy. A Survey of the Lands and<br />
Peoples of the Globe as Seen in Travel and Commerce.<br />
By A. R. Hope MONCRIEFF. Vol. Il. 102: 7:<br />
266 pp. The Gresham Publishing Co. 8s. n.<br />
<br />
A WANDERER IN Houianp. By HE. V. Lucas.<br />
309 pp. Methuen. 6s.<br />
<br />
7% Xx 5.<br />
<br />
—————_e—<>—____—_<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
R. ARTHUR W. A BECKETT, who was<br />
<br />
VI elected for the fifth time hon. treasurer<br />
<br />
of the Institute of Journalists at Bourne-<br />
mouth, is engaged upon “a book of recent recol-<br />
lections” to be called ‘*‘ Ihe First T'wentieth of the<br />
Twentieth Century.”<br />
<br />
Messrs. Brown, Langham & Co. published early<br />
last month, Mr. E. H. Lacon Watson’s new volume,<br />
entitled “Reflections of a Householder.” The<br />
price of the work—a limited edition of which,<br />
numbered and signed by the author, and printed<br />
on hand-made paper, has also been published—is<br />
3s. 6d.<br />
<br />
“ Researches in Sinai.” By Prof. W. Flinders<br />
Petrie, gives an account of the recent expedition<br />
with a large working party, which lived in the<br />
desert excavating for some months. The oldest<br />
Egyptian sculptures known are reproduced, the<br />
geology and ancient ruins are described, the only<br />
temple known for Semitic worship was fully<br />
explored and is illustrated in detail, the conditions<br />
of the Exodus are discussed with a new view of the<br />
Israelite census, and the life of the Bedouin of Sinai<br />
and the Egyptian desert is noticed. The book,which<br />
is published by Mr. John Murray, contains about<br />
two hundred illustrations.<br />
<br />
Mr. J. W. Arrowsmith published in August a<br />
book of character and political sketches (1s),<br />
entitled “Our Joshua, Radical, Octogenarian.<br />
Celebrity and Pup-breeder. According to his<br />
wife, and edited by Theodora Wilson Wilson.”<br />
<br />
Mr. G. H. Grierson has been awarded the “ Prix<br />
Volney” by the Institut de France for the<br />
Linguistic Survey of India, and for his last work,<br />
“The Languages of India.” The Société Asiatique<br />
of Paris has simultancously elected him a “ Membre<br />
<br />
5<br />
<br />
months<br />
member<br />
<br />
ago Mr.<br />
<br />
Associé Etranger.” A few<br />
of the<br />
<br />
Grierson was elected an hon.<br />
American Oriental Society.<br />
<br />
Col. R. Elias’ work “ The Tendency of Religion ”<br />
(Chapman and Hall) shows the gradual develop-<br />
inent of mutual understanding with regard to<br />
“religion ” among thinking men of all nations, and<br />
the consequent convergence of the various forms of<br />
religion, and insistence on their good and essential<br />
parts only—hence the very sure, though slow,<br />
decay of myths, narrow dogma, and exclusive<br />
creeds.<br />
<br />
“The Spring’s Approach, and Other Thoughts<br />
of Life” is the title of a collection of poems by<br />
Charles Cowen. The author’s aim has been, by<br />
sudden changes and contrasts of style, to minimise<br />
monotony and weariness in the reading as far as<br />
possible.<br />
<br />
Messrs. Dawbarn and Ward have recently pub-<br />
lished, at the price of 1s, nett, a handbook entitled<br />
<br />
’ “Photography for the Press.” Its purport is to<br />
<br />
instruct the aspirant as to the best markets for<br />
his work, and the best means of obtaining access<br />
to those markets. It contains, in addition, infor-<br />
mation concerning the markets for picture postcard<br />
business.<br />
<br />
«Two Friends of Old England, being Mirabeau<br />
and Gambetta, and J. Bonhomme, in a nutshell, by<br />
‘Saxon Norman’ (Arthur Pavitt and Baron de<br />
Béville),” is the title of a work published by Mr.<br />
Effingham Wilson at the price of 2s. 6d. The<br />
history of the entente cordiale is the main purpose<br />
of the authors. It is traced back to Mirabeau’s<br />
journey to London (1783—1784) where he<br />
sojourned under the roof of Sir Gilbert Elliott,<br />
the future Lord Minto. The letter of the great<br />
orator and statesman to Wilberforce, written in<br />
1790, is given, also the speech of Leon Gambetta,<br />
of July, 1882, bidding his countrymen never to<br />
break the English alliance. The book is prefaced<br />
by Richard Harris, K.C., the editor of the<br />
reminiscences of Lord Brampton.<br />
<br />
The stirring events in Odessa should create a<br />
special interest in two books published not long<br />
ago, the scenes of action in both being in this<br />
Russian port. ‘They are from the pen of Mr.<br />
Jaakoff Prelooker, who was head-master of a<br />
Government school in Odessa, and bear the titles<br />
of ‘ Rabbi Shalom on the Shores of the Black Sea”<br />
(Simpkin, Marshall) and ‘“ Under the Czar and<br />
Queen Victoria: Tne Experience of a Russian<br />
Reformer” (James Nisbet). The author tells of a<br />
reform movement originated by himself in Odessa,<br />
and sheds many side-lights on local life, police,<br />
relations between Christians and Jews, etc. Both<br />
books are fully illustrated, the frontispiece of<br />
“Rabbi Shalom on the Black Sea” being a striking<br />
view of Odessa Harbour, showing the long elevated<br />
1 Raa ALLTEL SAS I I SS RTE A RSTO<br />
<br />
4 THE AUTHOR.<br />
<br />
PLAYING THE KNAVE. By FLORENCE WARDEN. 7} x 432.<br />
317 pp. Laurie. 6s.<br />
<br />
Mrs. ALLMERE’S ELOPEMENT.<br />
74 x 43. 316 pp. Nash. 6s.<br />
<br />
THE Kine’s MESSENGER. By Louis TRAcy.<br />
312 pp. White. 6s.<br />
<br />
THE EXPLOITS OF JO. SALIS.<br />
WILLIAM GREENER. 7} X 5.<br />
Blackett. 6s.<br />
<br />
THE Marquis OF PUTNEY. By RiIcHARD MARSH.<br />
72 x 5. 309 pp. Methuen. 6s.<br />
<br />
THE WHITE Lapy. By MAY CROMMELIN. 7} x 5. 465 pp.<br />
John Long. 6s.<br />
<br />
THE CONQUERING WILL. By Sinas K.<br />
74 x 5. 324 pp. Warne. 2s.<br />
<br />
Vivien. By W. B. MAXWELL. 7} x 5,<br />
Methuen. 6s.<br />
RED 0’ THE FEUD.<br />
<br />
342 pp. Werner Laurie. 6s.<br />
<br />
THE Lost PIBROCH AND OTHER SHEILING STORIES. By<br />
NEIL Munro. 5th Edition. 74 x 5. 285pp. Black-<br />
wood. 3s. 6d.<br />
<br />
THE PRIDE OF Mrs, BRUNELLE, By ARTHUR H. HOLMEs.<br />
T. Burleigh.<br />
<br />
THE FERRYMAN, By HELEN MATHERS. 73 x 5. 309 pp.<br />
Methuen. 6s.<br />
<br />
KNOCK AT A VENTURE. By EDEN PHILLPOTTS.<br />
312 pp. Methuen. 6s.<br />
<br />
THE QUEEN’S Man. By ELEANOR C, PRICE.<br />
319 pp. Constable. 6s.<br />
<br />
A HIGHLAND WEB. By L. H.Sourar. 73 x 5.<br />
Edinburgh : Morton. 6s.<br />
<br />
STANDERTON UNDER MARTIAL LAw. By Eminy OLIvIA<br />
CAROLIN. 6} x 32. 171 pp. Drane. 1s.<br />
THE PATIENT MAN. By PERCY WHITE. 73 x 5.<br />
Methuen. 6s.<br />
THE PASSPORT.<br />
Methuen. 6s,<br />
THE HOUSE BY THE RIVER.<br />
<br />
7% xX 5. 309 pp.<br />
<br />
A SERVANT OF<br />
7? x 43. 362 pp. Methuen. 6s.<br />
<br />
THE MAN. By BRAM STOKER.<br />
Heinemann. 6s.<br />
<br />
THE FALL OF THE CARDS.<br />
292 pp. Harper. 6s.<br />
<br />
A Roya Rascau. Episodes in the Career of Colonel<br />
Theophilus St. Clair, K.C.B. By Magor ARTHUR<br />
GRIFFITHS. 74 x 4%. 309 pp. Unwin. 6s.<br />
<br />
A QUAKER Wooing. By Mrs. FRED REYNOLDS. 73 x 43.<br />
314 pp. Hutchinson. 6s,<br />
<br />
THE MAGNETIC GirL. By RICHARD MarsH.<br />
126 pp. Long. 6d.<br />
<br />
THE SEVENTH DREAM. By “ RiTA.”<br />
Hurst & Blackett. 3». 6d.<br />
THE DANGER OF INNOCENCE.<br />
HAMILTON.<br />
<br />
Greening. ls.<br />
<br />
No. 3, THE SQUARE.<br />
124 pp. Long. 6d.<br />
<br />
STARVECROW Farm. By STANLEY WEYMAN.<br />
345 pp. Hutchinson. 6s,<br />
<br />
THE IMPROBABLE IDyLL. By DoRoTHEA<br />
73 x 5. 316 pp. Methuen. 6s.<br />
<br />
A NINE Days’ WonpER. By B. M. CRoKER.<br />
316 pp. Methuen. 6s.<br />
<br />
A Maker or History. By E. PHILLIPS OPPENHEIM.<br />
72 x 5. 315 pp. Ward Lock. 6s.<br />
<br />
Ovr JosHuA, RADICAL, OCTOGENARIAN, CELEBRITY,<br />
AND PUp-BREEDER, ACCORDING TO ME, HIS WIFE.<br />
Edited by THEODORA WILSON WILSON. 64 x 4, 202 pp.<br />
Bristol : Arrowsmith. 1s,<br />
<br />
By CHARLES MARRIOTT.<br />
7% x 43.<br />
<br />
A British Spy. By<br />
296 pp. Hurst &<br />
<br />
HOCKING.<br />
527 pp.<br />
<br />
By HALLIWELL SUTCLIFFE. 74 x 5.<br />
<br />
2x 5.<br />
7% xX 5.<br />
<br />
298 pp.<br />
<br />
312 pp.<br />
By R. Bagot. 72 x 5}. 399 pp.<br />
By FLORENCE WARDEN.<br />
Unwin. 6s.<br />
<br />
THE PUBLIC. By ANTHONY HoPE,<br />
<br />
72 x «5, 436 pp.<br />
<br />
By R. K. WEEKES. 7} x 5.<br />
<br />
8B Xx 5g.<br />
7? x 5. 311 pp.<br />
<br />
A Flippaney. By Cosmo<br />
Popular Edition. 74 x 43. 299 pp.<br />
<br />
By FLORENCE WARDEN, 83 x 53.<br />
73 5<br />
g x by<br />
<br />
GERARD.<br />
<br />
7% x 5.<br />
<br />
A MAN AND A MorTor Anp SUBSEQUENTLY A WIFE.<br />
By R. W. BrapsHAW NEEDHAM. Popular Edition.<br />
7% X 5. Clement’s Publishing Co. 6d. n.<br />
<br />
GARDENING.<br />
<br />
THE Book OF GARDEN DEsiGn. By C. THONGER. (Hand-<br />
books of Practical Gardening). 72 x 54. 90 pp. Lane.<br />
2s. 6d. nét. ;<br />
CARNATIONS AND PINKS. Edited by E. T. Coox. (“ The<br />
oe Life” Library.) 94 x 53. 162 pp. Newnes.<br />
3s. 6d. n.<br />
<br />
HISTORY.<br />
YEAR BOOKS OF THE REIGN OF KING EDWARD THE<br />
THIRD. Years XVIII. and XIX. Edited and Trans-<br />
lated by LUKE OWEN PIKE. 10 x 64. 616 pp. Wyman.<br />
<br />
MILITARY.<br />
<br />
WELLINGTON’S CAMPAIGNS, 1808—1815; also MoorrE’s<br />
CAMPAIGN OF CORUNNA, Part II., 1811—12—13.<br />
Banosa to Vittoria, and Invasion of France. By<br />
Hip aes ogee C. W. ROBINSON, C.B. 83 x 53. Rees.<br />
3s. 6d.<br />
<br />
POETRY.<br />
<br />
Poems. By AusTIN Dogson (selected). (Dryden Library.)<br />
6x 4. 184 pp. Kegan Paul. 2s. n.<br />
<br />
DREAM COME TRUE. By L, Bryyon.<br />
The Eragny Press.<br />
<br />
OSRAC, THE SELF SUFFICIENT, By J. M. Stuart Youne.<br />
The Heimes Press. 7s. 6d.<br />
<br />
A NINETEENTH CENTURY IDYLL.<br />
& F. Denny, 147, Strand.<br />
<br />
74 x 43. 28 pp.<br />
<br />
By N. ARLING. A.<br />
1s. 6d. and 3s.<br />
<br />
POLITICAL.<br />
<br />
THE CANADIAN ANNUAL REVIEW OF PUBLIC AFFAIRS,<br />
Fourth year of issue. By J. C. Hopxrys, F.S.S. 9 x 6.<br />
630 pp. Toronto: The Annual Review Publishing<br />
Co. London: P.8. King. 12s. 6d. n.<br />
<br />
REPRINTS.<br />
<br />
DIARY AND LETTERS OF MADAME D' ARBLAY (1778—1840).<br />
As Edited by her niece Charlotte Barrett, with Preface<br />
and Notes. By AusTIN Dosson. In six volumes. Vol. VI.<br />
9 x 53. 502 pp. Macmillan. 10s. 6d. n.<br />
<br />
A SIXTEENTH CENTURY ANTHOLOGY. Edited by ARTHUR<br />
Symons (Red Letter Library), 6 x 4. 468 pp. Blackie.<br />
<br />
THE RED LETTER SHAKESPEARE. Edited by E. K-<br />
CHAMBERS. HENRY THE FIFTH. 64 x 33. 141 pp.<br />
Blackie. 1s. 6d.<br />
<br />
THE LABYRINTH OF THE WORLD AND THE PARADISE OF<br />
THE HEART. Edited and Englished by the Counr<br />
Lurzow (Temple Classics). 6 x 4. 366 pp. Dent.<br />
ls. 6d, n.<br />
<br />
THE REIGN OF QUEEN ANNE. By JusTIN McCarTHY.<br />
(The St. Martin’s Library Fine Paper Edition.) 6} x 44.<br />
600 pp. Chatto & Windus. 2s. n.<br />
<br />
POEMS OF COLERIDGE. Selected and Arranged with an<br />
Introduction and Notes. By ARTHUR SYMONS. 7 x 44.<br />
223 pp. Methuen. 2s. 6d. n.<br />
<br />
SCIENCE.<br />
<br />
PRECIOUS STONES CONSIDERED IN THEIR SCIENTIFIC<br />
AND ARTISTIC RELATIONS. By A. H. CHURCH, F.R.S.<br />
New edition. 7} x 51. 135 pp. Wyman. 2s. 3d.<br />
<br />
SPORT,<br />
<br />
The Method at a Glance.<br />
9 x 6. 716 pp.<br />
<br />
By G. W.<br />
Macmillan.<br />
<br />
GREAT BATSMEN.<br />
BELDAM and C. B. Fry.<br />
21s. n,<br />
<br />
<br />
<br />
<br />
Illustrated. By G. W. BELDAM AND<br />
<br />
FAULTS.<br />
3s. 6d. n.<br />
<br />
GOLF<br />
<br />
J.H. Tayutor. 8% x 53. 141 pp. Newnes.<br />
THEOLOGY.<br />
<br />
THESE SAYINGS OF MINE. A Manual on the Beatitudes<br />
for Christian People. By F. G. LAVERACK. 7% Xx 5.<br />
144 pp. A. Brown.<br />
<br />
TRAVEL.<br />
A SRARCH FOR THE MASKED TAWAREKS. By W. J.<br />
<br />
Harpine King. 84 x 5}. 334 pp. Smith Elder. 6s.<br />
THe WoRLD or To-pay. A Survey of the Lands and<br />
Peoples of the Globe as Seen in Travel and Commerce.<br />
102 X 7.<br />
<br />
By A. R. Hope MONCRIEFF. Vol. If.<br />
266 pp. The Gresham Publishing Co. 8s. n. :<br />
<br />
A WANDERER IN HoLuAND. By E. V. LUCAS. 72 xX 5.<br />
<br />
309 pp. Methuen. 6s.<br />
<br />
a<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—1—<—+—<br />
<br />
R. ARTHUR W. A BECKETT, who was<br />
<br />
I elected for the fifth time hon. treasurer<br />
<br />
of the Institute of Journalists at Bourne-<br />
mouth, is engaged upon “a book of recent recol-<br />
lections” to be called “ Ihe First T'wentieth of the<br />
Twentieth Century.”<br />
<br />
Messrs. Brown, Langham & Co. published early<br />
last month, Mr. E. H. Lacon Watson’s new volume,<br />
entitled “Reflections of a Householder.” The<br />
price of the work—a limited edition of which,<br />
numbered and signed by the author, and printed<br />
on hand-made paper, has also been published—is<br />
3s. 6d.<br />
<br />
“Researches in Sinai.” By Prof. W. Flinders<br />
Petrie, gives an account of the recent expedition<br />
with a large working party, which lived in the<br />
desert excavating for some months. The oldest<br />
Egyptian sculptures known are reproduced, the<br />
geology and ancient ruins are described, the only<br />
temple known for Semitic worship was fully<br />
explored and is illustrated in detail, the conditions<br />
of the Exodus are discussed with a new view of the<br />
Israelite census, and the life of the Bedouin of Sinai<br />
and the Egyptian desert is noticed. The book,which<br />
is published by Mr. John Murray, contains about<br />
two hundred illustrations.<br />
<br />
Mr. J. W. Arrowsmith published in August a<br />
book of character and political sketches (1s),<br />
entitled “Our Joshua, Radical, Octogenarian.<br />
Celebrity and Pup-breeder. According to his<br />
wife, and edited by Theodora Wilson Wilson.”<br />
<br />
Mr. G. H. Grierson has been awarded the “ Prix<br />
Volney’”? by the Institut de France for the<br />
Linguistic Survey of India, and for his last work,<br />
“The Languages of India.” The Société Asiatique<br />
of Paris has simultaneously elected him a “ Membre<br />
<br />
<br />
<br />
THE AUTHOR. 5<br />
<br />
months<br />
member<br />
<br />
ago Mr.<br />
<br />
Associé Etranger.” A few<br />
of the<br />
<br />
frierson was elected an hon.<br />
American Oriental Society.<br />
<br />
Col. R. Elias’ work “ The Tendency of Religion ”<br />
(Chapman and Hall) shows the eradual develop-<br />
ment of mutual understanding with regard to<br />
“religion ” among thinking men of all nations, and<br />
the consequent convergence of the various forms of<br />
religion, and insistence on their good and essential<br />
parts only—hence the very sure, though slow,<br />
decay of myths, narrow dogma, and exclusive<br />
creeds.<br />
<br />
“The Spring’s Approach, and Other Thoughts<br />
of Life” is the title of a collection of poems by<br />
Charles Cowen. The author’s aim has been, by<br />
sudden changes and contrasts of style, to minimise<br />
monotony and weariness in the reading as far as<br />
possible.<br />
<br />
Messrs. Dawbarn and Ward have recently pub-<br />
lished, at the price of 1s. nett, a handbook entitled<br />
<br />
’ “Photography for the Press.” Its purport is to<br />
<br />
instruct the aspirant as to the best markets for<br />
his work, and the best means of obtaining access<br />
to those markets. It contains, in addition, infor-<br />
mation concerning the markets for picture postcard<br />
business.<br />
<br />
“Two Friends of Old England, being Mirabeau<br />
and Gambetta, and J. Bonhomme, in a nutshell, by<br />
‘Saxon Norman’ (Arthur Pavitt and Baron de<br />
Béville),” is the title of a work published by Mr.<br />
Effingham Wilson at the price of 2s. 6d. Phe<br />
history of the entente cordiale is the main purpose<br />
of the authors. It is traced back to Mirabeau’s<br />
journey to London (1783—1784) where he<br />
sojourned under the roof of Sir Gilbert Elliott,<br />
the future Lord Minto. The letter of the great<br />
orator and statesman to Wilberforce, written in<br />
1790, is given, also the speech of Leon Gambetta,<br />
of July, 1882, bidding his countrymen never to<br />
break the English alliance. The book is prefaced<br />
by Richard Harris, K.C., the editor of the<br />
reminiscences of Lord Brampton.<br />
<br />
The stirring events in Odessa should create a<br />
special interest in two books published not long<br />
ago, the scenes of action in both being in this<br />
Russian port. ‘They are from the pen of Mr.<br />
Jaakoff Prelooker, who was _ head-master of a<br />
Government school in Odessa, and bear the titles<br />
of ‘* Rabbi Shalom on the Shores of the Black Sea”<br />
(Simpkin, Marshall) and “Under the Ozar and<br />
Queen Victoria: Tne Experience of a Russian<br />
Reformer” (James Nisbet). The author tells of a<br />
reform movement originated by himself in Odessa,<br />
and sheds many side-lights on local life, police,<br />
relations between Christians and Jews, etc. Both<br />
books are fully illustrated, the frontispiece of<br />
“Rabbi Shalom on the Black Sea”’ being a striking<br />
view of Odessa Harbour, showing the long elevated<br />
6 THE AUTHOR.<br />
<br />
railway bridge and other buildings burned during<br />
the riots.<br />
<br />
The 15th September was the seventy-sixth birth-<br />
day of a very great man. General Porfirio Diaz<br />
has been President of Mexico for thirty years with<br />
a short interval of four years, when he was out of<br />
office. We understand his life is being written by<br />
Mrs. Alec Tweedie (Hurst and Blackett), whose<br />
former book, ‘‘ Mexico as I Saw It,” was published<br />
three years ago. Mrs.'Tweedie, who was in Mexico<br />
last winter again as the guest of the President, is<br />
compiling this life with his sanction, and from<br />
authentic diaries and documents he placed in her<br />
hands for the purpose. Mrs. Tweedie’s work will<br />
record the life’s history of a man who was born in<br />
obscurity, lived a wildly exciting life as a soldier,<br />
played an important part in the history of Maxi-<br />
milian and Carlotta, and has now assumed the<br />
position of a Perpetual President, and brought his<br />
country from chaos and revolution to peace and<br />
prosperity.<br />
<br />
Messrs. Barnicott and Pearce will publish shortly<br />
a book by the Rev. W. P. Gresswell, under the title<br />
of ‘‘Chapters on the Old Parks and Forests of<br />
Somerset.” The aim of the author has been to<br />
compile a descriptive and historical account of<br />
the Five Forests of Somerset—Mendip, Selwood,<br />
Neroche, North Petherton, and Exmoor, together<br />
with the Royal Warren of Somerton and the Royal<br />
Park (as distinguished from the Forest) of North<br />
Petherton. A few chapters explanatory of hunting<br />
terms and of the methods of hunting as carried on<br />
in former days have been added to the book, the<br />
subscription price of which is 10s. 6d.<br />
<br />
Mr. J. E. Masefield’s book, ‘Sea Life in Nelson’s<br />
Time,” published by Messrs. Methuen & Co.<br />
recently, deals with the life of the bluejacket<br />
aboard our old men-of-war. Hach detail of an<br />
ordinary sailor’s working day is considered, and an<br />
account is also given of the guns and other weapons<br />
which were used in Nelson’s time.<br />
<br />
Miss Rosa Nouchette Carey’s new novel will be<br />
published very shortly under the title of “The<br />
Household of Peter.”<br />
<br />
“A Nineteenth Century Idyll,” by N. Arling,<br />
published by Messrs. A. and F. Denny, upholds the<br />
cause of women morally and politically.<br />
<br />
A story for young people entitled ‘ Love’s<br />
Golden Thread,” by Edith C. Kenyon, is being<br />
published by Messrs. 8. W. Partridge & Oo. The<br />
book appeals especially to girls who have to earn<br />
their own living.<br />
<br />
Mr. Basil Tozer contributes an interesting article<br />
to the September number of the Monthly Review<br />
on “The Increasing Popularity of the Erotic<br />
Novel.”<br />
<br />
Mr. J. M. Barrie, Mr. Almeric FitzRoy, and<br />
Mr. Gilbert Murray, have recently joined the<br />
<br />
council of management of the Stage Society.<br />
Mr. A. E. Drinkwater has been appointed secre-<br />
tary for the coming season. Full particulars of<br />
the society and forms of application for member-<br />
ship can be procured from the office, at 9, Arundel<br />
Street, Strand, W.C. The following comprise the<br />
council of management, 1905-1906 :—J. M. Barrie,<br />
Sidney Colvin, the Hon. Everard Feilding,<br />
Almeric W. FitzRoy, C.V.O., St. John Hankin,<br />
H. A. Hertz, Alderson B. Horne, W. Lee<br />
Mathews, Gilbert Murray, Sydney Olivier, C.M.G.,<br />
Nigel Playfair, Mrs. W. P. Reeves, Bernard Shaw,<br />
Mrs. Bernard Shaw, Charles Strachey, Bernard<br />
Watkin, Frederick Whelen, Ernest E. 8S. Williams,<br />
and W. Hector Thomson, honorary treasurer.<br />
<br />
Messrs. Constable & Co. announce the publica-<br />
tion of ‘The Burford Papers,” under the editorship<br />
of the Rev. W. H. Hutton. The correspondence<br />
between Samuel Crisp—whose failure as a dramatist<br />
caused him to become, to quote Macaulay, “a<br />
cynic and a hater of mankind ”—and his sister,<br />
Mrs. Sophia Gast, forms the chief contents of the<br />
volume.<br />
<br />
Messrs. Chapman and Hall announce anew edi-<br />
tion of Mr.G. H. Perris’s “ Russia in Revolution,”<br />
which forms a complete narrative of events down<br />
to the conclusion of peace with Japan. Among<br />
the additions to the new volume are the substance<br />
of many conversations with Father Gapon, a<br />
remarkable hitherto unpublished portrait of the<br />
latter, and a critical account of the decree<br />
establishing an Elective Assembly.<br />
<br />
Early this month Messrs. Simpkin, Marshall<br />
& Co. will publish a work by Mr. F. Carrel, under<br />
the title of “An Analysis of Human Motive.”<br />
<br />
“ The Woman's Agricultural Times” is the title<br />
of a quarterly publication now in its sixth volume.<br />
It is edited by the Countess of Warwick, and<br />
issued by the Studley Castle Agricultural Associa-<br />
tion, at Studley Castle, Warwickshire. The<br />
magazine, which contains some useful information<br />
relating to agricultural pursuits, is published at<br />
the price of 6d.<br />
<br />
“The Gods of Pegania” is the title of an<br />
imaginative prose work by Lord Dunsany which<br />
will shortly be published by Mr. Elkin Mathews.<br />
The book is illustrated with drawings by Mr.<br />
Sidney H. Sime, :<br />
<br />
Messrs. Chapman and Hall will publish this<br />
autumn Mrs. Edith E. Cuthell’s new book, a<br />
historial work, ‘“ Wilhelmina, Margravine of<br />
Baizenth,” in two volumes. Mrs. Cuthell has<br />
been permitted special access in the Prussian<br />
archives to documents not hitherto made public,<br />
and also given permission to reproduce some<br />
hitherto unpublished portraits. The book is<br />
profusely illustrated.<br />
<br />
A novel of interest to present and past Oxonians<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 7<br />
<br />
is to be published in October by Messrs. Chapman<br />
and Hall, entitled “The Inseparables,” a modern<br />
story of Oxford life by the author of “ John Westa-<br />
cott.’ It will be interesting to note Mr. James<br />
Baker’s treatment of a story embracing modern<br />
undergraduate life and its results.<br />
<br />
The third edition of “ The Printer’s Handbook,”<br />
compiled by Mr. C. T. Jacobi, contains hints and<br />
suggestions relating to letterpress and lithographic<br />
printing, bookbinding, stationery, process work,<br />
etc. In his preface to the editicu Mr. Jacobi<br />
claims that although the volume cannot be used as<br />
a text book, yet in a general way it will be found<br />
useful to students and especially helpful to workers<br />
far removed from those centres at which the many<br />
commodities and requisites so necessary to printers<br />
and the allied trades can be easily obtained. The<br />
price of the work is 5s. net.<br />
<br />
“A Quaker Wooing,” by Mrs. Fred Reynolds,<br />
which Messrs. Hutchinson & Co. published in<br />
September, is founded on incidents taken from<br />
records in the family of the author’s husband.<br />
The same writer is publishing this autumn<br />
another nevel, entitled “The Making of Michael.”<br />
Mr. Geo. Allen is the publisher.<br />
<br />
“ Village, Town, and Jungle Life in India,” by<br />
A. ©. Newcombe, which has recently beer. published<br />
by Messrs. Blackwoods, at the price of 12s. 6d.<br />
net, whilst touching on India’s Imperial problems,<br />
deals more particularly with the daily life of the<br />
European who has to spend his best years in our<br />
great dependency of the Hast.<br />
<br />
The Religious Tract Society will publish this<br />
month a story for girls, entitled ‘“‘Tender and<br />
True,” by L. E. Tiddeman, at the price of 3s. 6d.<br />
<br />
The long deferred copyright performance of<br />
“The Brownie’s Bower,” a three-act cantata-<br />
playette by Ellen Collett, music by Natalee<br />
Davenport, took place on July 8th at ‘‘ Mayfield,”<br />
Pinner, as a pastoral-play, under highly favour-<br />
able conditions and in the presence of a number<br />
of Press representatives.<br />
<br />
“The Cash Box,” a one-act play by F. 8. Dean<br />
Ballin, was produced at His Majesty’s Theatre on<br />
the 3rd of July.<br />
<br />
Mr. Hall Caine’s dramatic version of his novel<br />
“The Prodigal Son” was produced at the Theatre<br />
Royal, Drury Lane, on the evening of September<br />
7th. The Prodigal in Mr. Caine’s play—which<br />
was mounted on a very lavish scale—has but few<br />
redeeming features. In addition to being a<br />
swindler and forger, he is the indirect cause of<br />
the death of his father and mother. He repents<br />
at the eleventh hour, and, making atonement for<br />
his misdemeanours, obtains the forgiveness of his<br />
family. ‘The caste includes Mr. George Alexander,<br />
Mr. Frank Cooper, Mrs. John Wood and Miss Lily<br />
Hall Caine.<br />
<br />
PARIS NOTES.<br />
——— + —<br />
a ISOLEE,” the new novel by René Banzin,<br />
<br />
A: has no doubt been suggested by the recent<br />
<br />
events in France. It is a story of the<br />
expulsion of the nuns, showing the disastrous<br />
results of turning out into the world women who<br />
have been accustomed to convent life. It is a<br />
pathetic story, and there are charming descriptions<br />
of some of the French provinces. The author<br />
shows up the excellent work of the Sisters of<br />
Sainte-Hildegarde, their devotion to the poor,<br />
their love for the children, their simple, contented<br />
life when together in their convent home. Uncon-<br />
sciously though, perhaps, he also shows up the<br />
defects of that system. We have a picture of an<br />
only daughter deserting her old father for the<br />
supposed salvation of her own soul. The father<br />
heroically consents to her departure for the convent,<br />
and we have a touching picture of his lonely life<br />
and solitary death. When later on the sisters are<br />
driven from the convent, we follow each of them<br />
to their new homes. The chief interest of the<br />
book is centred in the story of the girl Pascale.<br />
Her reason for leaving her old father and entering<br />
the convent was that she knew herself to be weak<br />
and easily influenced, and she argues: Dans le<br />
monde je serai mauvaise ou médiocre. Dans le<br />
cloitre je pourrais devenir une ame sainte. Unfor-<br />
tunately she is driven back into the world again,<br />
and the tragedy of her life there takes up a great<br />
part of the book. One of the most beautiful<br />
pictures given us in this volume is the farewell<br />
scene of the five sisters whilst waiting at the<br />
station for the various trains which were to take<br />
them away from each other.<br />
<br />
“Les deux sceurs,’ by Paul Bourget, is a<br />
psychological study of two sisters of about the<br />
same age, but of totally different character and<br />
temperament. The story is followed by five or<br />
six other psychological studies.<br />
<br />
“Les beaux jours de Flavien,” by Brada, is a<br />
novel of an entirely different character from most<br />
of this author’s former ones. It is now published<br />
in volume form, after having great success as a<br />
serial in the Figaro.<br />
<br />
“TJ, Aventure de Cabassou,” by M. Paul Brulat,<br />
is a rather pathetic story of the tribulations of a<br />
simple-minded honest man, who, after being deceived<br />
and ridiculed, decides to turn over a new leaf and<br />
be less scrupulous himself. Before very long, how-<br />
ever, he finds that it is no use struggling against<br />
his destiny. In spite of himself he is honest and<br />
confiding, and once more he is deceived and his<br />
happiness destroyed. He comes to the conclusion<br />
that the three phases of nearly every human destiny<br />
are that: “On s’illusionne d’abord, on se révolte<br />
ensuite, on se soumet enfin.”<br />
THE AMTHOR.<br />
<br />
“ Mes Sentiments et nos idées avant 1870” is<br />
another volume of memoirs, in which Madame<br />
Juilette Adam treats of the artistic and political<br />
life of the last years of the Second Empire.<br />
<br />
In the artistic world we are told that there was<br />
not much fresh talent. There were authors, artists<br />
and musical composers, who had already made their<br />
name: Victor Hugo, Flaubert, Daudet, Sardon,<br />
Coppée, and others. Puvis de Chavaunes, Henner<br />
and Manet were doing fine work, and Gounod,<br />
Ambroise Thomas, and Meyerbeer producing com-<br />
positions destined to add to their fame. As to<br />
politics the statesmen of the opposition were in-<br />
different to all but home events, and turned a deaf<br />
ear to all rumours from without. The book is<br />
interesting, treating as it does of a comparatively<br />
recent epoch.<br />
<br />
‘* Etapes Italiennes,”’ by M. Pierre de Bouchard,<br />
contains notices on Byzantine art, on the Forum<br />
and the Villa Medicis. The author also treats of<br />
Naples and gives the impressions of Mme. de Staél,<br />
and Chateaubriand, Lamartine, Shelley and other<br />
well-known personages who have visited it. In<br />
another study, entitled Naples, the author gives us<br />
a description of the city, and an account of its<br />
origin and history.<br />
<br />
‘“‘ Marie-Caroline, reine des Deux-Siciles (1768-<br />
1814),” by M. André Bonnefons, is an excellent<br />
study of the political evolutions of that epoch,<br />
giving an idea of the struggles of France against<br />
the whole of Europe.<br />
<br />
Among recent books are the following : “ Brim-<br />
borion,” by Jean Rameau; “Le Marchand de<br />
déesses,” by M. René Maizeroy ; “ La Domination,”<br />
by Mme. la Comtesse Mathieu de Noailles ; “ Le<br />
Roman d’une vieille fille,’ by M. Delorme ; “ Mon-<br />
sieur Marcel,” by Mme. Marie Thiéry; ‘“ Les<br />
Carrosses du roi,” by M. K. Waliszewski ; “ Femme<br />
de lettres,” by Mme. Mary Floran; “La Fiancée<br />
nouvelle,” by M. Gaston Derys; ‘Le Pére et le<br />
Fils,” by M. Antonin Mulé; ‘‘Le Livre de la<br />
Houle et de la Volupté” ; by M. Diraison-Seylor ;<br />
«Sans Dieu,” by Trilby ; “ Plus fort que la Vie,”<br />
by Mme. Marie-Anne de Bovet ; ‘‘ En Wagon,” by<br />
Henri Datin, a volume of short stories. ‘“ L’ Autre,”<br />
by Georges Bonnamour; “Les Demi-fous,” by<br />
M. Michel Corday ; ‘ Waldeck-Rousseau,” by<br />
Gaston Deschamps ; ‘‘L’expansion des Boers au<br />
XIX siecle,” by M. Déhérain; “Un grand<br />
meconnu : Napoleon III.,” by M. Jean Guetary.<br />
<br />
The forthcoming publication is announced of<br />
several volumesof letters by well-known men, among<br />
others those of Zola and Fromentin.<br />
<br />
Marcel Prévost is at work onhis novel “M.et Mme.<br />
Moloch,” the scene of which is laid in Germany.<br />
<br />
Maurice Barrés is writing his notes on Greece,<br />
under the title of “‘ Le Voyage & Sparte.”<br />
<br />
The death of Elisée Reclus is a great loss to the<br />
<br />
literary and artistic world. His collaboration will<br />
be greatly missed by all connected with the<br />
University of Brussels, which he helped to found.<br />
The professors and students of the University<br />
published a circular announcing his death, in which<br />
they declared their intention to honour his memory,<br />
en propayeant son auvre de fraternité et son<br />
ensergnement iminortel.<br />
<br />
In the Revue des Deux Mondes of July 15th, M.<br />
Brunetiére writes on “ Le Mensonge du Pacifisme.”<br />
<br />
In the Revue des Deux Mondes of August there<br />
is an article by René Pinon on the consequences<br />
of the Russo-Japanese war and the japonisation of<br />
China. M. Benoist explains in another article the<br />
reasons which have provoked the secession of Norway.<br />
<br />
Frédéric Passy replies to M. Brunetiére on the<br />
subject of ‘‘ Le Pacifisme.”<br />
<br />
In the Correspondant of August M. Méziéres<br />
gives his memories of L’Université avant 1850.<br />
<br />
In the Grande Revue of August 15th there is<br />
an interesting article by Hélia entitled “ Une<br />
Parisienne dans les harems de Constantinople.”<br />
<br />
In the Quinzaine M. Georges Blondel writes on<br />
the various manifestations of Imperialism.<br />
<br />
An account is given by Captain d’Ollone of .the<br />
grand manoeuvres of the Anglo-Indian army near<br />
the frontier of Af¢hanistan.<br />
<br />
In the Qwinzaine of July there is an excellent<br />
article by Max Helys on “Selma Lagerlof,” the<br />
Swedish authoress.<br />
<br />
A new quarterly, entitled Vers et Prose, has made<br />
<br />
its appearance this year. It is a magazine of from<br />
one to two hundred pages, which in its first two<br />
numbers certainly justifies its claim to be a<br />
collection de la haute littérature et du lyrisme<br />
en prose el en poesie. Among the contents are some<br />
exquisite short sketches by the late Marcel<br />
Schwob, a story entitled ‘Le Massacre des Inno-<br />
cents,” by Maurice Maeterlinck (which dates from<br />
1885, and is the first work of this author), one of<br />
Henri de Regnier’s finest poems, and other articles,<br />
stories, and verses by Robert de Souza, Maurice<br />
Barrés, Stuart Merrill, Gille, William Morris,<br />
Dowson, Paul Fort, Moréas, Gide, Vielé-Griffin,<br />
Verhaeren, and other writers. A periodical<br />
containing solely such high-class work would<br />
stand a poor chance of success in most countries.<br />
Fortunately, however, it is written in the French<br />
language, and, judging from the long list of sub-<br />
scribers in all parts of the world, there seems every<br />
probability that the venture will prove a satisfac-<br />
tory one. Translations from foreign authors form<br />
a part of the programme. The yearly subscrip-<br />
tion for the four volumes is eight francs, or the<br />
edition de luxe fifty francs.<br />
<br />
Another new monthly paper which commenced<br />
in July is entitled La Poétique. It is a magazine<br />
of about thirty pages, giving not only French<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. a<br />
<br />
poems, but articles and essays on the poets of<br />
various countries, together with original poems by<br />
foreign authors, and side by side the translation of<br />
them. In the July number there is a study of<br />
Spanish poetry by M. de ‘Toro Gomez, illustrated<br />
by Spanish poems in the original and in French.<br />
‘There is also an article on Schiller with extracts<br />
from his works. In the August number there is<br />
a study of an English poet and his works, and<br />
another of Echegaray, as well as many articles on<br />
French poetry and various poems. It is an<br />
excellent idea for giving us some notions of the<br />
poetry of different lands.<br />
<br />
M. William Busnach has completed the scenario<br />
of “Madame Bovary,” which wili probably be played<br />
at one of the Boulevard Theatres this winter.<br />
<br />
Mounet-Sully and Pierre Barbier have just com-<br />
pleted an important play entitled “La Brute,”<br />
which is to be produced this season. Their<br />
“ Vieillesse de Don Juan” is to be given at the<br />
Francais. Mounet-Sully is to interpret the role<br />
of Don Juan at the age of sixty-five.<br />
<br />
“Le Vieil Homme,” by M. Porto Riche, is to be<br />
put on this winter at the Gymnase.<br />
<br />
“ T/Qisean Bleu,” a play in five acts, by Maeter-<br />
linck, is also to be produced at one of the theatres.<br />
<br />
Among the new plays to be given at the Odéon<br />
Theatre are the following: “La Patronne,” by<br />
Mr. Bernstein ; ‘‘Ramuntcho,” by Pierre Loti;<br />
“T/Homme et la Loi,” by Paul and Victor<br />
Margueritte ; ‘La Robe Blanche,” by M. Trarieux ;<br />
“Florise Bonheur,’ adapted from M. Adolphe<br />
Brisson’s novel by MM. Georges Mitchell and<br />
Baschet ; “Le Calvaire,” by M. Octave Mirbeau,<br />
adapted by M. Antoine Bibesco.<br />
<br />
Auys HALLARD.<br />
<br />
<> +-__———-<br />
<br />
SPANISH NOTES.<br />
<br />
<br />
<br />
HE note of progress in Feminism played in<br />
Spain by the New World was seen by the<br />
representation of women at the meeting<br />
<br />
held at the University of Madrid by the Ibero-<br />
American Society in honour of the Cervantes<br />
Tercentenary, for the seventeen Jitiératewrs who<br />
occupied the University chair that afternoon for<br />
the delivery of discourses or poems on the Spanish<br />
classic, numbered two ladies who are well known<br />
by the work of their pen, and the applause which<br />
met their respective eloquent speeches showed that<br />
Spain has awakened to the fact that it is no longer<br />
meet for woman’s talent to be hidden under a bushel.<br />
<br />
Madame Emilia Pardo Bazin, ¢he pioneer of<br />
Spanish authoresses, whose books have been trans-<br />
lated into almost every European language, read a<br />
clever paper on the value of the philosophy of<br />
<br />
“ Don Quixote.” And it is noteworthy that such<br />
works of this well-known lady as “‘ La cuestion palpi-<br />
tante, Polemicas y estudios literarios,” etc., led to<br />
Castelar advocating her claim to a chair in the<br />
Academy. Readers of her many novels, especially<br />
“ Pascual Lopez,” “Una Christiana,” etc., can well<br />
understand that the authoress would rather be<br />
known as ‘‘la Pardo Bazan” than by the title of<br />
Countess, which she can claim ; and the charm of<br />
her manner doubtless helped the anthoress through<br />
the difficulties which beset her early efforts in the<br />
path of literature at a time when it was rarely<br />
trodden by a Spanish woman.<br />
<br />
Sefiora Carmen Burgos de Segui was the other<br />
lady speaker at the Don Quixote féte, and it was<br />
pleasant to see how this pioneer of Spanish lady<br />
journalists confirmed the growing opinion that<br />
women can work without loss to their prestige.<br />
The lady’s eloquent plea for a modern “ Don<br />
Quixote” who would aid women to attain a better<br />
education and ensure them more protection in the<br />
walks of life was published next day in the Diario<br />
Oniversal.<br />
<br />
When listening to the well-rounded sentences of<br />
the discourses delivered with fire and fervour by<br />
such orators as Senor Arminian, Senor Perez<br />
Triana, etc., and the poems composed and de-<br />
claimed by Fernandez Guell, Conde de Reparaz,<br />
ete., ete., one felt that the Spanish claim to eloquence<br />
is indeed based on fact ; and the military band in<br />
the gallery at the end of the well-filled hall afforded<br />
pleasant little interregnums during the feast of<br />
reason and the flow of souls.<br />
<br />
Sefior Don Jesus Pando y Valle, the author of<br />
“Mision Transendental’ (an account of the<br />
history and work of the society of the Red Cross<br />
in Spain) is devoting a great deal of time to the<br />
promotion of the ladies’ committee which has<br />
been formed in conjunction with the society, and<br />
it now numbers forty members under the presi-<br />
dency of the distinguished Marquise de Ayerbe.<br />
This lady has also taken her place as an authoress<br />
by the book which she kindly gave me, called “ El<br />
Castillo del Marques de Mos en Sotomayor.”<br />
<br />
The work is an historical ‘account of the castle<br />
bearing the name of the well-known Spanish<br />
family, and when the writer tells us in the pre-<br />
face that the record, which must have required<br />
deep research, was only the work of a summer<br />
holiday in the province of Galicia, it shows the<br />
force of her intelligence. As a leader of Spanish<br />
society this lady has great demands upon her time,<br />
and it was interesting to hear that it has only<br />
recently been understood that literature and<br />
philanthropy can add to the pleasures of her life.<br />
She has taken the lead of the ladies’ com-<br />
mittee of the Ibero-American committee, formed<br />
in the hope of aiding to supply the want in Spain<br />
10<br />
<br />
of schools for girls of the middle-class, and for the<br />
establishment of centres for the study of painting<br />
and music. Moreover, a drawing-room meeting<br />
was held at the Marquise de Ayerbe on June 10th,<br />
to discuss the project for founding a model<br />
farm in the vicinity. of Madrid, where ladies can<br />
study agriculture. Colonel Figuerola Ferretti, who<br />
has always so strongly advocated the education of<br />
his countrywomen, took a practical step for the<br />
promotion of this idea by studying the system<br />
of the Lady Warwick College at Studley Castle,<br />
as the patriot’s interesting article on “King<br />
Alfonzo XIII. and Spanish Agriculture” con-<br />
tributed to the Countess of Warwick’s magazine,<br />
Woman’s Agricultural Times, led to the colonel<br />
being invited to inspect the Castle College. The<br />
Ibero-American ladies’ committee has just been<br />
joined by the Marquesa de Comellas, the Duquesa<br />
de Sessa, the Marquesa de Bolanos, Senora de<br />
Palomo, Marquesa de Valdeterrazo, the Marquesa<br />
de Villamagna, the Marquesa de Faura y Saralegui,<br />
etc., and as the Queen’s clever sister-in-law, the<br />
Infanta Dofia Paz, wishes also to co-operate in the<br />
work by associating the society with one of her<br />
own feminine industrial schemes in Bavaria, it<br />
seems as if woman’s progress in Spain had entered<br />
on a fresh era.<br />
<br />
When Sefior Francisco Silvela, whose death this<br />
summer is so deeply deplored in Spain, did<br />
me the honour to invite me to his house at the<br />
beginning of last May, I was much interested in<br />
hearing him say that he, like many Spaniards,<br />
favoured the idea of woman’s education, as he con-<br />
sidered that culture enabled a wife to be a com-<br />
panion to her husband, whilst it in no wise lessened<br />
her feminine charms. The quondam Prime<br />
Minister was very definite in his objection to<br />
women playing cards for money, and he also<br />
expressed disapproval of the growing custom of<br />
ladies smoking, which he had noted when last in<br />
London. I may here say that all the while I was<br />
in Spain, I never saw a cigarette in the mouth of<br />
a woman, as the habit is reserved for strictly<br />
private circles.<br />
<br />
Sefor Silvela seemed interested in his project of<br />
publishing under the title of “The History of<br />
Spanish Ethics,” the course of lectures which he<br />
delivered last winter in the Atheneum, and when<br />
the illustrious man showed me his fine library, and<br />
complained that the days were too short to study<br />
all he wished, I little thought that the night of the<br />
statesman’s work on earth was so near at hand.<br />
<br />
It was also a great privilege to be introduced<br />
during my visit to Madrid this summer to Silvela’s<br />
well-known colleague, Moret, at a public meeting.<br />
The statesman’s well-cut handsome face must always<br />
be striking, but when animated with the interest<br />
with which he discourses on such subjects as<br />
<br />
THE AUTHOR.<br />
<br />
education, woman’s culture, one cannot wonder at<br />
his influence in his country. The statesman’s<br />
<br />
‘courtesy was shown to me as the Authors’ Society<br />
<br />
delegate by promptly sending me an order which<br />
gave me the entrée to the Atheneum, of which he<br />
is the president.<br />
<br />
As the Atheneum is the great centre for all<br />
literary movements, it has a fine library, and it is<br />
there that speeches from the first littérateurs of the<br />
day stimulate the leaders of the Press. Spain<br />
boasts several very good illustrated papers, and I<br />
was interested to find that Angéle Cabrera Latorre,<br />
who recently received from the King the decoration<br />
of the Order of Alfonso XII. for his work in<br />
natural history, has now been appointed editor of<br />
the magazine called Alrededor del mundo.<br />
<br />
RACHEL CHALLICE.<br />
————_-——___<br />
A PUBLISHER’S AGREEMENT, OR THE<br />
PLEASURES OF IGNORANCE.<br />
<br />
—<br />
<br />
N the early part of 1903 a lady, who is amember<br />
of the society, wrote to Messrs. Ward, Lock &<br />
Co.’s house in Melbourne offering them<br />
<br />
a MS. for publication. In September of that<br />
year she received a letter from the Australian<br />
manager stating that he had heard from the London<br />
house, and that they were willing to publish her<br />
story if she would assign them the copyright and<br />
pay £75 towards the expenses of production and<br />
loss that the publication of a first book by an<br />
unknown author might incur. She was to receive<br />
fifty gratis copies. To this letter she made reply that<br />
she was willing to pay £75, but continued: “ You<br />
do not mention in your letter that I am to receive<br />
any benefit should my book prove a success. You<br />
tell me, however, that Ward, Lock & Co. made it a<br />
rule to pay back to themselves the first outlay,<br />
then to return money paid, after which the profits<br />
were shared with the author. If suchis the case, I<br />
am quite ready to assign to them the copyright.”<br />
The author thereupon paid the £75, the receipt of<br />
which was cabled to London, and an agreement was<br />
forwarded to her from the Melbourne house, of<br />
which the following is a copy :—<br />
<br />
Memorandum of Agreement entered into this Twenty-<br />
sixth day of October, 1903, between EO<br />
of the one part, and Ward, Lock & Co., Limited, of<br />
Warwick House, Salisbury Square, London, England,<br />
of the other part. Whereby it is mutually agreed as<br />
follows :—<br />
<br />
1. That the said hereby assigns to Ward,<br />
Lock & Co., Limited, the copyright and all her interest in<br />
the novel entitled “ , and pays the said Ward,<br />
Lock & Co., Limited, the sum of Seventy-five Pounds (£75),<br />
and in consideration thereof the said Ward, Lock & Co.,<br />
Limited, agree to produce and publish the novel:in their<br />
ordinary style, and give I'wenty-five (25) gratis,<br />
copies of the book.<br />
<br />
2. It is understood between the parties that accounts of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 11<br />
<br />
the book sales are to be made up every twelve months, and<br />
whatever profit the sale of the book shows is to be divided<br />
pro rata according to the outlay expended by each party,<br />
and when both are fully paid, further profits (if any) are<br />
to be equally divided between author and publishers.<br />
Signed for Waid, Lock & Co., Limited.<br />
WILLIAM STEELE.<br />
Manager and Attorney.<br />
<br />
The Melbourne manager stated in his letter :<br />
“« You will notice that second clause of agreement<br />
is made out so that, should your book have a success-<br />
ful sale, you will receive a share of the advantage.”<br />
Under the agreement, therefore, if the book had<br />
had a large circulation, the author would have got<br />
back her outlay and obtained her share of the<br />
profits.<br />
<br />
After the author had signed the agreement on<br />
December 4th, 1903, the Melbourne manager wrote<br />
as follows :—<br />
<br />
“TJ have just received a coded cablegram from London,<br />
which, translated, indicates that our home house declines to<br />
confirm the second clause of agreement recently arranged<br />
your story, and I am asked to cable instructions. I added<br />
the second clause on my own responsibility in view of your<br />
letter of October 15th ; and, seeing that our people cannot<br />
accept the same, will you kindly cable me that you are<br />
willing to abandon it? I can then cable London accord-<br />
ingly. Probably there are some reasons unknown to me<br />
which prevent the house agreeing to the second clause.”<br />
<br />
The author consented, by cable, to the cancella-<br />
tion of the second clause, and wrote subsequently<br />
confirming her cable. The book was published on<br />
May 24th, the manager repeating in a letter to the<br />
author: “Our house, as you know, would not<br />
extend confirmation to the clause in the agreement<br />
which you afterwards agreed to cancel, and uncon-<br />
ditional surrender of the copyright had to be effected<br />
before they were willing to commence putting the<br />
-volume into type and preparing for publication.<br />
For the sum you paid towards its production you<br />
will have the satisfaction of having your story well<br />
put on the market by a leading publishing house ;<br />
and if the sale proves successful, you will be in a<br />
position to command better terms for a second and<br />
subsequent stories.”<br />
<br />
About the same time the author discovered, to<br />
her astonishment, that the story in serial form was<br />
running through the Leader, the weekly country<br />
edition of the Melbourne Arqus.<br />
<br />
This is the statement of the case :—<br />
<br />
After reading the prospectus of the society, the<br />
author states: “I seem to have been very stupid<br />
in agreeing to the publishers’ terms, but I did not<br />
then know that your society would interest itself<br />
in an unknown writer, and therefore I thought<br />
it impossible that I could by any means obtain<br />
justice.’ The writer proceeds to state that the<br />
society can use the information for the benefit of<br />
authors in any way the committee choose.<br />
<br />
When the author had placed the matter fully<br />
<br />
before the secretary, he was so astonished that he<br />
wrote to the firm in London putting forward the<br />
details of the case, and ending his letter with the<br />
following words :—<br />
<br />
“Tt seems impossible to think that your firm<br />
would have ratified such a contract with the Aus-<br />
tralian house, and it is because I think there must<br />
be some mistake that I am writing to you on the<br />
matter. I shall be glad if you will let me know if<br />
the book has actually been placed on the London<br />
market, and if you could send me information as to<br />
the exact position and agreements.”<br />
<br />
Some time was lost owing to the fact that Messrs.<br />
Ward, Lock & Co. desired to communicate with<br />
their representative in Australia, but when finally<br />
the secretary of the society received the original<br />
documents from the author, he wrote again to<br />
Ward, Lock suggesting that their representative<br />
should call and see the papers in his hands. The<br />
interview took place, and Ward, Lock’s representa-<br />
tive read through the correspondence and admitted<br />
its authenticity.<br />
<br />
The committee of the society, having considered<br />
the case, decided to publish the details with the<br />
names of the publishers, and to point out to<br />
other members, who may by chance have similar<br />
terms offered them, that such terms, from the<br />
author’s point of view, are absolutely and wholly<br />
unsatisfactory. You pay £75, and hand over your<br />
property. In these circumstances it is impos-<br />
sible to obtain even the return of the money you<br />
have expended, although the book may sell in<br />
thousands, and may continue to sell steadily for<br />
many years. This is the author’s standpoint ; but<br />
there is this further point to be considered, that,<br />
although the publishers undertake to produce and<br />
publish the book in their ordinary style (see<br />
Clause 1), and hand over twenty-five gratis copies,<br />
yet there is no guarantee as to the extent to which<br />
the book will be advertised and brought to the<br />
notice of the public. When a publisher under-<br />
takes the whole cost of production of the book it<br />
is customary to leave the advertising entirely under<br />
his control, for the common-sense deduction is that<br />
the publisher will do his best to recover his own<br />
capital ; but when the author pays for the cost of<br />
production—and £75 will cover the cost of pro-<br />
duction of 1,000 copies of most 6s. novels—then it<br />
is only fair that the author should have some<br />
guarantee that the book will be adequately pushed.<br />
It would be interesting to know how many copies<br />
of the book were printed, at what cost, and how<br />
many copies were sold at the expenditure of what<br />
advertisement, and what monies the sale of the<br />
serial rights realised. But a knowledge of these<br />
details would not in any way alter the utter<br />
hopelessness of the agreement from the author’s<br />
standpoint.<br />
THE AUTHOR.<br />
<br />
E. Y. LUCAS vy. MONCRIEFF.<br />
<br />
OWARDS the end of July a case, supported<br />
by the Society of Authors on behalf of<br />
one of its members, of some interest to<br />
<br />
holders of copyright property, was heard in the<br />
courts before Mr. Justice Warrington.<br />
<br />
The question raised was whether the copyright<br />
in a book called “‘ The Open Road” was vested in<br />
Mr. E. V. Lucas, the plaintiff, or the defendant<br />
as trustee in the bankruptcy of Mr. Grant Richards,<br />
the publisher. There was a further question in-<br />
volved, assuming the copyright not to be vested<br />
in the defendant, whether he, by contract with the<br />
author, was the owner of the publishing right and<br />
had the right to continue the publication of the<br />
book upon certain terms.<br />
<br />
An interlocutory injunction was granted in<br />
favour of the plaintiff, and the Judge, in summing<br />
up, stated as follows :<br />
<br />
Mr. Justice Warrington —* Now, the question<br />
arises really upon two letters written, the one<br />
by the plaintiff to Mr. Grant Richards on the<br />
11th November, 1898, and the other by Mr. Grant<br />
Richards to the plaintiff en the 14th November,<br />
1898, which constitute the agreement in regard to<br />
this particular book. I propose first to consider<br />
<br />
these letters, and then see how far any light is<br />
<br />
thrown on the true meaning of them by previous<br />
ones. Now, the letter of the 11th November,<br />
1898, so far as it is material, is in these terms:<br />
‘The plan is not yet solid, but I have this in<br />
my head at present: a pair of books for the<br />
pocket, page 34 by 6, 200 pages in each, on thin<br />
paper ; limp cloth or leather, very choice in form.<br />
‘They would be a mixture of serious and gay, and<br />
would be composed respectively of prose and<br />
verse from all kinds of places, but fresh and<br />
straightforward in character. Between them they<br />
would provide for most moods that one has on a<br />
holiday. The title would be something to this<br />
effect.’ Then he gives certain titles and he refers<br />
to the price. ‘I should use mainly non-copyright<br />
stuff, but copyright difficulties would not I think<br />
be insuperable in many cases. Walking tours and<br />
cycling tours should be incomplete without the<br />
books, which would in the main celebrate the<br />
open air and larger life. My work would comprise<br />
making the selections and composing a preface<br />
touching on holiday-makers’ literary needs which<br />
would, I hope, be compact enough to serve also as<br />
an advertisement. Now, as to money. I think if<br />
I take nothing down I ought to share profits<br />
equally with you.’ Then that is replied to by<br />
the letter of the 14th November, 1898: ‘ My dear<br />
Lucas,—I am the more taken with your idea that<br />
T have had time to think it out. Proceed please.<br />
Your exact phrase as to remuneration is: “ Now as<br />
<br />
to money. I think if I take nothing down I ought<br />
to share profits equally with you.” This shall be<br />
so. Those are the two letters which constitute<br />
the contract between the parties. Now, taking<br />
those two letters by themselves, it seems to me<br />
that there is nothing more than an agreement<br />
between the author, who proposes to write but<br />
who has not yet written the book, and the publisher<br />
whom he invites to publish it, and that they con-<br />
stitute an agreement between the intended author<br />
and the publisher that if he (the intended author)<br />
writes such a book as that which he describes the<br />
publisher will publish it, and he will publish it on<br />
the terms that the author and the publisher shall<br />
share the profits equally between them. Now, if<br />
that is so, I think it is well settled that there is<br />
nothing in such an agreement to make it neces-<br />
sary to infer that the copyright in the work itself<br />
passes to the publisher. The ground on which<br />
in this case it is said that the copyright passes to<br />
the publisher is one of a different nature. It is said<br />
that this is a case of employment by Mr. Grant<br />
Richards of the plaintiff to write a certain work<br />
for him on terms, either expressed or implied, that<br />
the copyright shall belong to him. Now, for that<br />
purpose, reliance is placed upon letters of the 23rd<br />
and 25th February, 1898, and, therefore, I must<br />
refer to them. Those two letters are in these<br />
terms—the first is addressed by Mr. Lucas to<br />
Mr. Grant Richards: ‘I have given the matter<br />
thought and I am ready to undertake to deal with<br />
all the manuscript you send me during the next<br />
year, beginning from the date of the agreement,<br />
for £100 paid monthly. But I think it better to<br />
keep the Dumpy contract distinct ; and if I should<br />
have an idea for a good series, which commended<br />
itself to you, I should ask separate payment for<br />
drawing up the prospectus and arranging for the<br />
books. Otherwise the £100 would include any<br />
ideas for single books that might suggest them-<br />
selves. And that is answered on the 25th:<br />
‘My dear Lucas—According to your letter of<br />
February 23rd and our conversation of to-day, I<br />
am writing now to ratify our arrangement by<br />
which you undertake to deal with all the manu-<br />
scripts I send you during the next year, beginning<br />
from the date of this letter, and to generally act,<br />
in fact, as my literary adviser (see me when you<br />
can, ete., ete., in order that we can talk things over)<br />
for a hundred pounds a year paid monthly. As<br />
your letter suggests, if you have an idea for a<br />
good series which commends itself to me, you are<br />
to receive separate payment for drawing up a<br />
prospectus and arranging for the books, otherwise<br />
the hundred pounds includes any ideas for single<br />
books that may suggest themselves.’ Now, it is<br />
suggested that by these two letters Mr. Lucas has<br />
put his services at the disposal of Mr. Grant<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Richards for the £100 a year, and that if he had<br />
any idea of any single book he was bound not only<br />
to communicate that idea to Mr. Grant Richards<br />
and to give him the opportunity of becoming the<br />
publisher of that book, but he was bound if he<br />
carried his idea into effect and wrote the book to<br />
do it on the terms that Mr. Grant Richards should<br />
have the copyright. Now it seems to me that that<br />
cannot be so. I think the real meaning of the<br />
letters is this : He was to be the literary adviser,<br />
and I think one may get a good deal from the<br />
first sentence in the letter of the 23rd. Mr. Lucas<br />
there undertakes to ‘deal with the manuscripts<br />
you send me,’ that is to say, he is to be the pub-<br />
lisher’s reader to advise the publisher as to whether<br />
a book is likely to be a success if published, and<br />
further than that he agrees by that letter—accepted<br />
by the letter of the 25th—that if he does have an<br />
idea which he communicates to Mr. Grant Richards<br />
and Mr. Grant Richards publishes the book as the<br />
result of it, that he will not be paid anything<br />
further, but it seems to me that there is nothing<br />
in either of those two letters imposing any obliga-<br />
tion upon Mr. Lucas to place in the hands of Mr.<br />
Grant Richards the publication of any book the<br />
idea of which may occur to him. All that-that<br />
last sentence of the letter with regard to the single<br />
book seems to me to impose on Mr. Lucas is that<br />
he will not require any further payment for any<br />
idea which he may communicate. If so, it seems to<br />
me that the argument of the defendants on the main<br />
part of the case breaks down. In my judgment<br />
there was no employment to write this book.<br />
<br />
“Tn my opinion the true effect of the letters of<br />
November, even read in connection with the two<br />
letters of February, was an agreement between the<br />
author and the publisher that if the author should<br />
compose a book he was to request the publisher to<br />
publish it, the’ publisher agreeing if he did publish<br />
it to publish it on the terms that he and the author<br />
should share the profit equally, and I think the<br />
true meaning of the agreement is not employment,<br />
but an independent agreement between author<br />
and publisher. Supposing instead of being an<br />
anthology this had been an original book, a book<br />
we will say on some historical subject which the<br />
author had got in his head, but had not yet<br />
written, is there anything in that circumstance<br />
which makes it impossible for him to arrange for<br />
the publication of that book with the publisher in<br />
the ordinary way, without making any express<br />
stipulation that if that agreement is carried into<br />
effect the copyright shall beiong to him. I see<br />
nothing ; it seems to me that when he has written<br />
the book he is the author of it, and that he is<br />
prima facie entitled to the copyright.<br />
<br />
“Now then comes a further question. It is said<br />
that the publisher is entitled under this agreement<br />
<br />
13<br />
<br />
to continue to publish the book and that the author<br />
is not entitled to publish it. It seems to me that<br />
is met by Reade v. Bentley in 4 Kay and John-<br />
son, page 656. It is quite true that in this case<br />
there is a difference between the agreements—the<br />
agreement in Reade v. Bentley was more precise as<br />
to the mode in which the profits were to be ascer-<br />
tained. In this case the agreement specifies only<br />
the sharing of profits, without saying how those<br />
profits are to be ascertained, but I do not think<br />
that the difference between the two agreements is<br />
enough to justify me in distinguishing this case<br />
from Reade v. Bentley. It seems to me in this<br />
case, as in Reade v. Bentley, there was a joint<br />
adventure for the publication of this book—an<br />
adventure which, subject to the limitations that<br />
the author must not act unfairly to the publisher<br />
—by ‘unfairly’ I mean unfairly as defined by the<br />
judgment in Reade v. Bentley—subject to that he<br />
may determine the agreement between them. Now<br />
the Vice-Chancellor expressed in his judgment<br />
what he thought would be a fair determination of<br />
the agreement, that is to say, that it would not be<br />
fair for the author to determine the agreement if<br />
there was an edition running on which the pub-<br />
lisher had incurred expense. Subject to that, the<br />
author was entitled to determine the agreement<br />
and to publish the book elsewhere, if, as I hold in<br />
the present case, he has the copyright. Now, in<br />
the present case, what has happened is that the<br />
publisher became bankrupt on the 2nd February,<br />
1905. Thereupon the benefit of this contract with<br />
other assets of the bankrupt would pass of course<br />
to the trustee in the bankruptcy. It seems to me<br />
that this fact without any notice from the author<br />
would at once determine the joint adventure, and<br />
subject to the restriction which I have already<br />
alluded to would leave it open to the author to<br />
employ some other person to publish the book.<br />
Then, it is contended that at all events he cannot<br />
do so so long as any parts of the last edition<br />
remain unsold. That really is giving effect to<br />
the restriction which I have already mentioned as<br />
having been placed upon the author by the judg-<br />
ment in Reade v. Bentley, but that is met by an<br />
offer on the part of the plaintiff to buy from the<br />
publisher such of the copies of the last edition as<br />
remain unsold, ‘Then it is said that there are<br />
certain copyright pieces in the book, the copy-<br />
right in which belongs to Mr. Grant Richards.<br />
Of course, if there is copyright outstanding in<br />
certain individual pieces which would be infringed<br />
by the republication of the book, the author would<br />
not be entitled to infringe that copyright. He<br />
states that he does not intend to, and I think the<br />
true result in reference to that is that I must leave<br />
out of account for the present purpose—for the<br />
purpose of this judgment—all question of copy-<br />
14<br />
<br />
right in the individual pieces, either between the<br />
author, the plaintiff, Mr. Grant Richards or his<br />
assignee in bankruptcy, or as between the plaintiff<br />
and other persons who have a copyright.”<br />
<br />
_ OH?<br />
<br />
OUGHT STAGE-PLAYS AT MUSIC HALLS<br />
TO BE PROHIBITED ?<br />
<br />
—_ <2 —<br />
<br />
HE question of stage-plays at music halls was<br />
a matter of public inquiry some forty years<br />
ago, but it has come into prominence again<br />
during the last twelve months, and the theatre<br />
proprietors are still on the war-path. The cam-<br />
paign began in the autumn of 1903, when the<br />
Theatrical Managers’ Association instituted pro-<br />
ceedings against the Palace Theatre of Varieties<br />
for producing a piece entitled “ La Toledad ”—an<br />
artistic sketch of a perfectly harmless character,<br />
which had been performed in the principal halls<br />
in London and in the provinces for two years<br />
previously without any complaint whatever. Of<br />
course it came within the legal definition of a<br />
stage-play, and under the Theatres Act of 1843<br />
it is, strictly speaking, illegal to produce a stage-<br />
play at a music hall. The Palace company was<br />
accordingly convicted and fined £50.<br />
<br />
The theatre proprietors, apparently encouraged<br />
by their success, then proceeded to attack other<br />
music halls in different parts of the metropolis,<br />
and, although some of the magistrates were reluc-<br />
tant to impose a penalty at all, at the latter end of<br />
last year the Oxford and the Metropolitan Music<br />
Halls were fined £120 and £180 respectively for<br />
the same offence.<br />
<br />
Now when music hall proprietors are being<br />
mulcted in fines exceeding £100 for permitting<br />
the performance of stage-plays—which are not<br />
only admittedly free from indecency and anything<br />
offensive, but are in many instances artistic and<br />
picturesque, and add considerably to the entertain-<br />
ment of the public—the “man in the street” is<br />
naturally inquiring if this is the law, and for whose<br />
benefit such a law exists ?<br />
<br />
Inasmuch as the recent prosecutions have been<br />
taken under the Theatres Act, 1843, and this is<br />
the statute which is violated every day in London<br />
and in the provinces—and has been violated per-<br />
sistently during the last half-century at least—it<br />
is important to realise that the Act was passed for<br />
a specific object, which is not generally under-<br />
stood, and under circumstances wholly different<br />
from those which exist at the present day.<br />
<br />
From the conduct of the theatre proprietors with<br />
regard to stage-plays, it would appear as if they<br />
thought the Theatres Act was intended to preserve<br />
<br />
THE AUTHOR.<br />
<br />
the privileges of those who run theatres from the<br />
increasing competition of the music halls. The<br />
seem to think that the Act was passed for the<br />
benefit of themselves as upholders of the “ legiti-<br />
mate drama,” by way of contrast to those who run<br />
variety entertainments where smoking and drinking<br />
is allowed in the auditorium. They argue that<br />
as they have certain requirements imposed upon<br />
them by reason of their theatre licence, they ought<br />
to have the monopoly of performing stage-plays<br />
and should prevent artistic performances elsewhere<br />
in those palaces of varieties where the restrictions<br />
may be less exacting.*<br />
<br />
But this is an entire mistake. The Theatres<br />
Act was never intended for such a purpose at all.<br />
Its object was to provide a more effective control<br />
over performances calculated to offend public<br />
decency and morals. It was described in Parlia-<br />
ment as “a measure of police.” It gave no<br />
authority to the Lord Chamberlain to dictate to<br />
the manager of a theatre what sort of entertain-<br />
ments he should provide for the public. It was<br />
no part of his duty to say whether there should be<br />
drama, or singing, or dancing at the theatre,<br />
whether the plays should last forty minutes or<br />
three hours, whether there should be two or a<br />
dozen performers, or what sort of scenic effects<br />
should be employed. All such matters were left<br />
to the discretion of the manager, and the only duty<br />
of the Lord Chamberlain was to see that no enter-<br />
tainments offensive to public decency and morals<br />
should be permitted. The Act empowered him to<br />
secure to the public that there should be nothing<br />
indecent, scurrilous, or profane. The whole pur-<br />
pose of the Act was to restrain licentiousness-—not<br />
the liberty of the stage.<br />
<br />
So much for the object of the Act. Now, as to<br />
the circumstances to which it was to be applied.<br />
<br />
The modern music hall or palace of varieties at<br />
that time was not in existence and possibly not<br />
even conceived. The earliest London music hall was<br />
built in 1851, nearly ten years after the Theatres<br />
Act was passed. The Canterbury, the Oxford,<br />
the Tivoli, and other similar halls of entertainment<br />
show the progress of artistic development from the<br />
‘free and easies” at the beginning of the century.<br />
Such entertainments took place generally in the<br />
yard or precincts of a tavern, where drinks were<br />
supplied according to the payments of admission.<br />
Each man sang his song, and pipes and porter and<br />
good square meals were accessories to the enter-<br />
tainment. A licence from the magistrates for<br />
music and dancing was required by the same<br />
statute under which the County Council grant<br />
licences to music halls at the present day. With-<br />
<br />
<br />
<br />
* Vide manifesto of the Theatrical Managers’ Associa~<br />
tion, published in the Zimes, July 16th, 1904,<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ss era en Na<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR. 15<br />
<br />
out the magistrates’ licence such a place of enter-<br />
tainment was declared by the Act to be a “dis-<br />
orderly house,” and in those early days the<br />
description was not always inappropriate to such<br />
places even when conducted under the authority<br />
of the magistrates.<br />
<br />
Canterbury Hall was opened in 1852 under the<br />
management of the late Mr. Morton, who had run<br />
the Canterbury ‘Tavern with “ free and easies.” He<br />
it was who introduced the system of “ turns” which<br />
prevails in the modern music halls. Similar places<br />
were built, and by degrees new palaces of varieties<br />
were opened in all parts of the Metropolis. Then it<br />
was that the theatre proprietors felt the strain of<br />
competition, and—showing how history repeats<br />
itself—they commenced a general attack upon the<br />
music halls. A series of prosecutions, very similar<br />
to those of 1904, were instituted in 1860 by<br />
theatre proprietors to check the performance of<br />
stage-plays at music halls.<br />
<br />
There was a performance at Canterbury Hall<br />
where two persons came on the stage and repre-<br />
gented a kind of pantomime. They played seven-<br />
teen or eighteen characters, the great point being<br />
the quick change of dress. They were prosecuted<br />
for performing a stage-play, and were fined £5.<br />
This is merely a single instance, but the theatre<br />
proprietors attacked everything, and even secured<br />
a conviction against a proprietor of the entertain-<br />
ment known as “ Pepper’s Ghost.”<br />
<br />
The question as to the propriety of these prose-<br />
cutions became a matter of public interest, and in<br />
1866 a parliamentary committee was appointed to<br />
investigate the case for and against the perfor-<br />
mance of stage-plays at music halls. The evidence<br />
before the committee is interesting, because it<br />
shows the marked contrast between the state of<br />
the music halls then and their improved condition<br />
at the present day. For instance, it was proved<br />
to be the practice at many of the music halls to<br />
give a ticket on payment of admission, which<br />
entitled the holder to spirits to the amount of the<br />
ticket. It was urged against the music halls as a<br />
notorious fact that there were private saloons<br />
where immorality prevailed. The songs were said<br />
to be a disgrace to any person who put them on<br />
the stage, and it was alleged that obscene songs<br />
suited a certain class of people who went there<br />
expressly to get drunk. There were constant rows<br />
and fights, and there was a want of police surveil-<br />
lance, All these things were urged against. music<br />
halls in 1866—when such irregularities did exist<br />
no doubt—and yet the parliamentary committee<br />
was satisfied that even then there was no case for<br />
prohibiting the performance of stage-plays at<br />
music halls, provided they were placed under<br />
proper supervision.<br />
<br />
Such was the state of things complained of in<br />
<br />
1866, but can it be alleged against the music halls<br />
of the present day ?<br />
<br />
It must be generally admitted that the music<br />
halls have been steadily improving in the artistic<br />
nature of their performances. The buildings<br />
are magnificent and elaborately decorated. They<br />
are under the efficient supervision of the County<br />
Council. They provide entertainment for thousands<br />
of people, of whom it cannot be said nowadays<br />
that they go there “expressly to get drunk.”<br />
Any disorder or disturbance is immediately<br />
suppressed, and the irregularities which no doubt<br />
existed some fifty years ago are no longer<br />
characteristic of the music halls of to-day. And<br />
if the public like to be entertained by stage-plays<br />
which are artistic, dramatic, or picturesque, is it<br />
reasonable that this old Act of Parliament should<br />
prevent them from enjoying the kind of entertain-<br />
ment they want ?<br />
<br />
Prosecutions for performing stage-plays have<br />
hindered the progress of the music halls in their<br />
artistic development ever since they rose from the<br />
“free and easies” of the public-house. Such<br />
prosecutions were proved to be unreasonable by<br />
the report of the parliamentary committee in<br />
1866. And now at the present time the theatre<br />
proprietors have started the old campaign again<br />
and have succeeded in depriving the public of<br />
performances and entertainments which they like,<br />
and which are often more artistic than many a<br />
piece produced under the authority of the Lord<br />
Chamberlain.<br />
<br />
It has been laid down that the two tests of a<br />
stage-play are, first, the excitement of emotion,<br />
and, secondly, the representation of action, A<br />
stage-play, moreover, is defined by the Theatres<br />
Act to include “every tragedy, comedy, farce,<br />
opera, burletta, interlude, melodrama, pantomime,<br />
or other entertainment of the stage, or any part<br />
thereof.” It is obvious, therefore, that any per-<br />
formance in the nature ofa so-called “sketch” at<br />
a London music hall is prohibited by statute, and<br />
the number of characters or time limit have no<br />
recognition in law.<br />
<br />
It is no exaggeration to say that there is hardly<br />
a music hall in London which does not nightly<br />
violate the law by the unauthorised performance of<br />
a “stage-play.” Not only is the music hall pro-<br />
prietor liable to heavy fines, but every artiste may<br />
be fined £10 for every such performance in which<br />
he takes part; and it is important to note that<br />
theatre proprietors have not the exclusive right of<br />
instituting proceedings, but any person—even “a<br />
man of straw”—can prosecute if he pleases, and<br />
the Act of Parliament allows him his costs, to be<br />
paid out of the amount of the fines imposed.<br />
<br />
Such being the state of the law, can it be<br />
said to be satisfactory, or applicable to the<br />
16<br />
<br />
circumstances of the present day? Is there any<br />
sound reason why the public who go to music halls<br />
should not be entertained by any performance they<br />
like, provided it does not offend against morals or<br />
decency ?<br />
<br />
It is not suggested by the theatre proprietors,<br />
who prosecute, that the stage-plays they complain<br />
of are immoral or indecent. On the contrary,<br />
their grievance is that the so-called ‘“ sketches ”<br />
have become so elaborate and artistic that they<br />
seek to prohibit performances which may success-<br />
fully compete with their own productions at the<br />
the theatres. A very pretty little Japanese piece,<br />
entitled “O Mat San,” which was artistically<br />
staged and admirably acted at the Tivoli, was<br />
withdrawn from the music halls from fear of<br />
prosecution ; and another artistic piece called<br />
<br />
THE AUTHOR.<br />
<br />
music hall, it is necessary to point out that such<br />
an opinion is entirely incorrect. An author’s<br />
rights in a play consist of “ copyright,” or the<br />
right of producing copies by printing or otherwise,<br />
and “performing rights,” or the right of produc-<br />
tion on a public stage. In the course of the case<br />
when the Palace Theatre was prosecuted for per-<br />
forming the stage-play, “La Toledad,” it was<br />
actually stated in court that the defendants had<br />
purchased the performing rights.<br />
<br />
The fact is, the theatre proprietors find a<br />
difficulty in justifying these prosecutions at all.<br />
They are not for the public benefit in any way.<br />
They are a hindrance to authors, artists, actors,<br />
and managers. They inflict great hardship upon<br />
persons who deserve encouragement for their efforts<br />
to improve the entertainments of the people. And<br />
<br />
PROSECUTIONS OF STacE PuAys, 1903—4.<br />
<br />
<br />
<br />
Music Hall. Play.<br />
<br />
Date. |<br />
<br />
Police Court.<br />
<br />
|<br />
<br />
Magistrate. Result. Remarks.<br />
<br />
<br />
<br />
1903<br />
<br />
Novy. .| Palace Theatre... .| La Toledad”’<br />
<br />
|<br />
<br />
1904 |<br />
Jan, .. New Cross Empire<br />
8. London Palace<br />
. 5. London Palace ..|“ My Life for Hers” .<br />
| Tivoli oes ...| “ Moonspell”<br />
March| Hammersmith Palace...|‘‘ Fighting Parson”...<br />
<br />
-| * Dandy Doctor”<br />
<br />
Feb.<br />
<br />
April .| Empress Theatre, Brix-| “ Fighting Parson” ...| Lambeth<br />
<br />
Oct. .) Oxford ... .| Belle of the Orient”<br />
<br />
Metropolitan<br />
<br />
<br />
<br />
|<br />
| ton.<br />
|<br />
|<br />
<br />
Nov.<br />
Dec. .| S. London Palace<br />
| S. London Palace<br />
<br />
<br />
<br />
|<br />
“The Moon Spell” has succumbed under the stress<br />
of police-court proceedings.<br />
<br />
One argument advanced against permitting<br />
stage-plays at music halls appears to be based<br />
upon a misconception of the law relating to<br />
copyright. At a recent meeting of the Actors’<br />
Benevolent Society, Mr. Beerbohm Tree, in dealing<br />
with this question, said as follows:<br />
<br />
“At the present time almost all the variety<br />
theatres—especially in the suburbs and the pro-<br />
vinces—are performing complete stage-plays, many<br />
of them occupying as much as an hour, some an<br />
hour and a half. Many of these are simply boiled<br />
down versions of stage-plays. These are not only<br />
played without a dramatic licence, but without any<br />
Sees being paid to the author.”<br />
<br />
If it was intended to suggest that an author has<br />
not identically the same rights in respect of a<br />
stage-play, whether performed at a theatre or a<br />
<br />
.| Marlborough St. .| Mr. Denman<br />
<br />
...| Greenwich<br />
..| “Major McPhee, M.P.”| Southwark<br />
Southwark<br />
.| Bow Street x<br />
West London ...<br />
<br />
e Marlborough St. .| Mr. Kennedy<br />
.| “Fighting Parson ”’...| Marylebone<br />
<br />
- Hammersmith Palace...| “ Fighting Parson”’...) West London ...<br />
.| * Beneath Big Ben”...| Southwark<br />
-| Don Cesar de Bayan”) Southwark<br />
<br />
.| Fine £50 .| Played two years<br />
previously in<br />
London = and<br />
Provinces.<br />
<br />
..| Mr. Kettle £20.<br />
<br />
.|Mr. Chapman ...) ,, £25.<br />
<br />
...| Mr. Paul Taylor. #1<br />
-| Mr. Marsham ... £50.<br />
<br />
Mr. Rose se £25.<br />
<br />
.| Mr. Hopkins ... £2<br />
<br />
£120<br />
£180) On appeal re-<br />
duced to £90,<br />
<br />
..| Mr.Curtis Bennett<br />
<br />
Mr. Rose : £42.<br />
.| Mr. Chapman ... £3<br />
-| Mr. Chapman ... £e<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
it seems like an abuse of the police court when<br />
people are prosecuted, not for the public benefit,<br />
but to procure convictions against rivals in business,<br />
whose only offence is shown in their laudable ambi-<br />
tion to go on improving their performances by making<br />
them more. artistic, dramatic, or picturesque.<br />
<br />
An antiquated law which is unreasonable is.<br />
naturally set at defiance, and some magistrates<br />
have shown their reluctance to impose more than a<br />
nominal penalty. They are, unfortunately, bound<br />
to convict, because—as Mr. Denman, the magis-<br />
trate, said in the “La Toledad ” case—“ a stage-<br />
play cannot cease to be a stage-play because, instead<br />
of three hours, it takes only thirty or forty<br />
minutes.” But the summary of prosecutions in<br />
the table above (which is not exhaustive) is sufficient.<br />
to show the difficulty of administering a law which<br />
is not adapted to the requirements of the publicat<br />
the present day.<br />
<br />
<br />
<br />
<br />
<br />
<br />
ee<br />
<br />
Ee<br />
<br />
<br />
<br />
et ere AI A la ge foo ON.<br />
<br />
THE AUTHOR. 17<br />
<br />
In giving his decision in the case of the “ Fight-<br />
ing Parson,” Mr. Hopkins makes this clear when<br />
he said, “‘ Speaking for myself, and I hope, for all<br />
the magistrates and justices throughout the country,<br />
I take but little notice of a form of offence which<br />
the authorities of the country do not proceed<br />
against, and which no one proceeds against, except<br />
the people whose pockets are touched.”<br />
<br />
Again, in the case against the New South London<br />
Music Hall for producing “ My Life for Hers,”<br />
Mr. Paul Taylor observed, “It is important to<br />
remember that for the last twenty-five or thirty<br />
years music hall managers have been allowed to<br />
produce sketches without hindrance. The evidence<br />
given before the committee in 1892 included a<br />
statement by the late Mr. Clement Scott that since<br />
theatre managers had withheld their hands and<br />
winked at the illegality, the whole tone of the<br />
variety theatre had improved, as any one who has<br />
any London experience will agree. The music hall<br />
managers have been lulled into a state of security;<br />
false security perhaps, by the inaction of any<br />
public authority.” He was reluctantly compelled<br />
to convict, however, and imposed a nominal fine<br />
of £1.<br />
<br />
The theatre proprietors have so far had it all<br />
their own way. They have selected whom they<br />
will prosecute and whom they do not care to<br />
molest. They have succeeded in shelving the<br />
question as to the stage-plays at the Empire and the<br />
Alhambra, because their own interests might be<br />
affected in the event of convictions at those two<br />
particular halls. Moreover, they have lately had<br />
the satisfaction of seeing some of the magistrates<br />
so deeply impressed with the enormity of this<br />
<br />
‘ offence, that they have inflicted very heavy fines<br />
<br />
for what other magistrates can hardly regard as an<br />
offence at all.<br />
<br />
But the theatre proprietors may have carried<br />
their successes too far. In the matter of their<br />
entertainments the public should surely have a<br />
voice. And when the time has come to make an<br />
alteration in the law, when the object of the<br />
Theatres Act is carefully considered and under-<br />
stood, it is possible that the question will not be<br />
whether ‘sketches ” shall be permitted at music<br />
halls, within certain limits as to time and the<br />
number of performers, but whether it is to the<br />
interest of the public that any stage-play, which<br />
is not indecent, scurrilous, or profane, shall be<br />
prohibited at any one of their places of public<br />
entertainment.<br />
<br />
The music halls, compared with the theatres, are<br />
only in their infancy. Their artistic development<br />
during the last ten or fifteen years has been rapid<br />
and extraordinary. They have a great future<br />
before them. And it has become a question for<br />
the public, not for theatre proprietors to decide,<br />
<br />
whether the entertainments of the people shall be<br />
fettered with restrictions, which are proved to be<br />
unreasonable, and which are wholly inappropriate<br />
° the requirements of the public at the present<br />
day.<br />
<br />
Harotp Harpy.<br />
<br />
+——_-—_ ses<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
—_t-—~——+ —__<br />
BLACKWOOD’S MAGAZINE.<br />
An Irish Festival. By Stephen Gwynn.<br />
<br />
BOOKMAN.<br />
<br />
The Work of Maurice Hewlett. By A. Macdonell.<br />
<br />
Book MonTvHLY.<br />
Stage and Book. By Lewis Melville.<br />
Holy Ground: A Pilgrimage to the Scene of Grey’s<br />
“Hlegy.” By W. J. Roberts.<br />
The German Book Trade.<br />
<br />
By Bruno Conrad,<br />
<br />
CHAMBERS’ JOURNAL,<br />
Shakespeare Autographs. By W. Roberts.<br />
<br />
CONTEMPORARY REVIEW.<br />
<br />
Centres of Scientific and Religious Thought.<br />
<br />
By Emma<br />
Marie Caillard.<br />
<br />
CORNHILL MAGAZINE.<br />
<br />
By J. H. Yoxall.<br />
By Frank Sidgwick.<br />
<br />
Consule Planco.<br />
An English Poet.<br />
<br />
FORTNIGHTLY REVIEW.<br />
<br />
Mr. Wells as a Sociologist. By Dr. Beattie Crozier.<br />
<br />
Church and State in France. By Eugene Tavernier.<br />
Translated by Helen Chisholm.<br />
<br />
The Beginnings of Religion and Totemism. By J. G.<br />
Fraser.<br />
<br />
Christopher Marlowe. By W. L. Courtney.<br />
<br />
The Letters of Ernest Renan. By Edward Wright.<br />
<br />
LONGMAN’S MAGAZINE.<br />
The Sherborne Pageant. By Sir Lewis Morris.<br />
<br />
MACMILLAN’S MAGAZINE,<br />
The Novels of Captain Chamier.<br />
The Fellow Workers of Voltaire: Beaumarchais. By<br />
. G. Tallentyre.<br />
<br />
TR<br />
<br />
MonrH.<br />
<br />
King Henry VIII. asa Poet. By Rhys Pryce.<br />
<br />
MONTHLY REVIEW.<br />
Alphonse Daudet. By M. F. Sanders.<br />
The Increasing Popularity of the Hrotic Novel. By<br />
Basil Tozer.<br />
On Catalogue Reading. By Dora Greenwell McChesney.<br />
Dean Church, By Algernon Cecil.<br />
NATIONAL REVIEW.<br />
Sea Power and The Poets. By St. Loe Strachey.<br />
<br />
NINETEENTH CENTURY.<br />
<br />
A Plea for a Ministry of Fine Arts. By M.H. Spielmann..<br />
Agnes Sorel. By Alice Kemp-Welch.<br />
<br />
TEMPLE BAR.<br />
The Poet's Ringlets, By Michael MacDonagh,<br />
18<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—_—>—+ —<br />
<br />
BRE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
.duection 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 />
This is perhaps, with certain limitations, the best form<br />
-of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It isnow<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
\$—<—2<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
ETO<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 />
THE AUTHOR.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills. :<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of g7vss receipts<br />
in preference to the American system, Should<br />
obtain a sum inadvance of percentages. A fixe:<br />
date on or before which the play should be<br />
performed.<br />
<br />
(e.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.¢., fixed<br />
nightly fees). ‘his method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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. ‘he legal distinction is<br />
of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
ep<br />
<br />
°<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
a<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
<br />
<br />
Ae<br />
ie ae<br />
ve<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
os<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
should be especially careful therefore when entering into<br />
an agreement,and should take into particular consideration<br />
the warnings stated above.<br />
<br />
Se ee ee<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. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel's opinion. All this<br />
<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. ‘The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) ‘Io stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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 />
This<br />
The<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 4s. per<br />
annum, or £10 10s for life membership.<br />
<br />
19<br />
TO MUSICAL COMPOSERS.<br />
<br />
——>+—<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf ot its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
OE eS<br />
<br />
THE READING BRANCH.<br />
<br />
oe<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 />
<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea,<br />
<br />
<br />
<br />
—p—+<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 />
Communications for “The Author” should be addressed<br />
to the Olfices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. very 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 />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
> +<br />
<br />
ENSIONS to commence at any selected age,<br />
P either with or without Life Assurance, can<br />
be obtained from this society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, H.C.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
AUTHORITIES.<br />
<br />
hen aan<br />
<br />
«Prom a circular dated “Leipzig, middle of<br />
July, 1905,” signed by an International Committee<br />
appointed to make arrangement for the Inter-<br />
national Congress of Publishers at Milan next<br />
year, we learn that membership of the Congress is<br />
confined to book publishers, music publishers, art<br />
publishers, and publishers of periodicals (reviews,<br />
magazines, illustrated papers) of all countries.<br />
<br />
Discussions can be in Italian, French, German,<br />
and English. Interpreters for these languages will<br />
be present at all the sittings.<br />
<br />
The Congress sittings will take place in Milan,<br />
from June 6th to 10th, 1906.<br />
<br />
The subjects dealt with will relate exclusively to<br />
such questions as have international interest, and<br />
refer either to authors’ rights or publishers’ rights<br />
in works of literature and art, or relate to book,<br />
art, music, or periodical publication.<br />
<br />
The Congress is divided in two sections—<br />
<br />
Section A.: Authors’ Rights and Publishers’<br />
Rights.<br />
<br />
Section B.:<br />
Trade.<br />
<br />
The discussions will be arranged in three<br />
sub-sections of the Sections A. and B., formed as<br />
follows :<br />
<br />
1. Books and periodicals.<br />
<br />
2. Music.<br />
<br />
3. Objects of the trade in works of art<br />
(engravings, prints, photographs).<br />
<br />
The discussion on Section A., “ Authors’ Rights<br />
and Publishers’ Rights” will, no doubt, be<br />
interesting to all members of the Society, and<br />
we hope to be able to obtain a full and detailed<br />
account when the Congress has been held next<br />
year.<br />
<br />
Book, Art, Music, and Periodical<br />
<br />
Mr. Grant Richards,<br />
<br />
THE application of<br />
publisher, for an order of discharge in bankruptcy<br />
came before Mr. Registrar Brougham in July, and<br />
was disposed of by an order suspending the dis-<br />
<br />
charge for two years. The estimated liabilities,<br />
according to the Official Receiver’s report, were<br />
£36,495, but it was stated that these might be<br />
increased to as much as £48,995, in certain<br />
contingencies. Of the assets £10,300 had been<br />
realised, and the value of the unrealised assets<br />
was estimated at £10,075. The Official Receiver’s<br />
report regarding the bankrupt’s conduct of his<br />
business and his manner of living was very<br />
unfavourable. In explanation of the private<br />
expenditure, it was stated that Mr. Grant Richards<br />
had spent considerable sums in entertaining<br />
authors, booksellers and other persons who might<br />
have assisted him in business. The Registrar,<br />
<br />
in giving judgment, remarked that this was an<br />
unfortunate case, as the bankrupt had a large<br />
business, which, so late as November, 1904, was<br />
valued at £50,000.'<br />
<br />
a<br />
<br />
OBITUARY.<br />
<br />
—— + —_<br />
<br />
R. GEORGE MACDONALD, whose death<br />
we chronicle with regret, was one of the<br />
early members of the society, but resigned<br />
<br />
his membership in 1894. His sympathies were<br />
always strong for the members of his profession<br />
and the work of the society.<br />
<br />
Born in the Aberdeenshire village of Huntley, in<br />
1824, he was destined for the ministry, but, partly<br />
owing to his ill health, he took up literature as a<br />
profession. He thus appealed to a wider audience<br />
as a writer than he could possibly have done as a<br />
minister, though even to the end of his life he<br />
devoted a portion of his time to preaching and<br />
lecturing. He was, according to his own state-<br />
ment, firstly a poet, and secondly a writer of<br />
novels; and though as a writer of novels he<br />
attained literary fame, yet there are many who<br />
will not forget his work as a poet. Of the novels<br />
produced from his pen, “David Elginbrod”<br />
obtained the widest circulation, and the epitaph<br />
in this book is, perhaps, the most widely quoted<br />
of any of his writings, but the author’s own favourite<br />
was “ Robert Falconer.”<br />
<br />
For many years he lived abroad for the sake of<br />
his health ; but he returned to England, and died<br />
at Ashtead, Surrey, in the middle of last month.<br />
<br />
It is interesting to note that his two sons,<br />
inspired, no doubt, by their father’s example, have<br />
also produced books. His second son, Ronald,<br />
achieved a recent success in a work entitled “ The<br />
Sword of the King.”<br />
<br />
+ <_<<br />
<br />
THE CRABBE CELEBRATION AT<br />
ALDEBURGH.<br />
<br />
16TH—18TH SEPTEMBER, 1905.<br />
<br />
—+~<>—<br />
<br />
HE Crabbe Celebration, in commemoration<br />
of the poet’s birth one hundred and fifty<br />
years ago, has been an unqualified success.<br />
<br />
Under the direction of Mr. Charles Ganz, to whose<br />
enthusiasm the inception and fulfilment of the<br />
function are due, the borough authorities, from<br />
the Mayor downwards, made everything easy and<br />
attractive to the numerous visitors, the most<br />
notable among whom was Mr., or—to recognise<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
See<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 21<br />
<br />
his recent academic honours—Dr. Thomas Hardy.<br />
To the author of the Wessex novels Crabbe is “ the<br />
first realist,” making appeal, as truthful portrayer<br />
of the sad, sombre life of the peasantry, in contrast<br />
to the sham presentments of beribboned swains and<br />
bedizened shepherdesses of Watteau pictures and<br />
pastoral poems.<br />
<br />
Quite unexpected was the helpful prominence<br />
given to the celebration by leading articles and<br />
“ appreciations’? in the leading London and pro-<br />
vincial papers, many of whom sent representatives<br />
to report the proceedings, while a goodly show of<br />
patrons, from the Prime Minister to local magnates,<br />
sent their blessings, and, in some cases, their<br />
guineas, these last-named, sadly needed. More<br />
welcome than even the guineas were the exhibits in<br />
the venerable Moot Hall—a goodly muster of per-<br />
sonal relics of the poet ; manuscripts of some unpub-<br />
lished poems, manuscripts of sermons never to be<br />
published, having, once and for all, done their duty<br />
from the ‘“‘ three-decker”’ ; copies of first editions ;<br />
portraits of Crabbe by Pickersgill and Millington ;<br />
pictures of Aldeburgh and Slaughden (where Crabbe<br />
helped his father in the duties of salt-master) in<br />
the eighteenth century ; and a life and selection<br />
from the poems in Russian, the existence of which<br />
Monsr. Huchon told me had escaped even his<br />
eagle eye. To that eminent scholar and ardent<br />
lover of the poet, all are under debt of deep grati-<br />
tude, not only for his presence, but for the brilliant<br />
paper on “Crabbe’s Aldeburgh,” which, written<br />
in pure and nervous English, and suffused with a<br />
charm of style which is the secret of his country-<br />
men, was read by him at the afternoon gathering<br />
on Saturday. Mr. Redstone had previously dealt<br />
with some features of the old town in the sixteenth<br />
and seventeenth centuries, and these M. Huchon<br />
supplemented in an illuminative discourse showing<br />
profound acquaintance with the social and literary<br />
history of England in the eighteenth century, and<br />
giving a graphic description of the ill-built, wind-<br />
swept borough at the time when Crabbe found<br />
therein material for verse which won the praise, to<br />
name no others, of Scott, Jane Austen, Cardinal<br />
Newman, and Tennyson. An interesting paper on<br />
Crabbe as a botanist, enlivened by quotations from<br />
poems in which the flora of East Anglia is intro-<br />
duced, preceded a very able assessment of “Crabbe’s<br />
place in English literature” by Mr. Clement<br />
Shorter. Dwelling on his originality and pathos,<br />
and on his skill as a story-teller, Mr. Shorter<br />
applied his wide range of knowledge of our literature<br />
to a comparison of Crabbe with his contemporaries,<br />
and to the contrasts between his own verse and<br />
the poetry which both preceded and followed it.<br />
The necessarily meagre reports of each paper which<br />
have appeared emphasise the wish of those who<br />
heard them to see them published in full.<br />
<br />
In the evening, lighter entertainment was pro-<br />
vided in the shape of tableaux vivants illustrative<br />
of certain incidents in Orabbe’s life. The severest<br />
critics pronounced these to be excellent, and paid<br />
hearty tribute to the skill of Mr. André in device<br />
and presentment. On the Sunday morning, in the<br />
fine old church where Crabbe officiated as curate<br />
in 1792, the Rev. S. W. Goldsmith discoursed in<br />
large-hearted and excellent fashion on the poet as<br />
reflecting faithfully the human nature and con-<br />
ditions of bis age ; holding him up as an example<br />
to be followed in rectitude, strenuousness, and<br />
broad sympathies.<br />
<br />
Thereafter came facilities, on the whole well<br />
availed of, for excursions to places associated with<br />
the poet-—Orford, with its Norman keep; Parham,<br />
with its picturesque mvated Tudor hall; and<br />
Framlingham, with its magnificent castle and its<br />
church, wherein are stately tombs of Surrey, the<br />
Poet-peer, and other of the Howards.<br />
<br />
From all this, there may be no result of “ boom ”<br />
in Crabbe; but the gathering together from far<br />
and near, of those who hold that his place in<br />
English literature is, if subordinate, at least secure,<br />
may cause some to whom he is only a name, to<br />
read the ‘Tales in Verse,” “The Borough,” and<br />
“The Village.”<br />
<br />
EpWwaRpD CLODD.<br />
—_—_—___ 7-4<br />
<br />
THE LITERATURE OF SOUTH AFRICA.<br />
<br />
——+ <4 —_<br />
<br />
F South Africa had been compelled to rely for<br />
its literary output upon the efforts of those<br />
born and bred within its own borders, it<br />
<br />
would have little indeed to show. Within the<br />
last hundred and fifty years a vast number of books<br />
have been produced, dealing with the lands and<br />
peoples south of the Zambesi, but few of them<br />
have been the work of colonial-born writers. The<br />
reasons for this paucity of production are not<br />
difficult to find. The Cape Dutch have been, in<br />
the main, pastoralists, farmers and wine-growers,<br />
and have been far too much engaged in the rough<br />
work of opening up the country, conquering<br />
native tribes, hunting, and wresting their living<br />
from the soil, to devote any portion of their time<br />
to such an occupation as literature, which needs a<br />
settled government, education, and an ampler<br />
leisure than the South African-born has had to<br />
bestow. It is not unlikely that the next fifty<br />
years may see many changes in these respects ;<br />
education is steadily advanciny, peace and leisure<br />
will be more abundant, and from the ranks of the<br />
two sturdy races before whom the future of Africa<br />
south of the Zambesi lies, it is almost certain that<br />
writers will presently arise to create a literature of<br />
its own for this great and interesting country,<br />
<br />
<br />
22<br />
<br />
The earliest writers upon South Africa were,<br />
without exception, travellers, missionaries, sports-<br />
men and naturalists, who, struck with the natural<br />
wonders of this portion of the Dark Continent,<br />
were anxious to give to the world their impres-<br />
sions. Among these two distinguished Swedes,<br />
Sparrmann and Thunberg, whose works were trans-<br />
lated into English, published in the last quarter of<br />
the eighteenth century two excellent works of<br />
travel concerning the old Cape Colony, its fauna,<br />
flora, and inhabitants. To them succeeded the lively<br />
French naturalist, Le Vaillant, whose three works<br />
followed within a few years the publication of the<br />
narratives of the Swedish travellers. Le Vaillant<br />
had a vivid imagination, and his facts are not<br />
always to be relied upon ; still, even at the<br />
present day, his books are not without interest,<br />
and the vatiety and vivacity of the mercurial<br />
Frenchman can seldom fail to amuse the reader.<br />
Barrow, secretary to Earl Macartney, the second<br />
English Governor of Cape Colony, published in<br />
the early years of the nineteenth century a first-rate<br />
book of travel dealing with the new British<br />
dependency. This writer, afterwards famous as<br />
Sir John Barrow, secretary to the Admiralty, was<br />
a man of high attainments, and his book is not<br />
only a sound piece of literature, but abounds in<br />
solid information and well-balanced reasoning.<br />
To Barrow succeeded Lichtenstein, a German<br />
medical man, who produced, a few years later, a<br />
first-rate book of travel. Some fifteen years after<br />
Barrow’s travels appeared another notable volume,<br />
the narrative of Dr. Burchell, one of the most<br />
painstaking and scientific travellers who have ever<br />
explored Africa. Burchell was one of the first to<br />
penetrate beyond the Orange River, and his great<br />
work on the country, and its fauna and flora<br />
remains to this day a most valuable book of<br />
reference.<br />
<br />
There have been few poets worth the name in<br />
South Africa, even as temporary sojourners.<br />
Thomas Pringle is one of them. One of the Algoa<br />
Bay settlers, he lived in the Eastern Province of<br />
Cape Colony for some five years—from 1820 to<br />
1825—during which time he became thoroughly<br />
imbued with the wild romance of the country.<br />
Pringle knew Sir Walter Scott, and some of his<br />
poetry is obviously tinged with the influences of<br />
his great {ellow-countryman. His “Afar in the<br />
Desert,” “The Captive of Camalu,” ‘“ Evening<br />
Rambles,” “The Song of the Wild Bushman,”<br />
and other pieces stand far above the attempts of<br />
any other writers of South African poetry. Up to<br />
the present time, in truth, Pringle may be said to<br />
be the only South African poet.<br />
<br />
The attractions of sport and wild life in South<br />
Africa have produced many notable volumes.<br />
Chief among these stands “ Wild Sports of Southern<br />
<br />
THE AUTHOR.<br />
<br />
Africa,” the work of that accomplished and most<br />
enthusiastic of sportsmen, Sir William Cornwallis<br />
Harris. Cornwallis Harris was the forerunner of<br />
the big game hunters who have, since his time,<br />
penetrated to the uttermost recesses of the country<br />
in search of adventure, and his books (he pub-<br />
lished also « magnificent folio, “ Portraits of the<br />
Wild Game of South Africa”’), fired the blood of<br />
many an Englishman, and did much to attract<br />
attention to the lands between the Orange and the<br />
Zambesi. A sound naturalist and a competent<br />
artist, Harris illustrated his own works, which are<br />
to this day eagerly sought after at high prices by<br />
collectors of South African literature.<br />
<br />
Roualeyn Gordon Cumming was one of those<br />
led to South Africa by the glowing and romantic,<br />
but by no means overdrawn descriptions of<br />
Cornwallis Harris. Cumming has been too often<br />
imagined as the sportsman pure and simple, but<br />
his book, ‘Five Years of a Hunter’s Life,”<br />
proves him also the wielder of a ready and most<br />
descriptive pen. Many editions of this famous<br />
work have been brought out, and to this hour the<br />
book sells readily. Upon the whole it may be<br />
counted one of the liveliest and most graphic<br />
descriptions of great game hunting and of wild<br />
life ever published. Much and ably as he handled<br />
the rifle, Gordon Cumming was clearly an author<br />
of distinction ; writing was in his blood, and his<br />
sister, Miss C. F. Gordon Cumming, who, happily,<br />
still survives, has ably carried on the tradition,<br />
and given to the public many excellent volumes.<br />
No one can read Gordon Cumming’s work without<br />
being thrilled again and again by the wonderful<br />
feats performed, the legions of game encountered,<br />
and the speaking and most accurate delineations<br />
of the virgin veldt in which this great Nimrod was<br />
privileged to wander. The book will always and<br />
justly remain one of the classics of its kind.<br />
<br />
Among other notable hunters’ books are those<br />
of Andersson, Baldwin, Drummond, Selous, Bryden,<br />
Millais, and Vaughan Kirby. Andersson, a traveller<br />
of mixed Swedish and English descent, did much to<br />
open up the deserts of South West Africa, and his.<br />
chief volumes, ‘‘ Lake Ngami,” and “The Okavango<br />
River,” are good narratives of travel and adventure,<br />
written in sound and nervous English. Francis<br />
Galton’s “Tropical Africa” is another book of<br />
this period; Galton and Andersson were fellow<br />
travellers, but their narratives are equally well<br />
written and equally worth perusal. W. C. Baldwin,<br />
one of the greatest and most daring hunters that<br />
ever sought danger in South Africa, published a<br />
volume in the early sixties, which described his<br />
sporting career from Natal and Zululand to the<br />
Zambesi from 1852 to 1860. He has not the<br />
literary grace of Cornwallis Harris, nor the stirring<br />
and descriptive pen of Gordon Cumming, and his.<br />
<br />
<br />
<br />
<br />
<br />
<br />
book is transcribed almost direct from his rough<br />
diaries. None the less, his “ African Sport from<br />
Natal to the Zambesi” is to this day one of the<br />
freshest and most fascinating of works dealing<br />
with wild life and adventure. He carries bis<br />
reader with him in all his feats. No man has<br />
succeeded more completely in depicting the joys,<br />
the dangers, and the difficulties of the hunter’s<br />
career.<br />
<br />
Drummond, Selous, Bryden, Millais, and Vaughan<br />
Kirby have dealt with a later period of the South<br />
African hunting veldt—that between 1871 and<br />
1900. Each of these writers has, in his own way,<br />
‘succeeded admirably in continuing, down to our own<br />
times, the enthralling narratives of earlier writers<br />
on sport and adventure in South Africa. Among<br />
missionaries, the names of Moffat and Livingstone<br />
stand easily first in the survey of South African<br />
literature. Moffat, whose long and notable career<br />
in the interior of South Africa will always be<br />
remembered with admiration, published in the<br />
forties a work dealing with mission scenes and<br />
travel from 1817 onwards, among uncouth tribes<br />
s and dangerous beasts, which undoubtedly had<br />
“ much influence upon innumerable readers. His<br />
* great son-in-law, David Livingstone, has done,<br />
4 perhaps, more towards the opening up of savage<br />
Africa than all the other writers put together. A<br />
# man of indomitable strength of character, wonder-<br />
1 ‘ful tact and wide attainments, Livingstone seems<br />
4 to have had a natural gift for literature. His<br />
* “Missionary Travels,” published in 1857, is not<br />
only ably written, but is a monument of care,<br />
labour and research. No man who knows his<br />
South Africa can fail to be struck not only with<br />
the learning of this author, but with his immense<br />
‘knowledge of every phase of the life of the South<br />
African interior. The power, the truthfulness, and<br />
the wonderful moderation of the man are shown in<br />
every page. The work of one other missionary<br />
deserves mention. This is the “ Austral Africa:<br />
Losing it or Ruling it,” of John Mackenzie, pub-<br />
lished in the eighties. This important book,<br />
written by the man who practically saved Bechu-<br />
canaland for the British, at the period—soon after<br />
Majuba—of our deepest abasement in South Africa,<br />
did much to rouse politicians and the public to a<br />
right view of our responsibilities South of the<br />
Zambesi.<br />
<br />
The History of South Africa has been touched<br />
by comparatively few hands. To Theal, undoubt-<br />
-edly, belongs the credit of the bulk of the some-<br />
_ what scanty output. His labours have been long<br />
<br />
‘and arduous, and he has delved into the musty<br />
records of old Cape history and acquired much<br />
‘solid information from native sources. Theal,<br />
however, has not always been able to avoid the<br />
meproach of partiality. His sympathies lie some-<br />
<br />
i<br />
Ke<br />
a<br />
Las<br />
Pe<br />
Fe<br />
a<br />
ae<br />
Ke<br />
<br />
red<br />
<br />
BS ReSoe woh<br />
<br />
ek RR es<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
23<br />
<br />
what too plainly with the Dutch, and the value of<br />
his works has in consequence been somewhat dis-<br />
counted. Still, notwithstanding the additional<br />
fact that his style is somewhat arid and unil-<br />
luminating, the public remain indebted to this<br />
copious writer for much sound and excellent in-<br />
formation. Theal, by the way, is not, as some<br />
suppose, an Afrikander, but was actually born in<br />
Canada.<br />
<br />
Among other adventurers into the paths of<br />
history are to be mentioned H. A. Bryden, whose<br />
“ History of South Africa,” from 1652 to 1903, is a<br />
fair and well written summary of a period teeming<br />
with interest. Among war books, Sir A. Conan<br />
Doyle’s “ History of the Great Boer War,” “Words<br />
by an Eye Witness,” by “Linesman,” and “On the<br />
Heels of De Wet,” deserve much more than passing<br />
notice, and stand head and shoulders above their<br />
fellows from among a cloud of fugitive literature.<br />
The Zimes “ History of the War” proceeds but<br />
slowly, and no more than three volumes have yet<br />
been issued. These, however, give the impression<br />
that the whole work, when complete, will be in-<br />
valuable as a work of reference, well written, fear-<br />
less and impartial. The war story of the redoubt-<br />
able De Wet himself can scarcely be classed as<br />
sound literature or impartial writing ; his facts are<br />
disputable and his prejudices openly violent.<br />
<br />
Two works which fall within the domain of<br />
history have been written by F. Edmund Garrett,<br />
once editor of the Cape Times. Mr. Garrett has<br />
thrown away upon journalism literary talents of a<br />
high order. If he could have spared the time and<br />
the inclination he might have produced work upon<br />
South Africa which few writers could have sur-<br />
passed. As itis, in his brief volume, ‘In Afrikander-<br />
land,” and in “The Story of an African Crisis,”’<br />
we have two books for which we may be thankful.<br />
In the latter volume the true inwardness of the<br />
Jameson Raid is set forth in clear and unmistak-<br />
able fashion. Sir J. P. Fitzpatrick’s “ Transvaal<br />
from Within” deserves also a high place among<br />
historical works dealing with South Africa.<br />
<br />
Among all the names which thus far have been<br />
referred to, only that of Christian De Wet can be<br />
cited as South African Dutch. But unfortunately<br />
De Wet’s book can be classed neither as capable<br />
literature nor fair history. One volume, the work<br />
of an Afrikander born, published in Holland, and<br />
partially translated into English, does, however,<br />
deserve honourable mention. This is “ Wit de<br />
Geschiedenis van de Zuid-Afrikaansche Republick<br />
en van de Afrikaanders,” by ©. N. J. Du Plessis.<br />
‘The passages translated into English by R. Acton<br />
have been entitled ‘‘ The ‘Transvaal Boer Speaking<br />
for Himself.’ This able and informing book is one<br />
which every Englishman who wishes to know some-<br />
thing of the Afrikander view of the Dutch South<br />
24<br />
<br />
African question ought to study. The pictures of<br />
Boer life and thought are singularly graphic,<br />
albeit told in simple and restrained language.<br />
<br />
We come now to the name of the one South<br />
African-born writer who has produced a really great<br />
work. This is, of course, Olive Schreiner (now<br />
Mrs. Cronwright-Schreiner), whose romance, “ The<br />
Story of an African Farm,” written nearly a score<br />
of years since, has created so great an impression<br />
upon her contemporaries. Its knowledge of South<br />
African life, its pessimism, the strange backwaters<br />
of thought into which it wanders, its strength, its<br />
tragedy and its mysticism, all unite to lay hold<br />
upon the reader’s imagination. It is a strong<br />
book, written by a born master of words, and it<br />
will live long after the great bulk of South African<br />
literature has passed away. Is Olive Schreiner,<br />
however, to be the “Single Speech Hamilton” in<br />
the literature of her time? 1t would almost seem<br />
so. We have had some few other works from her<br />
pen, but nothing that can for a moment compare<br />
with that sad yet wonderful book, *‘ The Story of<br />
an African Farm.”<br />
<br />
In the field of South African fiction the writers<br />
who have achieved success may be soon mentioned.<br />
After Olive Schreiner, Rider Haggard easily heads<br />
the list. In addition to that masterpiece of adven-<br />
turous romance, “ King Solomon’s Mines,” “ Jess,”<br />
“Allan’s Wife,” “The Witch’s Head,” “ Maiwa’s<br />
Revenge,” and other novels, all bespeak, from the<br />
South African point of view, the well earned<br />
popularity of this vigorous writer of fiction.<br />
“« Jess” is as fine and as true a picture of Trans-<br />
vaal life in the early eighties as it is possible to<br />
imagine, and the pathetic story of Jess herself can<br />
never fail to interest. H.A. Bryden, first known<br />
as a writer on sport and travel, has made various<br />
successful forays into the domains of romance.<br />
His intimate knowledge of the life of the veldt,<br />
the hunting Boer, and the native, have aided him<br />
much in these excursions. In his “Tales of South<br />
Africa,” “ From Veldt Camp Fires,” “Ton Duarte’s<br />
Treasure,” and “ An Exiled Scot,” are to be found<br />
some excellent imaginative writing. Bertram Mit-<br />
ford’s novels of South African adventure are well<br />
known. The reader of a rattling tale knows that<br />
in books such as “The Induna’s Wife,” ‘The<br />
White Shield,” and so forth, he will not be disap-<br />
pointed. W. C.Scully’s South African tales are good<br />
literature, and are well worth reading. They are,<br />
moreover, informed by a peculiar and accurate<br />
knowledge of South Africa, acquired by long<br />
residence in that country. “ Kaffir Stories,”<br />
« Between Sun and Sand,” and “A Vendetta of<br />
the Desert,” are distinctly above the ordinary level<br />
of imaginative work.<br />
<br />
It is somewhat curious that although Rudyard<br />
Kipling now resides for some portion of each<br />
<br />
THE AUTHOR.<br />
<br />
winter at the Cape of Good Hope he has produced<br />
no important romantic work on South Africa—<br />
nothing, at all events, to compare with “ Plain<br />
Tales from the Hills,” “ Kim,” ‘The Naulahka,”<br />
and other stories of India. The British public<br />
must live in hopes that a writer who has done so<br />
much for the East may one of these days give them<br />
a real book dealing with South Africa. Morley<br />
Roberts has, too, visited South Africa, and pene-<br />
trated even to Rhodesia; yet, up to the present<br />
time, he seems in his work to have left the countries<br />
neu of the Zambesi and their denizens severely<br />
alone.<br />
<br />
In a brief survey of this kind it is manifestly<br />
impossible to do anything like full justice to so<br />
wide a subject. We have indicated only the main<br />
<br />
outlines of the literature of South Africa between<br />
1775 and the present time.<br />
<br />
—______.+—~<—___<_<br />
<br />
AN IMPRESSION OF THE INTER-<br />
NATIONAL CONGRESS OF THE PRESS.<br />
<br />
—<br />
<br />
S a delegate from The British International<br />
Association of Journalists—a society estab-<br />
lished to enable British Newspapermen to<br />
<br />
come into touch with their foreign comrades—I<br />
attended the Tenth International Congress of the<br />
Press, at Liege. I had not an entirely open mind.<br />
When I was President of the Institute of<br />
Journalists by Royal Charter Incorporated in<br />
1900--1, I had certainly not exerted my influence<br />
in favour of affiliation to the Bureau Central, the<br />
headquarters of cosmopolitan journalism. My idea<br />
of the typical foreign pressman was a revolutionist,<br />
a socialist, a thoroughly unpractical, unbusiness-<br />
like enthusiast. My impression had in part been<br />
created by the testimony of those who had known<br />
the foreign pressman in his own country. If I<br />
had given the matter perhaps adequate considera-<br />
tion, I would have remembered that the Foreign<br />
Press Association in England—of which I have<br />
the honour of being an hon. member—consists<br />
entirely of absolutely respectable and highly culti-<br />
vated gentlemen. But truth to tell T attended<br />
the International Congress of the Press in July<br />
last with a mind only partly open.<br />
<br />
What did I find at Liege? ‘To my surprise<br />
some three hundred to four, hundred scholars<br />
and gentlemen quite the equals—my patriotism<br />
prevents me from suggesting the superiors—of<br />
the best of the representatives of the Fourth<br />
Estate of our Realm. The work of the conference<br />
was devoted to the consideration of copyright, the<br />
protection of the liberty of the Press, the question<br />
of notice, and a number of kindred subjects.<br />
<br />
<br />
<br />
<br />
There was not an item on the agenda that would<br />
have been out of place on the list of the con-<br />
ference of our own Institute of Journalists<br />
at Bournemouth, with the possible exception<br />
of a resolution condemning duelling amongst<br />
journalists. This last gave rise to a very exciting<br />
debate which nearly ended in personal encounters.<br />
It was unanimously resolved that duelling was<br />
barbarous and should be prohibited, but when it<br />
was proposed that combats when they did take<br />
place shouid not be reported there arose a mighty<br />
shout of all but universal indignation. Even I as<br />
a delegate of the British International Association<br />
of Journalists raised my voice in defence of the<br />
rights of the author of the contents bill. Fora<br />
moment it seemed possible that the visit to Ostend<br />
on the programme might be utilised for assisting<br />
in the revival of the old fashioned menu, ‘ Pistols<br />
—loaded—for two. Coffee—with chasse—for<br />
one.” But happily the congress ended—as it<br />
began—in peace.<br />
<br />
It was notable that one of the items of tle<br />
agenda, “ The Dignity of the Press,” was practi-<br />
cally illustrated. The members of the congress<br />
were treated by everyone with profound respect.<br />
We were received in full uniform by members of<br />
the Government, heads of municipalities, and<br />
governors of provinces. At Brussels we were<br />
granted an audience by the king himself. His<br />
Majesty Leopold II. attired as a general and<br />
wearing his decorations gave evidence of his<br />
powers as a linguist by speaking fluently in<br />
English, French, and German to the guests—most<br />
of them much decorated—he seemed so anxious to<br />
honour. He appeared to take the deepest interest<br />
in the International Press. I myself at his invita-<br />
tion was able to give him a great deal of informa-<br />
tion—of course, of a highly satisfactory character<br />
—of the present condition of journalism in the<br />
United Kingdom and the United States. The<br />
king is certainly highly popular amongst his own<br />
subjects. Hecreated a most favourable impression<br />
amongst the delegates to the International Con-<br />
gress of the Press. At “The Lunch” in the<br />
palace after the reception, praise and nothing but<br />
praise mingled with the harmonious strains of the<br />
music of the Guides.<br />
<br />
In conclusion I am convinced that it is a<br />
mistake to avoid communion with our brothers of<br />
the pen across the water, the more especially as I<br />
found our foreign comrades ready, nay anxious, to<br />
offer us the hand of hearty good fellowship.<br />
<br />
Artaur WILLIAM 4 BECKETT.<br />
<br />
——_——__+-——_+_____—-<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
25<br />
<br />
ENGLISH WRITERS AND JOURNALISTS<br />
IN BOHEMIA.<br />
<br />
—— os<br />
<br />
T has been a very interesting and noteworthy<br />
I experience that has fallen to the lot of a<br />
party of writers, members of the British<br />
International Association of Journalists, who have<br />
this summer made a tour through some of the<br />
most romantic, yet but little known, parts of<br />
Bohemia. Last year the Austrian Ministry of<br />
Railways offered facilities over the State Railways<br />
if I would arrange a party for a tour through<br />
Bohemia ; but as I had to act as secretary to the<br />
English delegation at the Vienna International<br />
Press Congress, I found the work too heavy to<br />
combine the two events, but the ministry then<br />
promised the same facilities for this year ; and, as<br />
I knew from long study of Bohemia, what a<br />
glorious “unknown land” the little mountain-<br />
encircled kingdom is to Englishmen, I gladly,<br />
with the assiduous help of Prof. Borovsky, of<br />
Prague, arranged the party of fifteen men and five<br />
ladies; writers on English, Scotch, Irish and<br />
Welsh journals, including such papers as_ the<br />
Times, Pall Mall Gazette, Telegraph, Queen, Man-<br />
chester Guardian, Trish Times, Gas World, Engi-<br />
neer, and other Irish, Scotch, and Welsh papers.<br />
<br />
Having visited Bohemia some twenty times, I<br />
had often, when travelling with my artist friends,<br />
and others, received the most cordial help, and<br />
often hospitality, all over Bohemia, and knew how<br />
heartily Bohemia thanks any who work to make<br />
her country and history known. How distorted<br />
that history has been writers such as Prof. Morfil,<br />
Mr. Wratislaw, and Count Lutzow, are now proving<br />
in English publications. But our astounding<br />
warm-hearted reception by peasant and people,<br />
journalists, artists and authors, musicians and<br />
municipalities, has overwhelmed us with its<br />
fervour.<br />
<br />
The history of Bohemia is so linked with that<br />
of England at critical moments in the life and death<br />
struggle in each land. In Bohemia, preserved<br />
in the lore of the people, are cameos of English<br />
history, lost to our historians, yet of high import :<br />
it was the discovery of some of these that excited<br />
me to visit Bohemia again and again, and thus |<br />
learnt the intense gratitude the Bohemians evince<br />
to those who interest themselves in their country<br />
and people.<br />
<br />
On crossing the frontier we were met by Prof.<br />
Borovsky, the learned director of the Rudolphinum<br />
at Prague, and on arriving at the capital Dr. Srb,<br />
the learned and courteous burgomaster, and the<br />
city council met us at the station, and, with a<br />
hearty welcome, escorted the party in carriages to<br />
26<br />
<br />
the Hotel de Saxe, right hospitably informing us<br />
we were the guests of the city during our stay in<br />
Prague ; and, as this article deals with the literary<br />
and artistic aspects of the tour, let me say, in few,<br />
yet earnest words, that in every town the recep-<br />
tions and hospitality have been more than regal,<br />
for they have been from the heart and soul of the<br />
people. At every station municipalities received<br />
us; at villages, during the three days’ driving,<br />
halts had to be made to reply to greetings of the<br />
village authorities, and great crowds gave hearty<br />
“Na Zadrs” in town and village. Ladies pre-<br />
sented the loveliest bouquets to our ladies, and the<br />
younger ladies pelted us with roses and flowers:<br />
at Pilsen, as at Prague, for three days we were the<br />
guests of the town, under the presidency of Dr.<br />
Groh. At Prachatic, where some twenty years ago<br />
Walter Crane, another friend and myself, were the<br />
first English to visit this quaint mediaval town, we<br />
were quartered in the houses of the principal resi-<br />
dents, who all rose at five a.m. to give us break-<br />
fast, and speed the parting guests as we drove<br />
away over the hills to Husinec. Throughout the<br />
route lessons have been driven into our minds<br />
through eye and ear, which, if England could<br />
learn, and act upon, would make town and country<br />
life with us more enjoyable, and our land would<br />
give her increase in every waste corner.<br />
<br />
At Prague the magnificent museums, with their<br />
careful historic and sectional arrangement, sur-<br />
prised the British visitors by their number and<br />
riches, and it is not often given to a writer to see<br />
his own work in a museum, but in a case in the<br />
National Museum are arranged the works of<br />
English writers of to-day, who have written on the<br />
history of Bohemia. Deeply interesting are the<br />
works and relics of the great period in the history<br />
of Bohemia, when the Wiclifites, through their<br />
leader Zizka, shook even the power of Rome, and<br />
conquered that “desert country by the sea,” to the<br />
Baltic, to which Shakespeare refers.<br />
<br />
Many a pet idea has been crushed upon the<br />
journey. The idea that the Bohemians are thrift-<br />
less, dirty, lazy agitators, has been swept away.<br />
Every inch of soil is utilised; the cottages<br />
are clean ; in one I entered by hazard, fresh tree<br />
branches were in each room ; the man earned Is. 6d.<br />
a day, and on asking why he had thus decorated,<br />
“Oh,” he said, “ we always do that, the scent is so<br />
sweet ; it is healthy.” From earliest morn until<br />
night they are jovially active, quick, alert, and,<br />
when listening to music, never break in with<br />
applause until the final note of the accompanist<br />
has ceased. Never again, I think, will any of our<br />
party compare Bohemia with Ireland. Agitate<br />
they certainly do, these Bohemians, but by self-<br />
help, in such numerous and wonderful ways that<br />
astounded our Jrish members, and we had ardent<br />
<br />
THE AUTHOR.<br />
<br />
Nationalists, Home Rulers, and Orangemen in our<br />
party.<br />
<br />
At the town of Kutna Hora (Kuttenberg) a<br />
delightful reception awaited us in the historic little<br />
council chamber, the decoration of which is so<br />
artistic : the walls being illuminated with powerful<br />
paintings of Hus demanding the liberties for the<br />
Bohemians in the Prague University, and George<br />
of Podiebrad being chosen king. The intense<br />
reverence for Hus in a country where nearly all<br />
are members of the Roman Church was beyond<br />
credence to our own members of that church. It<br />
was a wonderful scene in the great church of St.<br />
Barbara, when, as we entered, the great organ<br />
pealed forth, and then, as we foreigners were led<br />
to the choir steps, and faced the church crowded<br />
with the people, chorales were sung by a great<br />
choir; the memento was supreme in effect and<br />
beauty, yet full of reminiscences of the terrific<br />
history that had been enacted there, when our own<br />
great, but forgotten, Englishman, Peter Payne,<br />
had led the Bohemians and controverted the argu-<br />
ments by that other great Englishman, Cardinal<br />
Beaufort. At Domazlice we witnessed scenes more<br />
brilliant than any opera. The peasants in Sunday<br />
dress in blaze of colour; and right lustily they<br />
piped, and danced, and sang. One had to assure<br />
our friends it was not an arranged dressing up, but<br />
the ordinary Sunday or féte day costume.<br />
<br />
Another illusion dispelled is that the English<br />
are not musical. Professor Sevcik, the great<br />
master of Kubelik and Marie Hall, has swept that<br />
from our minds. We met the master at Prague,<br />
and at a reception arranged by the Anglo-American<br />
Club some of his pupils played, Mrs. Mitchell and<br />
Miss Graham, delightfully, artistically, powerfully.<br />
Only two here, but at Prachatic one heard Miss<br />
Hayward, whose technique and expression are<br />
wonderful, and at the little village of Husinec,<br />
where, before the birthplace of John Hus, mayor<br />
and villagers greeted us, we heard, in the theatre<br />
of the village, the four Misses Lucas, who played<br />
with a fervour, precision, and brilliancy that swept<br />
away traces of the thought that (given the<br />
teacher) the English are not musical. We also, at<br />
Budweis, heard the famous Sevcik quartette, and<br />
the “Smetana” Men’s Choir at Pilsen. The<br />
Bohemian masters and composers have conquered<br />
the world to-day, and the Austrian system of<br />
education discovers and fosters genius, be it born<br />
in village, town, or city, be it musical or artistic,<br />
technical, commercial, or agricultural.<br />
<br />
What an experience was it for our English<br />
women to sit down to an exquisite lunch at Domaz-<br />
lice, to be waited upon by young ladies, daughters<br />
of M.P.’s and doctors, dressed in most artistic<br />
dresses, and to be informed that the lunch was<br />
prepared, cooked and served by the young ladies,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. pg<br />
<br />
and that the dresses, lace, and needlework were all<br />
their own handiwork, for they were students at the<br />
local cooking and needlework schools.<br />
<br />
In the theatres we heard the works of Dvorak,<br />
Smetana and Nedbal, so that our whole progress<br />
was enveloped in culture, art, and music, and this<br />
in a country that even to-day guide-books, like<br />
Baedaker’s, hardly notice, giving only ten lines to<br />
a town like Pilsen, and for an historic old castle<br />
like Bésig, full of architectural and historic in-<br />
terest, merely noting the fact there is a ruin there.<br />
But Bohemia, the real Bohemia, not such places as<br />
Carlsbad and Marienbad, is no longer e sealed<br />
country to English travellers, and her wealth of<br />
river and mountain scenery is a lovely setting to<br />
a most interesting people.<br />
<br />
JAMES BAKER.<br />
<br />
—_———_+—>—_+__——_<br />
<br />
THE WAY OF JOURNALISM.<br />
<br />
—_+——+-<br />
<br />
T is so brief a time ago that I was writing<br />
letters of pathetic appeal to famous authors<br />
and great editors (enclosing essays, poems,<br />
stories, and other samples of my genius), that I can<br />
never bring myself to write a cross or a hurried<br />
note to the people who now sadden me with a sense<br />
of age by asking for my counsel in the difficulties<br />
of their journalistic careers.<br />
But, unlike famous authors and great editors,<br />
I have neither secretary nor clerk at my elbow to<br />
whom I can dictate the softest of blandishments,<br />
and therefore the will to write kindly and helpful<br />
letters to my unknown correspondents suffers, I<br />
find with shame, more and more in the increasing<br />
demands of my work. Therefore it is that the<br />
request of the Editor of The Author to send him a<br />
brief article, is heralded by me as an excellent<br />
opportunity for composing one letter general of<br />
the whole question, which for the rest of my life I<br />
may be able to send through the halfpenny post to<br />
future correspondents, pleasing, and I hope, help-<br />
ing them, while it will deliver me in some small<br />
measure from the dreadful exactions of corres-<br />
pondence, and excuse me from all discourtesy.<br />
* * *k ac aS<br />
<br />
Let me begin by protesting my conviction that<br />
there is not an editor in London who is not<br />
anxiously searching for writers with something to<br />
say. The conviction, common to many minds, that<br />
editors can only be reached through a personal<br />
introduction, and that they are quite careless of<br />
the literary contents of their papers, is a wrong<br />
conviction, a conviction which must be broomed<br />
out of the mind as soon as possible.<br />
<br />
It is true that in some cases a letter of intro-<br />
<br />
duction may secure publication of a characterless<br />
<br />
essay which would otherwise have found its way<br />
back to the author ; but never, I am sure, does the<br />
wine of good copy need the bush of influence. It<br />
is a truth that editors,—who are, remember,<br />
competitors one against the other,—are searchin ¢<br />
the world for writers. ‘Treasure this truth; and<br />
instead of railing against ignorant editors, labour<br />
so to observe the world, and so to express your<br />
observations, that there shall not be one editor in<br />
London unwilling to receive you into his bosom.<br />
<br />
This is the beginning of the gospel of journal-<br />
ism—absolute faith in the discernment of editors.<br />
Assured in his soul of this belief, and emptying<br />
his mind of all little schoolboy conceits and under-<br />
graduate extravagances, let the beginner consider<br />
well within his soul how he shall present himself<br />
before these gods of the Press. What shall he<br />
write about, and in what manner shall he write ?<br />
<br />
Begin by knowing that there is no subject<br />
under the sun, howsoever beautiful, howsoever<br />
profound, howsoever urgent, which can hope to be<br />
admitted to the feast if it be not clothed in the<br />
wedding garment of interest. The newspaper is<br />
meant to interest people. Its mission may be as<br />
high as you please, but it must interest. ‘‘ If God<br />
tires you” said Fénelon, “tell him so.” The world<br />
has a mighty mission, we suppose, but if it did<br />
not interest us there would be neither man of<br />
science nor poet of nature. And the newspaper<br />
may be educating people, may be guiding opinion,<br />
may be forming taste, but if it be not crammed<br />
with interest it will have no readers.<br />
<br />
Choose, then, your subjects from the point of<br />
interest. Look out upon the world and see what<br />
most interests the marching ranks of humanity.<br />
Consider yourself not as the great captain of the<br />
host, nor yet as the chaplain of the forces, but rather<br />
as the minstrel called to the camp-fires to beguile<br />
the quiet hours which separate the march from the<br />
battle. Do not- be afraid to be humble. The<br />
greatest of journalists can never hope to play a<br />
part greater than Homer played before the warriors<br />
of Greece.<br />
<br />
Your chief labour must be observation. You<br />
must study men and women, you must study<br />
nature, you must study literature. You cannot be<br />
a great writer if you are not a cluse observer.<br />
Unless you have seen a thing more clearly than<br />
other people have seen it, you have no excuse for<br />
writing. It is only when you have cultivated the<br />
seeing eye, only when you have seen and reflected<br />
upon what all the rest of the world has merely<br />
glanced at, that you can have justification for<br />
desiring the attention of the newspaper reader.<br />
<br />
You must not be afraid to feel. Cultivate in<br />
yourself the gift of sympathy, the faculty of<br />
responsiveness. Never let your own personality<br />
<br />
get between the retina of your consciousness and<br />
28<br />
<br />
the vibrations of the image of humanity. Stand<br />
on one side to receive the picture. The picture<br />
is of more importance than your own notions of<br />
propriety. Do not condemn the tears of Little<br />
Nell till you have drawn a finer character than<br />
Mrs. Nickleby. Feel joy and feel pain as other<br />
people feel them. Have sympathy with all<br />
men.<br />
<br />
Then, when you have observed the world, and<br />
when you have cultivated in your mind the gift of<br />
sympathy with humanity, consider the style in<br />
which you shall present your reflections to the<br />
reader. At first you are sure to begin jumpily,<br />
self-consciously, with grimaces and contortions,<br />
aping the styles of other men, and murdering<br />
them. Do not be disheartened. Put these early<br />
writings on one side, and look at them six weeks<br />
hence. Through the blushes and the tears which<br />
will cover you with confusion you may yet see in<br />
that poor article of yours more clearly than in all<br />
the works of all the greatest geniuses, your own<br />
sure road to success. You will see exactly where<br />
you were affected, where you were unnatural,<br />
where you were pompous, where you were stupid,<br />
and where yoa were tedious. You will see exactly<br />
how to avoid all these mistakes in future; and<br />
practice will gradually bring you into the kingdom<br />
of your own natural style.<br />
<br />
Do not write a great deal, but write something<br />
<br />
every day. Let the act of writing become easy to<br />
you. And strive above all things so to become<br />
<br />
interested in your subject that you are carried<br />
away by it, and know not how you have written,<br />
scarce, indeed, what you have written, till the last<br />
word is drawn from your soul. Then when the<br />
creative side of your brain has done its work, let<br />
the critical emerge and do its work as well. Go<br />
over the paper again and again, striking out every<br />
word that rings falsely, scratching out every sen-<br />
tence that is unessential, and buckling up the<br />
whole composition so that it reads with a rhythm<br />
from beginning to end, and has not one dull line<br />
or one impertinent word from the first to the last.<br />
Avoid as far as possible a painful search for ‘the<br />
inevitable word.” He is a bad writer who makes<br />
you pause to say “ that’s a good word,” or “ that’s<br />
a brave phrase” ; he is a great writer who carries<br />
you under the magic of his art away from all such<br />
questions of style and effect, and clean transports<br />
you into the region of his fancy. Study to be<br />
natural. Employ all the graces of language and<br />
all the felicities of manner which are within your<br />
reach, and which commend themselves to your<br />
critical faculty ; but just so far, and not a comma<br />
farther, than they are natural to you.<br />
<br />
In this manner would I speak (not, I hope,<br />
too didactically), to the boy setting out with his<br />
pen to fight the world. But there is yet one more<br />
<br />
THE AUTHOR.<br />
<br />
word to say. A quicker road to success than lies<br />
in writing articles, and verses, and stories from<br />
your own room, is that which takes the observer<br />
into the streets of the town and makes him a<br />
chronicler of the day’s drama. I would advise a<br />
young man who desires to be a thorough jour-<br />
nalist, to set his affections upon one paper, and to<br />
drop into the editor’s letter-box, night after night,<br />
some brief record of the day’s events, some story or<br />
description, so full of interest and human curiosity,<br />
that it must ueeds take a front place in the morn-<br />
ing’s paper. Such work—if it be finely done—<br />
though ill-rewarded at first, ends, I am sure, in<br />
that first step to success, a permanent employ-<br />
ment on the editorial staff. This I believe to be<br />
the royal road to journalism, and, perhaps, there<br />
are fewer people walking this way than on any<br />
other path of human activity.<br />
<br />
I do not think there is a more interesting<br />
profession open to men than this fast and furious<br />
profession of daily letters: but it is a profession<br />
full of bitterness for the bad or inefficient work-<br />
man, and full of disappointment for the stubborn,<br />
self-preaching, egoist. Its prizes are for men<br />
capable of repressing their own gospels of sal-<br />
vation, and cheerfully willing to serve the public<br />
in the capacity of gossip and tale-teller. And from<br />
the beginning to the end it means work,—hard,<br />
honest, conscientious, and devoted work. If a<br />
man be a keen observer, if he be modest in his<br />
ambitions, and if he work with all his heart, and<br />
with all his mind, and with all his soul,—seeking<br />
always to interest his patrons—he will need but<br />
little elbowing and pushing to reach the rewards<br />
of journalism.<br />
<br />
Haroup BEGBIE.<br />
1<br />
<br />
WANTED—A NEW MODEL!<br />
<br />
——<br />
<br />
\ \ JE have to-day such an accumulation of<br />
magazines that our bookstalls lie sub-<br />
merged under them, as beneath the waves<br />
of an ever-flowing, ever-increasing tide. Each<br />
month gees a new one, if not more, and they all<br />
fight desperately for existence, in a blatant war-<br />
fare of sensationalism. But with all this ‘water,<br />
water everywhere’ many of us find ‘not a drop to<br />
drink.’ We are up to the chin in stuff we cannot<br />
swallow, and find little or nothing upon which to<br />
quench our literary thirst. For, to many of us,<br />
these highly glazed, highly coloured, highly adver-<br />
tised and emphasised magazines afford a kind of<br />
mental nausea, and the sight of a bookstall groan-<br />
ing under them is like a table spread with gorgeous<br />
empty platters before a hungry man.<br />
Why should there be nothing in them that we<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i can read—we, that section of the British public<br />
4) whose taste has been trained not to enjoy Choppy<br />
4G Bits or Royal Family Magazines, or Rushed Re-<br />
views, or Mincemeat Monthlies? Is it for our<br />
ai sins? What have we done? And where are all<br />
‘ge our good short story writers—those whose work we<br />
af find occasionally in volume form? We look in<br />
e, vain within the pages of our journals for the<br />
“fj thoughtful, literary, stimulating work of those<br />
i whose tales used to appear now and again in<br />
94 periodicals, but now only in book form. We<br />
Ms all know a choice half dozen or so, forgotten<br />
ud by the world, who have given us promise of<br />
vie greatness. Where are they ? Once in a blne<br />
2 moon we meet one of them, but his work seems to<br />
sf have crept into the magazine by acgident, and<br />
iii through no fault of the editor ! Forfonr monthly<br />
i and weekly magazines are now devoted to the<br />
de obvious and commonplace; nothing original,<br />
ide subtle or in any way unconventional ever seems to<br />
<br />
ai find_a place in them.<br />
\ Cheir aim is all to please a class that delights in<br />
<br />
i crude sensation, intricate plot, rapid incident and<br />
“1 treacly sentiment ; that revels in pictures of men<br />
¥) flying at each other’s throats, falling off precipices<br />
“1 or being shot out of motor cars. To this class it does<br />
64 not matter how ancient, how trivial or how im-<br />
“ possible the story, how badl y the English language<br />
<br />
is maltreated, so long as something happens in<br />
we every paragraph, something that can be decorated<br />
i with blood-curdling illustrations, and so long as<br />
“d the pages are cut up into loose dialogue, plentifully<br />
“ sprinkled with sentimentality and notes of ex-<br />
5. clamation.<br />
<br />
_ But are our editors entirely right in thinking<br />
wf that only this kind of stuff will sell? Is nothing<br />
4 else wanted? These are questions we may reason-<br />
‘) ably ask ourselves when we see the better class of<br />
& American magazines— Harpers, Scribners, Atlantic<br />
Monthly, The Century, ete—pouring into our<br />
market, lying about on our tables; and this in<br />
| spite of the fact that we are not particularly<br />
interested in long articles dealing with American<br />
/ statesmen and generals. Why do we want all<br />
4) these, why encourage literary aliens ? The answer<br />
® is plain enough. Because they give us something<br />
* we need, that no English magazine gives us.<br />
Because we’ve nothing of our own to compare<br />
with them in literary excellence, in freshness, fancy<br />
and advanced thought.<br />
<br />
This is written with all due respect to the best<br />
magazines we have, to Blackwood, Macmillan, Temple<br />
Bar, Longman’s and one or two more who honestly<br />
strive to reach a certain standard. No work that<br />
is slovenly or abject gets into their pages, and we<br />
are grateful forthem. But are they not—let it be<br />
whispered under our breath and with reverence—<br />
are they not just a trifle dull and more than a<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
29<br />
<br />
trifle stereotyped ? Do they ever dare to print a<br />
new and startling idea, a subtle or highly imavina-<br />
tive piece of work ? Must not the thing that is<br />
acceptable to them be moulded on a certain pattern,<br />
worked out upon lines that have become familiar to<br />
their readers, by constant repetition, for a generation<br />
or so? / Do they not, in fact, represent toryism in<br />
letters, and stand up against innovation in any<br />
form, as pillars of propriety and established<br />
order ?<br />
<br />
Of course many persons will stoutly maintain<br />
that all the tales of the world have been told, and<br />
that we can but tell them over and over again.<br />
Human nature, they will say, is human nature, and<br />
remains just as it was centuries and exons ago;<br />
nothing alters but the unessential and everything<br />
goes on just as it did. They say this, but do they<br />
believe it, or is it one of those trite doctrines that<br />
are accepted without sifting, and therefore without<br />
true conviction? Can anyone seriously believe<br />
that the thoughts and emotions of—say a modern<br />
stockbroker—resemble in any sense, those of an<br />
Ancient Briton, or even an Arthurian Knight ?<br />
Certain elemental desires, it is true, remain<br />
tolerably constant through the ages, but they are<br />
always resolving into new forms, new ideas, new<br />
motives, new opinions; always casting up new<br />
problems. Just as there are chemical changes<br />
taking place continually in matter, so are there<br />
psychic changes in the immaterial elements that<br />
go to the making of individuals and of states.<br />
This is mere truism, and yet there are folk who<br />
would seem to wish us to believe that the men and<br />
women of to-day, the day of automobilism, wireless<br />
telegraphy, and the hourly out-pouring of the press,<br />
do not differ from the men and women who existed<br />
a thousand years before the stage coach, the six-<br />
penny post and the weekly news sheet.<br />
<br />
It is this curious, half-formed belief that is the<br />
cause of our monotonous story-telling. It offers a<br />
reason why our fiction still teems with forged<br />
wills, stolen diamonds, wards who fall in love with<br />
their guardians, silly lovers who are parted by<br />
plotting rivals, pattern-plate love affairs of un-<br />
<br />
interesting young persons, everlasting cases of<br />
mistaken identity and so forth ad nauseam.<br />
<br />
Everything is turned out to order and sample, as if<br />
made by machinery ; nothing original, profound or<br />
suggestive is permitted ; every situation must be<br />
expected, obvious, based on fixed and accepted<br />
canons ; and all the vital changes that are working<br />
beneath the surface, all the complications of human<br />
passion, motive and aspiration, the things that<br />
really matter and really interest the thoughtful—<br />
where are they? We find them in our novels,<br />
some of them; there is no taboo against the clash<br />
of physical and psychic forces, the most searching<br />
soul analysis, in our books. But in the ‘ family<br />
380<br />
<br />
magazine,’ whose pages are filled with glowing<br />
accounts of our most famous courtezans, illustrated<br />
with pictures of their bedrooms and boudoirs, the<br />
merest suggestion of a moral problem is rigidly ex-<br />
cluded. Our wives and daughters may read of,<br />
and sigh for, the almost fabulous gifts of fortune<br />
that fall at the feet of a modern Messalina, but<br />
their chaste eyes must not rest upon the word<br />
‘passion’ or read about a sex problem !<br />
<br />
This, of course, is but one of the subjects tabooed<br />
in our magazines, one that needs great delicacy of<br />
treatment and can easily be done to death. But<br />
where are all those other ideas and subjects that<br />
inspired our short story writers in the past, that gave<br />
us Scenes from Clerical Life, The Beleaguered<br />
City, Will o° the Mill and Markheim ; that sent<br />
us from over the water the Van Bidder Stories,<br />
the fine analytical studies of Henry James and the<br />
inimitable character sketches of Mary E. Wilkins ?<br />
Have we no one to-day who can write thus, with<br />
intellectual insight and ineffable charm? The<br />
man who set himself to read all our magazines for<br />
the current month (were that possible) might well<br />
think so.<br />
<br />
It is the conviction of the present writer that he<br />
would be wrong. Judging from certain volumes<br />
<br />
it is safe to conclude that the supply is not<br />
lacking, but the demand—or rather, the market<br />
<br />
for its appearance. There can be little doubt<br />
that, stowed away in dusty drawers and cup-<br />
boards, lies a neglected mass of original work<br />
as fine as any we have had, work that has been<br />
refused by every editor in London purely on account<br />
of ‘unsuitability ;’ much of it by well-known<br />
writers now pot-boiling in disgust ; the rest by un-<br />
known talent, striving in the dark for perfection.<br />
For while the famous author may always cherish<br />
a hope of seeing his storiettes appear in a volume,<br />
on the strength of his name, the untamed can<br />
never expect that chance, unless he publishes them<br />
at his own expense.<br />
<br />
Say, is this not true, authors—men and women ?<br />
Have you not all certain darlings of your mind that<br />
you are well convinced are of your highest<br />
inspiration and best execution, yet know. to be<br />
utterly outside the market? Is there one of you<br />
who has not some such ware hidden away in dust<br />
and darkness, waiting for the magazine that is so<br />
long a-coming, that seems as if it never will<br />
come ?<br />
<br />
But surely it musé come, sooner or later. The<br />
demand is growing, the supply must follow. We<br />
want it badly—the Great English Magazine that is<br />
to send the Americans home and give us literature,<br />
thought, ideas, art, of our own; something upon<br />
which our intellect and imagination can feed, by<br />
which our genius can be stimulated. Not the<br />
poor, puny, but well-meant effort of a little literary<br />
<br />
THE AUTHOR.<br />
<br />
clique or mutual admiration society ; not a vehicle<br />
for morbid melancholy, or flippant Anglo-Gallicism<br />
or any of the thousand cults that afflict society<br />
We have seen enough of such anemic failures<br />
they are moribund from their birth. Our Great<br />
English Magazine must be sound and solvent, under<br />
sane and sober management, subject to no whims<br />
or freaks, dependent upon no small colerie, no sing]<br />
influence. ‘There must be a business head behind<br />
it, as well asa thinkev’s brain, an artist’s taste, an<br />
enthusiast’s heart. It must be published by a<br />
strong syndicate—one that can wait (which is to ~<br />
say, that a large capital is indispensable), and<br />
edited by more than one distinguished man 0<br />
letters. Moreover, it must be fearless and<br />
catholic, regardless of Mrs. Grundy and the Young<br />
Person, while, rejecting all that is ugly and plague-_<br />
spotted, catering for every taste that may claim to<br />
be called taste, aiming not merely at what will pay<br />
now, but what will stand fast and firm in th<br />
future, both as a literary model and a financial<br />
investment.<br />
<br />
This New Model, then, must be daring with —<br />
discretion, independent, lofty and secure. Hvery-_<br />
thing about it must be of the best possible; the”<br />
best paper and print, pictures (if it has any),<br />
poetry and prose, that can be bought for gold and —<br />
found by discernment. Who knows what buried<br />
treasures it might bring to light, what brilliant<br />
fiction from masters almost silent, what poems,<br />
what essays? Who knows what obscure genius it<br />
might reveal? Have we lost all faith in ourselves,<br />
in the English spirit that inspired Chaucer and<br />
Shakespeare, Fielding and Defoe? Are we<br />
content to go on for ever wallowing in Choppy<br />
Bits and Monthly Magazines of Mincemeat ?<br />
<br />
We want this new magazine—we want it<br />
desperately—as a medium for our creative thought,<br />
our artistic development. All that which has<br />
made England’s great literary past—her poetic<br />
conception, her spiritual profundity, her mordant<br />
satire, her crisp humour, her perception of and<br />
deep insight into character—can find no place now<br />
either in the crusted and cobwebby pages of our<br />
high-class magazines and reviews (meritorious as<br />
they are up to a certain point), and far less in the<br />
gaudy and obstreperous outpourings of Carmelite<br />
and Henrietta Streets. The former are too<br />
timorous of giving offence; the latter are mere<br />
money-making machines, frankly spurning any-<br />
thing that resembles literature. We need an open<br />
space to grow in, unlimited by the restrictions of<br />
conservatism, unchoked by the weeds of com-<br />
mercialism. In fact, we need a home for the soul<br />
of things literary. The shells and husks of a pas<br />
age will not serve us much longer; we hunger<br />
already for something more satisfying, for a glimpse<br />
into the heart and brain of humanity, for research<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
into the meaning and tendencies of our present<br />
life, into the problems and potentialities of the<br />
future.<br />
<br />
And the time is ripe. Such a magazine as this<br />
we desire would not make the fortunes of its<br />
promoters in a few short years. At first there<br />
would be unavoidable loss on it. But in time to<br />
come it would be as surely ‘a good property’ as<br />
| it would bea national boon. The British public<br />
{ has an instinctive leaning towards everything<br />
_ aristocratic, a deeply inherited sense of respect for<br />
what is noble ; and once convince it that the new<br />
| magazine is an aristocrat in letters, that it is read<br />
by all those of cultured taste, and you will soon see<br />
that magazine on the table of every householder<br />
who can afford a shilling a month, whether he read<br />
_ itor not. And why should he not read it? He<br />
<br />
must buy and read good books, or our masterpieces<br />
would not be reprinted by thousands yearly. Is<br />
there any reason then, why he should not appre-<br />
ciate a good magazine if it were set before him?<br />
As a matter of fact there are thousands of readers<br />
to-day who have given up taking in periodicals<br />
» simply because they can find nothing they care to<br />
_ read in them.<br />
<br />
Are we to sit till Doomsday under the ban of<br />
_ being a nation of shopkeepers, ignorant of art, of<br />
<br />
all that is subtle, beautiful and refined? Are we<br />
really less capable of artistic judgment or creation<br />
than our neighbours, the French, or our cousins,<br />
the Americans? Do not believe it. We have a<br />
populace for Choppy Bits, and so have they, no less<br />
vulgar and attracted by gimcracks. But we have<br />
also a public that thirsts for something better, that<br />
is, perhaps, the most thoughtful and earnest reading<br />
public in the world. All we want is a leader of<br />
courage, a man who can command both confidence<br />
© and capital. It is for him to step boldly over the<br />
<br />
| dead bodies of past failures, heeding them only<br />
with a view to profit by their errors, and to throw<br />
himself into the present breach with pluck and<br />
enterprise. Englishmen have never shown a lack<br />
of pluck or enterprise in other adventures ; they<br />
fling their energies and their gold daily into the<br />
wildest speculations. Can no one be found to face<br />
arisk in this most urgent cause? There never<br />
was yet a cause in England, however forlorn, that<br />
lacked a champion to lead it.<br />
Where is he ?<br />
Mary L. PENDERED.<br />
——__—__+—~—« S<br />
THE TRADE IN BOOKS.<br />
SS<br />
<br />
OOKS are unlike ordinary articles of com-<br />
<br />
merce in one important respect, viz. : that<br />
<br />
their use and enjoyment does not depend<br />
upon personal ownership. The loan of a book may<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
3L<br />
<br />
be, and often is, far more valuable to the reader<br />
than the ownership of the same book by gift or<br />
purchase. A book that is /ent can be read and<br />
returned to the owner, its purpose being fully<br />
served by this process. A book that is bought<br />
entails both the cost of purchase and the provision<br />
by the owner of suitable storage or house room.<br />
Many owners of books possess fine libraries with-<br />
out ever making use of them for reading. They<br />
may, in fact, have no taste for reading at all, and<br />
may be quite content to own books for the use and<br />
enjoyment of others who have the taste for reading,<br />
and the knowledge to make use of books.<br />
<br />
The principal and permanent obstacle to the<br />
extension of the ordinary trade in books is the<br />
common desire to read books without the cost of<br />
buying and housing them. For one person that<br />
desires to possess a book by purchase many hun-<br />
dreds of persons desire, for all sorts of reasons,<br />
to read books and make use of them without<br />
purchase. The reading of a book may or may<br />
not lead to a subsequent purchase. In the vast<br />
majority of cases books, however valuable and<br />
instructive, will be read and returned without<br />
purchase. But the public which can obtain<br />
books on loan possesses at least the great advan-<br />
tage of being able to form their own opinion<br />
about books, instead of merely reading what other<br />
persons think about them. It is, of course, open<br />
to question whether increased facilities for reading<br />
new books will necessarily lead to increased sales.<br />
The reading public, including many authors, will<br />
probably say yes. Publishers as a class evidently<br />
think not.<br />
<br />
The circulating library provides indeed a small<br />
concession to the popular demand for books on loan.<br />
But it is notorious that the public wants are very<br />
imperfectly supplied by libraries of this class.<br />
Delays and difficulties of many kinds are incidental<br />
to the business of lending libraries, as every sub-<br />
scriber knows to his cost. It is obvious that when<br />
many persons desire to read at the same time some<br />
new and popular book the great majority of readers<br />
must either buy the book for themselves, or wait<br />
an indefinite time until their turn comes round.<br />
Moreover, many of the most valuable and costly<br />
works appeal only to a limited class, and these<br />
never find their way into circulating libraries at<br />
all. The condition of purchase, in fact, excludes<br />
these works from general circulation altogether.<br />
<br />
The question naturally arises why the popular<br />
demand for books of all kinds om loan cannot be<br />
met on reasonable business terms without obstruc-<br />
tion or delay ? The ideal system of book supply<br />
would provide reasonable facilities to responsible<br />
applicants to peruse and form their own opinion<br />
regarding new books of all kinds. If this general<br />
principle be kept in view there are many different<br />
82<br />
<br />
ways in which effect might be given to it. For<br />
example, publishers might, if they thought fit,<br />
combine to establish a central library or book<br />
exchange where all the new publications advertised<br />
from week to week might be on view, and all<br />
reasonable facilities be provided for perusal on the<br />
spot, and for examination by all responsible persons.<br />
Persons who desired to read such books at their<br />
own leisure, and in their own homes, might be<br />
encouraged to do so by the arrangement of some<br />
proper system of granting copies 0” loan, the terms<br />
charged being based upon the published price, and<br />
the nature of each work. Some scheme based on<br />
these lines would increase greatly the value of all<br />
publishers’ circulars, which under present con-<br />
ditions are of no value at all except to a very small<br />
class. Professional reviewing of books is likely to<br />
be improved materially by enabling the reading<br />
public to form for themselves their own estimate<br />
of books ; and probably reviewers themselves would<br />
be the first persons to welcome a new departure on<br />
the lines proposed.<br />
<br />
There are, no doubt, many other ways in which<br />
the public demand for access to new books might<br />
be largely encouraged if publishers thought it<br />
desirable. Whether they would lead to increased<br />
sales or not may, of course, be disputed ; but there<br />
can be no doubt at all that books would be adver-<br />
tised far more effectually by encouraging the public<br />
to read them than is possible under the present<br />
system of circulars and literary reviews. This<br />
system is intended to promote sales, but those who<br />
desire to read without purchase are apt to be<br />
entirely indifferent to the opinions of professional<br />
critics, and will always preter to form their own<br />
opinions for themselves without guidance.<br />
<br />
Apart from these considerations it seems on<br />
general principles to be quite clear that the public<br />
demand for the perusal of new publications without<br />
any intention or desire to purchase is one which<br />
ought, on mere business principles, to be met in<br />
some way or another. As long as new books can<br />
be obtained by purchase only the vast majority of<br />
readers will simply refrain from reading them until<br />
access can be obtained on some more favourable<br />
terms. Authors as well as publishers are con-<br />
siderably interested in this question. The existing<br />
system has been created by publishers primarily<br />
for the protection of their own interests as capita-<br />
lists and producers. In this capacity they are<br />
simple monopolists, and are little likely, as all<br />
experience shows, to take a very enlightened view<br />
either of public interests or of their own advantage.<br />
Publishers will of course contend that they know<br />
their own business far better than any irresponsible<br />
critic ; but authors may reasonably complain that<br />
the interests of the reading public—which is the<br />
final court of appeal—are not sufficiently consulted<br />
<br />
’<br />
<br />
THE AUTHOR.<br />
<br />
in this matter. If effect could be given to the<br />
proposals suggested readers would assuredly be —<br />
multiplied a hundredfold, and the whole trade in<br />
books would receive an impetus which might go —<br />
far to reconcile even the most conservative pub-<br />
lisher to a radical change of system. In any case —<br />
the subject is one which seems to be well worth |<br />
consideration by all who are interested in books,<br />
either as authors, publishers, or readers. Si quid<br />
novisti rectius istis, candidus imperti, si non his utere<br />
mecum.<br />
<br />
$+<br />
<br />
CORRESPONDENCE.<br />
<br />
—t+—< +<br />
<br />
Sir,—The following may possibly be of interest<br />
to members of the Society :—<br />
<br />
In 1882-1887 I brought out a “History of<br />
Freemasonry” which, in the then absence of Inter-<br />
national copyright, was promptly pirated in the<br />
United States and euphoniously described by the<br />
publishers (John C. Yorston & Co.) as the<br />
“American Edition,’ and in the preparation of<br />
it I was said to have been “assisted” by three<br />
prominent American masons, whose “ assistance,”<br />
by the way, had been totally unknown to me.<br />
<br />
Last year (1904) I placed on the market “A<br />
Concise History of Freemasonry,” which was pub-<br />
lished in this country by Gale and Polden, of<br />
2, Amen Corner, E.C.; and (a real ‘ American<br />
Edition”) by the Macoy Company, of 34, Park<br />
Row, New York, in accordance with the Inter-<br />
national Copyright Act of 1891.<br />
<br />
In the Keystone (Philadelphia) of June 17th,<br />
1905, on the eighth page of which the name of John<br />
©. Yorston is given as “managing editor,” there<br />
appears (p. 10): “Nearly ready, new revised<br />
unabridged American edition of Robert Freke<br />
Gould’s ‘Complete History of Freemasonry,’ to be<br />
issued in five volumes, revised down to the present<br />
time, 1905, and to which is added new additional<br />
matter and features of great interest and impor-<br />
tance. . . . The Board of Editors are all recognised<br />
authorities throughout the world pertaining to all<br />
Masonic matters and history, and Ir Is THE ONLY<br />
{sic} official and standard authority in the world.”<br />
‘Further particulars,” it is also stated, “may be<br />
obtained of the John C. Yorston Publishing Co.,<br />
Philadelphia.”<br />
<br />
For impudence, the above will be hard to beat, —<br />
and I shall conclude by expressing a hope that the ~<br />
efforts of the publishers, together with those of the<br />
“ Board of Editors ’”»—whose names have not yet<br />
been revealed—to float an “American Edition”<br />
of my original “ History of Freemasonry ” may<br />
meet with the fate they deserve.<br />
<br />
R. F. GouLp. | https://historysoa.com/files/original/5/509/1905-10-01-The-Author-16-1.pdf | publications, The Author |
510 | https://historysoa.com/items/show/510 | The Author, Vol. 16 Issue 02 (November 1905) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+02+%28November+1905%29"><em>The Author</em>, Vol. 16 Issue 02 (November 1905)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1905-11-01-The-Author-16-2 | | | | | 33–64 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1905-11-01">1905-11-01</a> | | | | | | | 2 | | | 19051101 | The Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XVI.—No. 2.<br />
<br />
NovEMBER 1sT, 1905.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<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 />
Tus 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 />
—_--—>+—_<br />
<br />
<br />
<br />
List of Members.<br />
<br />
Tun List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
S a St<br />
<br />
—_—_+—+—_<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tun Trustees of the Pension Fund met at the<br />
<br />
Ane Society’s Offices in April, 1905, and having gone<br />
1 carefully into the accounts of the fund, decided<br />
to invest a further sum. They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
<br />
Vou. XVI.<br />
<br />
<br />
<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
This is a statement of the actual stock; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Consols 24 %...-.-2cesceeceeseeceeceeeenes £1000 0 0<br />
<br />
Tiocal loans #.:--:.........-.-..:----..--- 500 0 0<br />
Victorian Government 3 % Consoli-<br />
<br />
dated Inscribed Stock ............-++ 291 19 11<br />
<br />
War loan .......-.. se: 201° 9 3<br />
London and North Western 3 % Deben-<br />
<br />
ture Stock ..2.0..2........5. se: 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4 % Certificates 200 0 0<br />
<br />
Toba 6: £2,443 9 2<br />
<br />
Subscriptions, 1905. £ s. i.<br />
<br />
Jan. 12, Anonymous . : 0 2 6<br />
<br />
June 16, Teignmouth-Shore, the Rev.<br />
Canon. : . : : eo 10<br />
July 13, Dunsany, the Right Hon. the<br />
<br />
Lord . : ; 0 5 0<br />
Oct. 12, Halford, F. M. 0 5 0<br />
<br />
= ay Uhorburn, W. OE. 010 0<br />
<br />
Donations, 1905.<br />
<br />
Jan. Middlemas, Miss Jean 010 O<br />
Jan. Bolton, Miss Anna 0 5 0<br />
Jan. 24, Barry, Miss Fanny . 0 5 0<br />
Jan. 27, Bencke, Albert 0 5 0<br />
Jan. 28, Harcourt-Roe, Mrs. 010 0<br />
Feb. 18, French-Sheldon, Mrs. 010 0<br />
Feb. 21, Lyall, Sir Alfred, P.C. 10. 0<br />
Mar. 28, Kirmse, Mrs. 010 0<br />
April19, Hornung, E. W. . 25 0 O<br />
May 7, Wynne, C. Whitworth 5 0 0<br />
May 16, Alsing, Mrs. J. E. 0 5 0<br />
May 17, Anonymous . ; 1 ot 0<br />
June 6, Drummond, Hamilton 3.3 0<br />
July 28, Potter, the Rev. J. Hasluck 0 5 0<br />
Oct. 12, Allen, W. Bird 0. 5 0<br />
Oct. 17, A. O. N. 2 1 0 6<br />
Oct. 17, Hawtrey, Miss Valentina 0 5 6<br />
34<br />
<br />
COMMITTEE NOTES.<br />
<br />
Se<br />
<br />
HE first meeting of the committee since the<br />
vacation was held at the offices of the<br />
Society, 39, Old Queen Street, Storey’s Gate,<br />
<br />
S.W., on Monday, October 9th.<br />
<br />
It was with great satisfaction that the committee<br />
elected fifty-eight members and associates who<br />
had sent in their applications since the meeting at<br />
the beginning of July. This brings the total<br />
number of elections during the current year up to<br />
193. In 1904, up to October, the same number<br />
exactly was elected, and as the elections of that<br />
year were much above the average—233 being<br />
elected in all—the committee hope it may be<br />
possible to reach that number again in 1905.<br />
<br />
A small question arose bearing on the United<br />
States Copyright Bill which is being drafted by<br />
Mr. Thorvald Solberg, the Registrar of Copyrights<br />
at Washington for the United States Government.<br />
The committee referred the matter to the copyright<br />
sub-committee, who will consider it in due course.<br />
<br />
During the vacation the secretary had an inter-<br />
view with Mr. J. A. Cooper, editor of the Canadian<br />
Magazine and Treasurer of the Canadian Society<br />
of Authors. Mr. Cooper was very anxious, on<br />
behalf of the Canadian society, that the two bodies<br />
should be drawn closer together, and made sugges-<br />
tions which the committee considered. As the<br />
Canadian Society of Authors has no magazine,<br />
Mr. Cooper suggested the purchase of a certain<br />
number of copies of 7hée Author monthly. To this<br />
the Committee gladly agreed, as also to a proposition<br />
that they should assist members of the Canadian<br />
society, In case of any disputes which should arise<br />
out of the marketing of their property in England.<br />
<br />
The secretary reported that during the vacation<br />
it had been necessary to take counsel’s opinion in<br />
France on a question of literary property that had<br />
arisen out of the sale of translation rights, and,<br />
subsequently, to place the matter in the hands of<br />
a French solicitor, who had been instructed to<br />
commence action if necessary. This has been done<br />
by the sanction of the chairman, and the solicitor<br />
employed in France was the solicitor of the Société<br />
des Gens de Lettres. The committee heartily<br />
indorsed the action the chairman had taken.<br />
<br />
In another case counsel’s opinion, which had been<br />
taken during the vacation, with the chairman’s<br />
sanction, was laid before the committee.<br />
<br />
The main point in question was how far an<br />
author could claim exclusive right in the use of a<br />
nom de plume and restrain others from making use<br />
of it. As counsel’s opinion was in favour of the<br />
member’s contention the committee decided to<br />
take action, if necessary, as the principle involved<br />
was one of great importance to all authors.<br />
<br />
THE AUTHOR.<br />
<br />
The committee decided also to inquire whether<br />
it would be possible, in existing circumstances, for<br />
Egypt to join the Berne Convention, as there were<br />
many readers of English works in Egypt, and the<br />
fact that there was no international arrangement<br />
caused the literary property of the British author<br />
to be protected inadequately in that country.<br />
<br />
Another point under discussion was the<br />
advisability of fixing the unit of an edition. The<br />
secretary reported, as an example of the confusion<br />
which arises under the present system, that in one<br />
case which had come before him a book was<br />
advertised in its third edition when only twenty-<br />
seven copies had been sold.<br />
<br />
The committee decided to write to the chairman<br />
of the Publishers’ Association, in order to obtain<br />
the opinion of that body as to the advisability of<br />
determining accurately the point at issue.<br />
<br />
There were one or two other smaller points for<br />
discussion of no special interest to members,<br />
<br />
Cases,<br />
<br />
Since the last issue of Zhe Author there have<br />
been five cases in the secretary’s hands. Two<br />
for the return of MSS., one for money, one for<br />
accounts, and one for infringement of copyright.<br />
In one case the MS. has been returned. The<br />
other, being in the United States, has not yet<br />
been settled. The money has been paid and<br />
handed to the author, and the accounts rendered<br />
and forwarded. The question of infringement of<br />
copyright deals with a paper in Norway, and at<br />
present the infringer refuses to answer the society’s<br />
letters. The matter will therefore go before the<br />
committee at their next meeting, as it is essential<br />
that pirates should understand that they are not,<br />
because they live outside England, also outside<br />
the reach of legal proceedings.<br />
<br />
All the cases that were left open at the end of<br />
last month have been settled, with the exception<br />
of two, one arising out of the bankruptcy of a<br />
publisher and the other referring to payment for<br />
MSS. The latter case is in the hands of the society’s<br />
solicitors.<br />
<br />
The case in which counsel’s opinion was placed<br />
before the committee at their last meeting, and<br />
which the committee decided to take up, has been<br />
settled. The writer’s nom de plume which was<br />
being used has been withdrawn. There will be no<br />
need, therefore, to take the matter further.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
October Elections.<br />
<br />
Banbury, Capt. Cecil<br />
<br />
Beale, Miss Dorothea,<br />
<br />
LL.D.<br />
Boulger, Demetrius C. .<br />
Browne, F. Maurice<br />
Brown, J. Macmillan<br />
Butler, H. J.<br />
Claremont, Leopold<br />
Cotton, G. F. :<br />
Curran, The Rev. ELE. .<br />
<br />
Doidge, Edwin<br />
Edwards, Mrs. E. R.<br />
<br />
Festing, Miss Gabrielle .<br />
<br />
Fisher, Mrs. .<br />
<br />
Fitzgerald, Mrs. Augus-<br />
tine .<br />
<br />
FitzGerald, 8. J. Adair.<br />
<br />
Gamble, F. W.<br />
<br />
Gariorowski, M.<br />
<br />
Hague, C. Hope<br />
<br />
Halford, Frederic M.<br />
(“‘ Detached Badger”’)<br />
<br />
Hawtrey, Miss Valentina<br />
<br />
“ Henry Purcell”<br />
Holman, Henry<br />
<br />
Hughes-Gibb, Mrs.<br />
Jackson, W. 8.<br />
<br />
Johnson, Miss Effie<br />
Kingon, W. A. .<br />
<br />
61, Lowndes<br />
S.W.<br />
<br />
Ladies’ College, Chel-<br />
tenham.<br />
<br />
11, Edwardes Square,<br />
Kensington.<br />
<br />
Clovelly, St. John’s<br />
Road, Hastbourne.<br />
<br />
Holmbank, Feudalton,<br />
Christchurch, New<br />
Zealand.<br />
<br />
Square,<br />
<br />
38, Conduit Street, W.<br />
<br />
87, Salcott Road,<br />
Wandsworth Com-<br />
mon, 8.W.<br />
<br />
Pouchcove, Newfound-<br />
land.<br />
<br />
Cootamandia,<br />
South Wales,<br />
tralia.<br />
<br />
Adswood, North Cres-<br />
cent, Church End,<br />
Finchley, N.<br />
<br />
56, Queen’s Gate Ter-<br />
race, 8.W.<br />
<br />
223, Willoughby<br />
Avenue, Norfolk,<br />
Virginia, U.S.A.<br />
<br />
New<br />
Aus-<br />
<br />
11, Avenue Hoche, Paris,<br />
France.<br />
<br />
17, Brunswick Square,<br />
W.C.<br />
<br />
16, Ambherset Street,<br />
Withington, , Man-<br />
chester.<br />
<br />
60, Boulevard Clichy,<br />
Paris.<br />
<br />
Kooringa, South Aus-<br />
tralia.<br />
<br />
6, Pembridge Place, W.<br />
119, Beaufort Mansions,<br />
Chelsea, 8. W.<br />
<br />
Bankfield South, Bury,<br />
Lancs.<br />
<br />
Tarrant Gunville, Bland-<br />
ford.<br />
<br />
The Beach, Shanklin,<br />
Isle of Wight.<br />
<br />
Enlingcott, Headly<br />
Liphook, Hants.<br />
<br />
Tsomo Villa, Sea Point,<br />
Cape Colony.<br />
<br />
AUTHOR.<br />
<br />
Litt, Harry H.<br />
<br />
Macgregor, Lieut. - Col.<br />
John<br />
Mackenzie, R. J. .<br />
<br />
Mallock, Miss M. M.<br />
<br />
McEwen, Thomas<br />
O’Donnell, Elliott,<br />
Paternoster, G. Sidney .<br />
Purchase, Edward J.<br />
Puxley, Herbert H. L. .<br />
Raymond, Walter<br />
Reynolds, Mrs. Baillie .<br />
Selwyn, Mrs.<br />
<br />
Smith, A. H.<br />
<br />
Stutfield, Hugh E. M. .<br />
Telfer, E. B. Landor<br />
<br />
Thomson, Francis<br />
Thorburn, W. M. .<br />
<br />
Toynbee, Mrs. Paget<br />
<br />
Virgo, Eustace Felice<br />
Agostino _—(** Felice<br />
Agostino ’’) ; ;<br />
<br />
Wadbam-Petre, Walter<br />
<br />
Ward, Mrs. Wilfrid<br />
<br />
Weir, Preston<br />
<br />
Weston, Lieut. D. P.,<br />
R.N.<br />
<br />
Williamson, C. N.<br />
<br />
Williamson, Mrs. C. N.<br />
<br />
Williamson, K. B.<br />
<br />
35<br />
<br />
15, Woodlands Road,<br />
Cheetham Hill, Man-<br />
chester.<br />
<br />
Ardgay House, Ardgay,<br />
Ross-shire.<br />
<br />
12, Great Stuart Street,<br />
Edinburgh.<br />
<br />
4, Owlstone Road,Grant-<br />
chester Street, Newn-<br />
ham, Cambridge.<br />
<br />
East Bank, Strandtown,<br />
<br />
Belfast.<br />
<br />
Clifton House, St. Ives,<br />
Cornwall.<br />
<br />
7, Ashworth Mansions,<br />
Elgin Avenue, W.<br />
Owsden Rectory, New-<br />
market.<br />
Willowside,<br />
Oxon.<br />
182, Sutherland Avenue,<br />
<br />
Maida Vale, W.<br />
<br />
32, Aldridge Road Villas,<br />
W.<br />
<br />
6, Abingdon Court,<br />
Kensington, W.<br />
<br />
21, North HowardStreet,<br />
Gt. Yarmouth.<br />
<br />
49, St. George’s Square,<br />
S.W.<br />
<br />
Leinster House, Mort-<br />
lake.<br />
<br />
28, Elgin Avenue, W.<br />
<br />
Goring,<br />
<br />
29, Kidbrook Park<br />
Road, 8.E.<br />
Fiveways, Burnham,<br />
Bucks.<br />
<br />
Rome, Italy.<br />
<br />
13, Grove End Road,<br />
N-W.<br />
<br />
Lotus, Dorking.<br />
<br />
Redland School, Fern-<br />
banke Road, Bristol.<br />
<br />
H.M.S. Albion, Chan-<br />
nel Fleet.<br />
<br />
Chalet des Pins, Cap<br />
Martin (A.M.),<br />
France.<br />
<br />
Chalet des Pins, Cap<br />
<br />
Martin (A.M.),<br />
France.<br />
Raepur, Central Pro-<br />
<br />
vinces, India.<br />
<br />
Four members elected do not desire either their<br />
names or addresses to be printed.<br />
36<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
——>—+<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
ART.<br />
<br />
RAPHAEL. By JULIA CARTWRIGHT (Mrs. ADY). 6 x 4.<br />
223 pp. Duckworth.<br />
<br />
BIOGRAPHY.<br />
<br />
Tur LIFE AND LETTERS OF SiR JOHN EVERETT<br />
Mituals. By his son, JOHN GUILLE MILLAIS. An<br />
Abridged and Cheaper Edition in one Volume. 9 x 6.<br />
416 pp. Methuen. 7s. 6d. n.<br />
<br />
CHARLES LAMB. By WALTER JERROLD.<br />
112 pp. Bell. 1s. n.<br />
<br />
RECORDS AND REMINISCENCES, PERSONAL AND GENERAL.<br />
By Sir Francis C. BURNAND. Fourth and Cheaper<br />
Edition, revised. 73 x 5. 462 pp. Methuen. 6s.<br />
<br />
Str THOMAS BRowNE. By EDMUND GossE. 73 x 5.<br />
215 pp. Macmillan. 2s, n.<br />
<br />
FINAL RECOLLECTIONS OF A DIPLOMATIST.<br />
Honourable Sir Horace RUMBOLD, BART,<br />
<br />
6 x 4.<br />
<br />
By the Right<br />
G.C.B.<br />
<br />
‘9 x 58. 408 pp. Arnold. 15s.n.<br />
<br />
B. R. Haypon AND His FRIENDS. By GEO. PASTON.<br />
9 x 5%. 306 pp. Nisbet. 12s. 6d.<br />
<br />
ANDREW MARVELL. By AUGUSTINE BIRRELL. 7} x 5.<br />
242 pp. Macmillan. 2s. n.<br />
<br />
THE LIFE OF JOHANNES BRAHMS.<br />
2 Vols. 9 x 53. 306 and 319 pp.<br />
<br />
By FLORENCE MAY.<br />
Arnold. 21s. n.<br />
<br />
BOOKS FOR THE YOUNG.<br />
THE RED RoMANCE Book. Edited by ANDREW LANG.<br />
<br />
74 x 5. 372 pp. Longmans. 6s.<br />
<br />
Louis WAIN’S ANIMAL SHOW. With Stories in Prose<br />
and Verse. 9} x 8. J. CLARKE. Is.<br />
<br />
THE ADVENTURES OF PuncH. By Ascott R. Hope.<br />
<br />
Illustrated in colour, by S. B. DE LA BERE. 8} xX 6.<br />
207 pp. Black. 6s.<br />
<br />
RosAMOND’s GIRLS. By M. BRAMSTON. 7$ X 5.<br />
224 pp. S.P.C.K. 2s.<br />
<br />
BEN Pipe’s SowinG. By EMILY PEARSON FINNEMORE,<br />
72x 5. 214 pp. S.P.C.K. 2s.<br />
<br />
A Disrricr NURSE; OR MARGARET'S BLESSING. By<br />
GERTRUDE DoUGHTY. 63 x 4%. 80pp. S. P. C. K.<br />
<br />
6d.<br />
<br />
A TWENTY GUINEA BicycLeE. By MAry E. SHIPLEY.<br />
62 X 43. 80 pp. 8. P.C.K. 6d.<br />
<br />
Tur Zoo. <A Scamper. By WALTER EMANUEL.<br />
11 x 81. 50 pp. Alston Rivers. 2s. 6d. n.<br />
<br />
WoopMYTH AND FABLE. By ERNEST THOMPSON SETON.<br />
<br />
8} x 54. Hodder & Stoughton. 5s. n.<br />
TuE Boysor BADMINSTER. ASchool Tale. By ANDREW<br />
Home. 7} x 53. 398 pp. Chambers. 5s.<br />
<br />
aE GIRLS OF ST. GABRIEL’s. Or Life at a French<br />
<br />
School. By May BALDWIN. 7} xX 5}. 296 pp.<br />
Chambers. 3s. 6d.<br />
<br />
Tue Cat. By Viouer Hunt. 8} x 6. 223 pp. Biack.<br />
6s.<br />
<br />
A SoNOF THE SEA. ByF.T. BULLEN, F.R.G.S. 7} x 5.<br />
355 pp. Nisbet. 6s.<br />
<br />
THE ROMANCE OF MINING. By ARCHIBALD WILLIAMS.<br />
8 x 5. 402pp. Pearson. 5s.<br />
<br />
A Krtnq’sComRADE. AStory of Old Hereford. By C. W.<br />
WHISTLER. 392 pp. Nelson.<br />
<br />
2s. n. ®<br />
<br />
' BRENDLE.<br />
<br />
THE AUTHOR.<br />
<br />
THE SCHOOLBOY ABROAD. By Ascotr R. Horr. 7} x 5.<br />
308 pp. Black. 5s.<br />
<br />
CRAB COTTAGE. By RAYMOND JACBERNS. 7} x 5}.<br />
285 pp. Chambers. . 3s. 6d.<br />
BOOKS OF REFERENCE.<br />
THE ENGLISH DIALECT DicTionARY. Edited by J.<br />
<br />
WRIGHT, Ph. D., Professor of Comparative Philology in<br />
the University of Oxford. Parts 29—30. THE ENGLISH<br />
DIALECT GRAMMAR completing the Work. 12 x 9}.<br />
187 pp. Frowde. 15s. n. each part.<br />
<br />
ECONOMICS.<br />
THE BRITISH TRADE YEAR Book (1905). (Covering the<br />
<br />
25 years, 1880—1904.) By J. HoLT ScHOOLING.<br />
10 x 6%. 335 pp. Murray. 10s. 6d. n.<br />
EDUCATIONAL.<br />
<br />
A PRIMER OF CLASSICAL AND ENGLISH PHILOLOGY. By<br />
the Rev. W. W. SKEAT. Professor of Anglo-Saxon in<br />
<br />
the University of Cambridge. 6% x 4%. 101 pp.<br />
<br />
Oxford: Clarendon Press. London: Frowde. 28.<br />
FICTION.<br />
<br />
THe IRRATIONAL Knot. By G. BERNARD SHAW.<br />
73 x 54. 422 pp. Constable. 6s.<br />
<br />
SPIRITUAL ADVENTURES. By ARTHUR SYMONS.<br />
9 x 53. 314 pp. Constable. 7s. 6d. n.<br />
<br />
Tue Rep REAPER. By J. A. STEUART. 7} X 5.<br />
452 pp. Hodder & Stoughton. 6s.<br />
<br />
Tuer MISTRESS OF THE Ropes. By S. H. BURCHELL.<br />
<br />
73 x 5. 426 pp. Hurst & Blackett. 6s.<br />
<br />
THE ADMIRAL. The Love Story of Lord Nelson and<br />
Lady Hamilton. By Dovu@uas SLADEN. (Cheap<br />
Edition.) 8} x 53. 128 pp. Pearson. 6d.<br />
<br />
AyrsHA. By H. RipeER HaGG@arD. 7} x 5. 384 pp.<br />
<br />
Ward Lock. 6s.<br />
Lone Marie. By W. E. Norris, 7} X 5. 334 pp.<br />
Macmillan. 6s.<br />
<br />
THE LETTER KILLETH. By A.C. INCHBOLD. 7? xX 5}.<br />
309 pp. Partridge. 6s.<br />
<br />
DEBORAH'S Lire. By J. BurytH. 7} X 5. 296 pp.<br />
Nash. 6s.<br />
<br />
Tur SWORD OF GIDEON. By J. BLOUNDELLE BURTON.<br />
7% x 5. 347 pp. Cassell. 6s.<br />
<br />
A THIEF IN THE NicHt. By E. W. Hornune.<br />
7% x 5. 334 pp. Chatto & Windus. 6s.<br />
<br />
THE BonpaGe oF Gop. By E.P.FINNEMORE. 7} x 4}.<br />
294 pp. Digby Long. 6s.<br />
<br />
THE WATERS OF DESTRUCTION. By ALICE PERRIN.<br />
72 x 5. 311 pp. Chatto & Windus. 6s.<br />
<br />
THE LADY NAVIGATORS. By EDWARDNOBLE. 7} x 5}.<br />
295 pp. Brown Langham. 6s.<br />
<br />
LigutT. GuuLivar Jones. By E. LESTER ARNOLD.<br />
<br />
7% x 54. 301 pp. Brown Langham. 6s.<br />
<br />
Wuite Fire. By JoHN OXENHAM. 7} x 5. 337 pp.<br />
Hodder & Stoughton. 6s.<br />
<br />
Bee@gar’s Luck. By NELLIE K. BuissETT. 74 x 5.<br />
311 pp. Chapman & Hall, 6s.<br />
<br />
Dinys. An Indian Romance. By F. E. PENNY. 7} x 5.<br />
360 pp. Chatto & Windus. 6s.<br />
<br />
Divers VANITIES. By A. MoRRISON. 7] X 5. 256 pp.<br />
Methuen. 6s.<br />
<br />
THE PILLAR OF Liaut. By Louis Tracy. 7} X 5.<br />
<br />
320 pp. Ward Lock. _ 6s.<br />
<br />
Tue BRowN Eves or Mary. By E. Marta ALBANESI.<br />
7% x 51. 346 pp. Methuen. 6s.<br />
<br />
THe HovuseHotp or Prrer. By Rosa N. CAREY.<br />
72 x 53. 451 pp. Macmillan. . 6s.<br />
<br />
By MARMADUKE PICKTHALL. Te x 00,<br />
<br />
307 pp. Methuen. 6s.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
A Heart oF Stone. By GERTRUDE WARDEN. 7} x 5.<br />
302 pp. Digby Long. 6s.<br />
<br />
BARBARA REBELL. By Mrs. BELLOC-LOWNDES. 7} X 5.<br />
379 pp. Heinemann. 6s.<br />
<br />
Caprains ALL. By W. W. Jacops. 7} x 5. 269 pp.<br />
Hodder & Stoughton. 33. 6d.<br />
<br />
Tue INSEPARABLES. By J. BAKER. 7} X 5. 329 pp.<br />
Chapman & Hall. 6s.<br />
<br />
THE SEVEN STREAMS. By WARWICK DEEPING. 7} x 5.<br />
<br />
375 pp. Nash. 6s.<br />
Love IN THE LISTS.<br />
311 pp. Unwin. 6s.<br />
<br />
eo<br />
<br />
By K. L. MonTGOMERY. 73 x<br />
<br />
ra<br />
or<br />
<br />
Moscow. A Story of the French Invasion of 1812.<br />
73 x 51. 291 pp. Longmans. 6s.<br />
<br />
1.N.R.I. A Prisoner's Story of the Cross. By PETER<br />
RoseGGer. Translated by ELIZABETH LEE. 7} x 53.<br />
<br />
324 pp. Hodder & Stoughton. 6s.<br />
<br />
HISTORY.<br />
<br />
A History or OuR Own Times. From the Diamond<br />
Jubilee, 1897, to the Accession of Edward VII. By<br />
JUSTIN McCarTHY. 2 Vols. 9 x 5%. 409 and 394 pp.<br />
Chatto and Windus. 24s.<br />
<br />
A History oF THE Four GEORGES AND OF WILLIAM IV.<br />
By Justin McCartuy. (The St. Martin’s Library Fine<br />
Paper Edition.) 2 Vols. 6} x 4}. 602 and 588 pp.<br />
Chatto & Windus. 2s, n. each volume.<br />
<br />
LITERARY.<br />
<br />
THE PUZZLE oF Dickens’ Last PLot. By ANDREW<br />
Lang. 73 x 5. 100 pp. Chapman & Hall.<br />
<br />
THE Gops OF PEGANA. By Lorp Dunsany. 72 x 5;<br />
94 pp. Elkin Mathews. 5s.<br />
<br />
Tue GARDEN THAT I Love. By ALFRED AUSTIN.<br />
9 x 63. 146 pp. Black. 7s. 6d.n.<br />
<br />
AUTHOR AND Printer. A Guide for Authors, Editors,<br />
<br />
Ke<br />
<br />
Bh<br />
<br />
Printers, Correctors of the Press, Compositors and<br />
Typists. With full list of Abbreviations. By F.<br />
Howarp Couirns. Third Thousand. (With some<br />
additions.) 7} x 5. 407 pp. Frowde. 5s. n.<br />
<br />
THe SPIRIT oF Rome. Leaves from a Diary. By<br />
VERNONTEL. 73} x 5. 205 pp. Lane. 3s. 6d.<br />
<br />
REFLECTIONS OF A HovusEHOLDER. By E. H. LACoN<br />
Watson. 72 x 54. 206pp. Brown, Langham. 3s. 6d.<br />
<br />
ENGLISH Hours. By Henry JAMES. 8} x 6, 315 pp.<br />
Heinemann.<br />
<br />
MoprerNn ENGLISH LITERATURE. By EDMUND GOSSE.<br />
New and Revised Edition. 8} x 6. 420 pp. Heine-<br />
mann. 7s. 6d.<br />
<br />
NATURAL HISTORY.<br />
<br />
Extinct ANIMALS. By E, Ray LANKESTER.<br />
331 pp. Constable. 7s. 6d. n.<br />
THe MAMMALS OF GREAT BRITAIN AND IRELAND. By<br />
<br />
9x 6;<br />
<br />
J. G. Mrnuats, F.L.S. Vol. Il. 14 x 124. 299 pp.<br />
Longmans, 61. 6s. n.<br />
NAVAL.<br />
NELSON AND THE TWENTIETH CENTURY. By ARNOLD<br />
<br />
WuHiItk and E. Hantam MoorHouskE. 7% x 5,<br />
340 pp. Cassell. 5s. n.<br />
Sea LIFE IN NELSON’S TIME.<br />
<br />
16 Illustrations. 7% x 5. 218 pp.<br />
PHILOSOPHY.<br />
An ANALYSIS OF HuMAN MOTIVE.<br />
$2 x 5}, 222 pp. Simpkin Marshall.<br />
POETRY.<br />
<br />
Tea TABLE RHYMES AND OTHERS, By LEICESTER<br />
RoMAyNeE, Author of PorTuGuESE RITA. 6% X 5.<br />
67 pp. Brimley Johnson. 2s. 6d. n.<br />
<br />
By J. MASEFIELD. With<br />
Methuen. 3s. 6d.n.<br />
<br />
By F. CARREL.<br />
<br />
37<br />
<br />
VERSES, WISEOR OTHERWISE. With which is incorporated<br />
na ae<br />
VERSES,GRAVEAND GAY. By ELLEN THORNYCROFT<br />
<br />
Fowuer. 7? x 54. 202 pp. Cassell. 5s.<br />
POLITICAL.<br />
THE GREEN SPHINX. By BART KENNEDY. 7} x 5,<br />
258 pp. Methuen. 3s. 6d.<br />
REPRINTS.<br />
THE WORKS OF JOHN RUSKIN. Library Edition. Vol.<br />
<br />
XIX. THE CESTUS OF AGLAIA AND THE QUEEN OF<br />
THE AIR. With other papers and lectures on art and<br />
literature. Edited by E. T. Cook and A. WEDDERBURN.<br />
10 x 63. 469 pp. Allen.<br />
<br />
SPORT.<br />
Bia GAME SHOOTING. Edited by H. G. HUTCHINSON,<br />
<br />
2 Vols. 9 X 52. 301 and 356 pp. Newnes. 25s. n.<br />
THEOLOGY.<br />
GREATHEART. Some ‘Talks with Him. By A<br />
PILGRIM. 72 x 53. 190 pp. Macmillan. 3s. n.<br />
THE GARDEN OF Nuts. By the Rev. W. ROBERTSON<br />
pee 7k x 54. 232 pp. Hodder & Stroughton.<br />
3s. 6d.<br />
THE Historic CHRIST. By T. A. Lackey. 8 x 53.<br />
158 pp. Longmans. 3s. 6d. n.<br />
TOPOGRAPHY.<br />
XFORD. By ANDREW LANG. New Edition, with 50<br />
Illustrations. 8 x 53. 286 pp. Seeley. 6s.<br />
TRAVEL.<br />
<br />
Back To SuNNY SEAS. By F. T. BULLEN. 7} x 5}.<br />
287 pp. Smith, Elder. 6s.<br />
<br />
OLD PROVENCE. By T. A. COOK.<br />
348 and 445 pp. Rivington. 16s.<br />
<br />
Ty VoIcE OF THE SouTH. By GILBERT WATSON.<br />
9 x 54. 324 pp. Hurst & Blackett. 10s. 6d.<br />
<br />
VILLAGE, TOWN, AND JUNGLE Lire IN InpiA. By A. C.<br />
NEWcoMBE. 417 pp. Blackwood. 12s. 6d. n.<br />
<br />
A YANKEKIN PigMy LAND. By W.E. Geri. With 125<br />
Illustrations. 84 x 54. 409 pp. Hodder & Stoughton.<br />
6s.<br />
<br />
THE WorLD or To-pAy. By A. R. Hope MONCRIEFF.<br />
Vol. III. 280 pp. The Gresham Publishing Co.<br />
<br />
2 Vols. 7% x 5.<br />
<br />
——————_.—>—_-___—_<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
——_ +<br />
<br />
N “Final Recollections of a Diplomatist,” Sir<br />
Horace Rumbold describes his life as British<br />
Minister to Greece and the Netherlands, and<br />
<br />
as Ambassador to Austria.<br />
<br />
Messrs. Longmans & Co. are about to publish a<br />
series of essays and addresses by Sir Lewis Morris,<br />
under the title of “ The New Rambler.”<br />
<br />
“Moscow,” Mr. Fred Whishaw’s new story,<br />
dealing with the French Invasion of Russia in<br />
1812, has also been published by the same firm.<br />
<br />
Miss Nellie K. Blissett’s novel, “Beggar's<br />
388<br />
<br />
Luck,” which Messrs. Chapman and Hall pub-<br />
lished in September, is a romance of the days<br />
of Mazarin, who plays a slight but important<br />
part in the development of the plot.<br />
<br />
“ Occasional Papers” isa monthly journal which<br />
originated in the earlier half of last year. Its birth-<br />
place was Bournemouth, but its issue has now been<br />
transferred to Oxford, where its present editor<br />
strives to continue its aims—to elevate and to<br />
create.<br />
<br />
Mr. Augustine Birrell’s new book, ‘In the Name<br />
of the Bodleian and other Essays,” published by<br />
Mr. Elliot Stock, contains an appreciation of<br />
Locker Lampson, entitled “A Connoisseur,” in<br />
which some personal details of the eminent<br />
collector’s life and pursuits are given.<br />
<br />
Messrs. Hutchinson & Co.’s autumn list contains<br />
some interesting announcements relating to works<br />
by members of the society. In the realm of fiction<br />
they are publishing stories by ‘Lucas Malet,”<br />
Mr. H. Rider Haggard, and Mrs. Baillie Reynolds.<br />
<br />
“ Lucas Malet’s” novel, which they will publish<br />
early in 1906, deals with the acts and opinions of<br />
a man of foreign birth, who after many years of<br />
office work finds himself possessed of leisure and a<br />
moderate fortune. The scene of the story is laid<br />
<br />
exclusively in London and the western suburbs.<br />
Mr. Haggard’s work, which will be published in<br />
<br />
March next, traces the history of a man who,<br />
having by nature the best instincts, on the occasion<br />
of a tragic event, vows that he will renounce his<br />
habits of life and endeavour to live a life of duty,<br />
from which resolution he never swerves.<br />
<br />
Mrs. Baillie Reynolds’ novel, the title of which<br />
is “The Man who Won,” is a story the scene<br />
of which is laid partly in Africa before the late<br />
war, and partly in England. It contains a strong<br />
love interest.<br />
<br />
Turning from fiction we note that Messrs.<br />
Hutchinson are publishing Mr. R. H. Sherard’s<br />
volume of “Reminiscences of Literary Life,”<br />
“Twenty Years in Paris.” Among the celebrities of<br />
whom Mr. Sherard has personal memories are Victor<br />
Hugo, Ferdinand de Lesseps, General Boulanger,<br />
Baron Haussmann, Jules Verne, Renan, Daudet,<br />
Ernest Dowson and Zola. Apart from the per-<br />
' sonalia the volume contains a running commen-<br />
tary, with anecdotes, on recent French History.<br />
<br />
The same firm has also issued Mr. Douglas<br />
Sladen’s new volume on “Tunis and Carthage,”<br />
in which the life of one of the great ancient<br />
capitals of Africa and its modern successor, Tunis,<br />
the most oriental of North African towns is<br />
described ; ‘ Nature’s Nursery,” by H. W. Shep-<br />
heard Walwyn, which although intended for old<br />
and young, appeals more particularly to the latter;<br />
“Beauty Through Hygiene,” by Emma E. Walker,<br />
M.D., edited by Arabella Kenealy, in which is<br />
<br />
THE AUTHOR.<br />
<br />
advocated the building of tissues, the control of<br />
nerves, and the symmetrical development of the<br />
<br />
body through the agency of intelligent hygiene.<br />
<br />
“Tongues of Gessip,” by Miss A. Curtis Sher-<br />
wood, published recently by Mr. Fisher Unwin, is<br />
a novel which deals with life in a country town and<br />
contains much thoughtful discussion on religion,<br />
art and kindred subjects.<br />
<br />
“A District Nurse,” by Gertrude Doughty,<br />
published by the Society for Promoting Christian<br />
Knowledge, is a simple story for children.<br />
<br />
In collaboration with Mr. Alfred E. T. Watson,<br />
Mr. Frank Savile is bringing out a new novel<br />
entitled “ Fate’s Intruder,” which will be illus-<br />
trated by Mr. Rene Bull, and published by<br />
Mr. Heinemann. The same writers have also con-<br />
tributed to the Badminton Magazine a series of<br />
stories entitled ‘‘ Strange Stories of Sport.”<br />
<br />
It is not often one comes across a fine example<br />
of Russian printing, especially in the way of an_<br />
illustrated work. There is something just as rare<br />
in a finely produced Russian translation of an<br />
English book. This exceptional compliment has<br />
been paid to Miss Bessie Hatton’s ‘‘ The Village<br />
of Youth,” which is dedicated to the young<br />
English authoress by Madame Milorodovitch, wife<br />
of his Excellency the Governor of Poltalva. It is<br />
published in quarto size, and illustrated by Russian<br />
black and white artists. Madame Milorodovitch<br />
sends an edition de luae to Miss Hatton with a<br />
message of “affectionate appreciation from her<br />
unknown Russian admirers.”<br />
<br />
Mr. H. G. Wells’ new novel “ Kipps,” pub-<br />
lished by Macmillan & Co., depicts a typical<br />
member of the English lower class in all its pitiful<br />
limitation and feebleness, and beneath a treatment<br />
deliberately kindly and genial there lurks a<br />
sustained criticism of the ideals and ways of life of<br />
the great mass of middle-class English people.<br />
<br />
Derek Vane’s story, “ Crooked Ways,” which has<br />
recently appeared as a serial in the Daily Mail,<br />
is about to be translated into German. ‘The same<br />
author has just written a series of short stories,<br />
entitled “In a Strange World,” for the Northern<br />
Newspaper Syndicate, and is now engaged on a<br />
novel, which will be published first serially.<br />
<br />
‘Author and Printer,’”’ by Howard Collins,<br />
which we reviewed in the May issue of The<br />
Author, has, we are glad to say, run into a<br />
second edition. The work is bound to be of<br />
interest to all those who desire a standard guide<br />
for spelling, capitalisation, punctuation, the use of<br />
italic type, etc., and whilst it may not be possible<br />
to agree with Mr. Collins in all his deductions, yet<br />
few will deny the soundness of the principle upon<br />
which the book has been written. Mr. Collins’<br />
book has the approval of the Master Printers’<br />
and Allied Trades Association of London, the<br />
<br />
<br />
Edinburgh Master Printers’ Association, the Belfast<br />
Printing Trades Employers’ Association, and the<br />
Executive Committee of the London Association<br />
of Correctors of the Press.<br />
<br />
In “The Secret of the Totem,” published by<br />
Longmans, Green & Oo., Mr. Andrew Lang<br />
attempts to establish the origin and_ trace the<br />
evolution of Totemism in Primitive Society.<br />
<br />
A second edition of Miss Rose Harrison’s book<br />
“The Padre” will shortly be published under the<br />
title of “ Dulce.”<br />
<br />
The same writer is also publishing in the<br />
Hand and Heart Magazine, under the title of<br />
“Qhildren of the New Century, or Physiology<br />
Made Easy,” twelve readings on scientific temper-<br />
ance instruction. The Church of England Tem-<br />
perance Society will publish the readings in book<br />
form after their serial publication.<br />
<br />
Mr. Heinemann is about to publish a uniform<br />
library edition of Ibsen’s works, mostly translated<br />
by Mr. William Archer.<br />
<br />
Miss Florence May has written a life of Brahms,<br />
which Mr. Arnold has published in two volumes.<br />
Her qualification for the task consists in her<br />
acquaintance with Brahms, begun when she was a<br />
young student of the piano. The materials for the<br />
life have been gathered almost entirely at first hand<br />
in several Continental journeys.<br />
<br />
Mr. Angus Hamilton’s new book, which Mr.<br />
Heinemann will publish, is an exhaustive account of<br />
the conditions of Afghanistan, and its relations<br />
with Russia and India. It contains sketches of<br />
the domestic life of the Ameer, and a description of<br />
the Oxus, its fords, trade, and the strategic value<br />
of the roads which approach it. The book, in<br />
addition to containing a map, is illustrated.<br />
<br />
“The Red Reaper” is the title of Mr. J. A.<br />
Stenart’s new novel, published by Messrs. Hodder<br />
and Stoughton. The opening of the story shows<br />
the Marquis of Montrose as a Royalist, and<br />
narrates how he proceeds to raise the clans. Many<br />
of the families involved in the struggle between<br />
King and Covenant are introduced.<br />
<br />
“The Souvenir of the Crabbe Celebration,”<br />
neatly arranged and illustrated, is on sale at Messrs.<br />
Sotheran and Co.’s house in Piccadilly, at the price<br />
of 2s. 6d. Those interested in Crabbe and his work<br />
unable to attend the meeting at Aldeburgh will, no<br />
doubt, be glad to purchase the Souvenir, the sale<br />
of which, it is hoped, will cover some of the<br />
expenses incurred.<br />
<br />
Mr. Heinemann published about the middle of<br />
last month a new novel, by Mrs. Belloc Lowndes,<br />
entitled “ Barbara Rebell.”<br />
<br />
The scene of “A Man from the Shires,” by<br />
Isabelle Taylor, published by Messrs. Gay and<br />
Bird, towards the end of last month, is laid in<br />
Haslemere, Surrey.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
39<br />
<br />
A German translation of “The Viking Path: a<br />
Tale of the White Christ,’ by J. J. Haldane<br />
Burgess, M.A. (Wm. Blackwood and Sons), has<br />
just been published by E. Pierson’s Verlag, Dresden.<br />
The translation is from the pen of Mr. Hermann<br />
Besser Neustadt (Orla).<br />
<br />
The Rev. Geo. St. Clair proposes to publish at<br />
some future date, a work entitled “The Secret of<br />
Genesis.” The conclusion which the author has<br />
come to in connection with this subject is that the<br />
narrative, from Paradise to the building of Babel,<br />
is a genuine ancient record and connected story,<br />
corresponding to the history embedded in the<br />
legends of Egypt and Babylonia.<br />
<br />
Mr. Charles Garvice’s new six shilling novel “The<br />
Tyrant” was published by Messrs. Hutchinson &<br />
Co. on October 1st. The same publishers announce<br />
a new and cheap edition of his novel, “ Love<br />
Decides,” which they will issue in their 3s. 6d.<br />
series.<br />
<br />
Messrs. Geo. Newnes are publishing this month<br />
a sixpenny edition (illustrated) of Mr. Garvice’s<br />
novel, “ Just a Girl.” Mr. Garvice is at present<br />
in Scotland on a lecturing tour. ‘‘ Humorists,<br />
Grave and Gay” is the title he has chosen<br />
for what is really a series of dramatic readings<br />
rather than a lecture, interspersed with short<br />
biographical sketches of the various authors,<br />
with more or less critical notes on their works.<br />
<br />
Mr. Lance Thackeray has just issued a set of<br />
coloured drawings entitled ‘The Catch of the<br />
Season.” The four pictures tell a love story,<br />
arising out of the careless casting of a fly by the<br />
angler-hero. The set is published by Messrs.<br />
Landeker and Brown, of Worship Street, E.C.<br />
<br />
‘Studies from Court and Cloister” is the title<br />
given to a work by Miss J. M. Stone, which<br />
Messrs. Sands & Co. will publish at the price of<br />
12s. 6d. net. The volume is a collection of essays,<br />
historical and literary, dealing mainly with subjects<br />
relating to the sixteenth and seventeenth centuries.<br />
It contains eight fuli-page illustrations.<br />
<br />
Raymond Jacbern’s new books for girls this<br />
season are “Crab Cottage,” published by Messrs.<br />
Chambers at 3s. 6d., and “How Things Went<br />
Wrong,” published by Gardner, Darton & Co. at<br />
the price of 1s. 6d.<br />
<br />
“Queer Things about Sicily,’ by Douglas<br />
Sladen and Norma Lorimer, which Messrs. Anthony<br />
Treherne & Co. published last month, is a work<br />
describing how Sicily appears to the ordinary<br />
traveller. It is fully illustrated.<br />
<br />
“ Quacks,” “The Miseries of the Sick Poor,”<br />
and “ The Poverty of our Great Hospitals,” are a<br />
few of the subjects dealt with by Dr. 8. Squire<br />
Sprigge in his new book, ‘“ Medicine and the<br />
Public,” which was published in the middle of<br />
October by Mr. Wm. Heinemann.<br />
40<br />
<br />
Mr. Walter Del Mar has completed his book of<br />
travel in the Great Dependency. It is to be called<br />
“India of To-day,” and is the record of a tour<br />
undertaken during the winter of 1904-5. The<br />
author is of opinion that most of the noteworthy<br />
monuments and scenes in India can be visited in<br />
the four months from the middle of November to<br />
the middle of March.<br />
<br />
“His Natural Bent,” a new novel by Miss<br />
C. C. Andrews (“Carl Swerdna”), will com-<br />
mence in the Yamily Herald on the 4th of this<br />
month.<br />
<br />
The Oxford Press have lately published ‘‘ The<br />
Primer of Classical and English Philology,” by<br />
Professor Skeat. The object of this small book<br />
is to exhibit some of the more elementary principles<br />
of modern philology as applied to the etymology<br />
of Greek, Latin, and English words. Some account<br />
of the proper pronunciation of Latin and Greek is<br />
given in the first chapter.<br />
<br />
Mr. Arthur Dillon is preparing to follow ‘“ The<br />
Greek Kalends” with a chronicle play in three parts,<br />
entitled “ King William I., the Conqueror,” the<br />
title of ‘‘ William the Conqueror,” originally<br />
chosen, being forestalled.<br />
<br />
Messrs. Adam and Charles Black announce for<br />
publication in December of this year Mr. Eustace<br />
Reynolds Ball’s new ‘Guide to Rome and its<br />
Environs.” The work, which contains eight<br />
illustrations in three colours by Alberto Pisa, in<br />
addition to plans and maps, is divided into six<br />
parts. Part I. contains preliminary information<br />
regarding routes, hotels, etc.; Part II. deals with<br />
ancient Rome; Part III., with medizval and<br />
renaissance Rome; Part IV., modern Rome;<br />
Part V., excursions; the concluding part deals<br />
with the climate, and contains practical hints<br />
for sightseers. The book is published at the<br />
price of 2s. 6d.<br />
<br />
“The British Trade Year Book,” by John Holt<br />
Schooling, has just been published, at the price of<br />
10s. 6d. net, by Mr. John Murray. Mr. Schooling’s<br />
method is to show the average yearly results<br />
during each successive decade. He claims that<br />
by this method the confusing fluctuations of<br />
single years are all merged in the average results<br />
obtained, and in place of a series of involved<br />
and often misleading yearly figures, such as are<br />
seen in the official Blue Books, a series of con-<br />
densed average results may be obtained. Dia-<br />
grams are also used, in order that the reader<br />
may grasp the general drift of the facts and the<br />
inferences to be drawn from them.<br />
<br />
“Rhymes and Rondeaux,” by J. E. B. and<br />
J. W. M,, published by A. OC. Glynn Grylls,<br />
27, Chancery Lane, W.C., is a collection of light<br />
verse on various subjects, such as “ Taxation of<br />
Land Values,” ‘ Reviewers,” “The Encyclopedia<br />
<br />
THE AUTHOR.<br />
<br />
Britannica,” etc., ete.<br />
of 1s. net.<br />
<br />
Messrs. Longmans, Green & Co. announce the<br />
publication of a limited edition—1,025 copies—of<br />
Mr. J. G. Millais’ (F.Z.S.) work on “The Mammals<br />
of Great Britain and Ireland,” in three volumes,<br />
price £6 6s. net. Vol. II. was issued last month.<br />
The concluding volume will be ready in 1906.<br />
The same publishers have in the press Mr. W.<br />
H. Wilkins’ new work, “Mrs. Fitzherbert and<br />
George IV.,” which, with numerous portraits and<br />
other illustrations, will be published at the price<br />
of 32s.<br />
<br />
Mrs. Inchbold’s third novel, “The Letter<br />
Killeth,” published recently by Messrs. 8. W.<br />
Partridge & Co., is a romance of the Sussex Downs<br />
at the beginning of the last century, dealing with<br />
a revivalist movement, similar to that which is<br />
still stirring Wales, at a time when the Napoleonic<br />
scare was strong on the south coast.<br />
<br />
“The Food Factor in Disease,” by Dr. F. E.<br />
Hare, is an investigation into the humoral causation,<br />
meaning, mechanism, and rational treatment, pre-<br />
ventive and curative, of the paroxysmal neuroses<br />
(migraine, asthma, angina pectoris, epilepsy, etc.),<br />
bilious attacks, gout, catarrhal and other affections,<br />
high blood pressure, circulatory, renal, and other<br />
degenerations. Messrs. Longmans & Oo. are the<br />
publishers.<br />
<br />
We understand that Her Majesty the Queen has<br />
been pleased to accept a copy of the Rev. J. J.<br />
Gratrex’s ‘Regal Calendar,’ which provides a<br />
record for all years, past, present, and future, from<br />
January Ist, aD. 1. Copies of the production<br />
may be obtained from Mr. Gratrex, Brandiscorner,<br />
8.0., Devon, England, at the price of 1s. each.<br />
<br />
In “Nelson and East Anglia” Mr. Harold<br />
Simpson (H. Simpson Ladell) has compressed into<br />
a comparatively small space a mass of information<br />
relating to the life and career of Lord Nelson.<br />
The work, suitably illustrated, is published by the<br />
Last Anglian Daily Times at the price of 6d.<br />
<br />
“Purple and Fine Linen,”’ by Madame Albanesi,<br />
which appeared serially in the Daily Chronicle, will<br />
be published in book form by Messrs. Hurst and<br />
Blackett in the spring of 1906.<br />
<br />
Miss Beatrice Harraden has produced, through<br />
Messrs. Methuen & Co., a new six shilling edition<br />
of her book “In Varying Moods.” Miss Harraden<br />
has also arranged for the inclusion of the work in<br />
Messrs. Newnes’ sixpenny library.<br />
<br />
Mr. J. G. Godard’s book, “ Racial Supremacy,”’<br />
published by Mr. Geo. Morton in Edinburgh, and<br />
by Messrs. Simpkin Marshall & Co., in London,<br />
contains six chapters dealing with various aspects<br />
of the question of Imperialism.<br />
<br />
Mr. Richard Marsh’s last story, ‘‘The Marquis<br />
of Putney,” which Messrs. Methuen & Co. have<br />
<br />
It is published at the price<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
published, tells how an infant heir to a dukedom<br />
was stolen—at high noon—from his perambulator<br />
in Hyde Park,<br />
<br />
Among the art publications announced by<br />
Messrs. Cassell & Co. is a new treatise by the<br />
Hon. John Collier, entitled “The Art of Portrait<br />
Painting.” The work is illustrated by reproduc-<br />
tions of some of the best portraits the world<br />
possesses.<br />
<br />
Messrs. Macmillan & Co. have issued Mr. Rolf<br />
Boldrewood’s new book, which tells of the final<br />
do-or-die venture of a gold-seeker in the days of<br />
Australian mining. The title of the book is “ The<br />
Last Chance.”<br />
<br />
Mr. Fisher Unwin announces for early publica-<br />
tion a book by Mr. T. H. 8. Escott, the title of<br />
which is “Society in a Country House.” The<br />
writer’s object has been, by personal instances and<br />
illustrative anecdotes, to reflect the country house<br />
life of English society in its connection with<br />
national movements.<br />
<br />
The same publishers are also issuing a new<br />
edition—the fourth—of Sir F. OC. Burnand’s<br />
«‘ Records and Reminiscences.” The price of the<br />
new issue is 6s.<br />
<br />
Messrs. A. and C. Black have issued an edition,<br />
illustrated with colour pictures, of the Poet<br />
Laureate’s prose-book “The Garden that I Love.”<br />
The subject of the book is the Laureate’s own<br />
garden in Kent, of which Mr. George S. Elgood<br />
has made paintings.<br />
<br />
The scene of Mr. Bloundelle-Burton’s new<br />
romance of the great Protestant struggle in<br />
Europe, is laid chiefly at Liege at the outbreak of<br />
the War of the Spanish Succession, and has to do<br />
with the journey of a young Englishman to that<br />
city to rescue the ward of an English peer.<br />
<br />
Mr. Theodore Watts Dunton’s new _ novel<br />
“Carniola”’ will be published during the autumn<br />
in England and America by Messrs. Harpers. The<br />
story is laid partly in England, partly in Venice,<br />
and partly in Hungary.<br />
<br />
In “The Life of Kate Greenaway,” by M. H.<br />
Spielmann and 8. Layard, which will shortly be<br />
published by Messrs. A. and C. Black, the history of<br />
Kate Greenaway’s long friendship with Ruskin is<br />
told and their correspondence printed, including<br />
some fifty of Ruskin’s letters hitherto unpub-<br />
lished. Many of the accompanying illustrations<br />
by Kate Greenaway have also been reproduced for<br />
the first time.<br />
<br />
Messrs. Hutchinson & Co. will publish a book<br />
of literary recollections by Miss Laura Hain<br />
Friswell. It is entitled “(In the Sixties and<br />
Seventies: Impressions of Literary People and<br />
Others.” The personalities referred to include<br />
Gladstone, Disraeli, Dickens, Du Maurier, Kingsley,<br />
Trollope, Artemus Ward, etc., etc.<br />
<br />
41<br />
<br />
Messrs. Methuen & Co. have published a new story<br />
by Dorothea Gerrard, entitled “The Improbable<br />
Idyll,” which deals with the adventures of a<br />
cockney family in Eastern Europe, and, opening<br />
as a comedy, gradually deepens to a drama, in<br />
which the elementary human passions come to<br />
their full due.<br />
<br />
A novel by Harold Wintle will be published by<br />
Mr. John Lane early this month, under the title<br />
of “The Cleansing of the Lords.”<br />
<br />
“The Adventures of Punch” is the title of a<br />
new book by Ascott R. Hope. The work deals<br />
with the youth of a celebrated foreigner before he<br />
came to marry and set up in business so far from<br />
his birthplace. His early life has, of course, been<br />
treated by Dumas and other Continental authors ;<br />
but the present history is based upon the most<br />
authentic material, the hero’s own tale of his<br />
singular adventures being here told for the first<br />
time. The narrative of his pitiful struggles may<br />
be looked on as a companion volume to Dr.<br />
Smiles’ “ Self-Help”; while the illustrations in<br />
colour by Stephen Bagot De La Bere follow<br />
tradition in giving the volume a distinctly comic<br />
character. Messrs. A. and C. Black will publish<br />
the book.<br />
<br />
“ What Foods Feed Us?” by Eustace Miles, is<br />
published by Messrs. George Newnes at the price<br />
of 1s. net. One of the main features of the work<br />
is a chart which indicates in a simple form the<br />
properties of the various foods in common use.<br />
he work should appeal to those interested in the<br />
question of physical deterioration.<br />
<br />
“The Return of the Prodigal,” by St. John<br />
Hankin, was produced at the Court Theatre on<br />
the afternoon of September 26th. The reception<br />
with which he is greeted by the rest of his<br />
family on his return, after an absence of five<br />
years in Australia, proves that Mr. Hankin’s<br />
prodigal is looked upon rather as a burden than a<br />
blessing, and the problem which the dramatist sets<br />
himself to solve is the best means of dealing with<br />
the “ ne’er-do-well” on his return. The caste<br />
include Mr. A. E. Matthews, Miss Florence<br />
Haydon, Miss Amy Lamborn, and Mr. Dennis<br />
Eadie.<br />
<br />
“The Conqueror,” by her Grace the Duchess<br />
of Sutherland, produced at the Scala Theatre on the<br />
evening of September 23rd under the pseudonym<br />
of “R. E. Fyffe,” narrates the story of a baron<br />
who falls in love with the daughter of one of his<br />
foes. He sends her to a castle promising to marry<br />
her on his return after a lapse of eighteen years,<br />
but suspects that she has fallen in love with a<br />
wandering knight whom she mistakes for himsclf.<br />
The final scene of the play indicates the self sacri-<br />
fice of “‘ The Conqueror ” in his surrender of the girl<br />
to her lover. Mr. Forbes Robertson, as ‘“ The<br />
49,<br />
<br />
Conqueror,” and Miss Gertrude Elliott take the<br />
leading parts.<br />
<br />
“Public Opinion,” by R. C. Carton, was pro-<br />
duced at Wyndham’s Theatre on the evening of<br />
October 10th. It narrates the methods adopted<br />
by some half-dozen indiscreet gentlemen to regain<br />
possession of some compromising letters which<br />
they had addressed to a lady, who contemplates<br />
bringing a breach of promise suit against one of<br />
her admirers. The caste included Mr. Frederick<br />
Kerr, Miss Annie Hughes, and Miss Compton.<br />
<br />
Mr. John Davidson’s play in four acts, entitled<br />
“The Crown,” founded on Francis Coppee’s “ Pour<br />
Ja Couronne,” was produced at the Scala Theatre<br />
on the evening of October 11th. Included in the<br />
caste were Mr. J. Forbes Robertson and Miss<br />
Gertrude Elliott.<br />
<br />
“The Perfect Lover,” Mr. Alfred Sutro’s new<br />
comedy, was produced at the Imperial Theatre on<br />
October 14th. The play deals with the temptation<br />
and subsequent penance of a journalist. He is<br />
offered £5,000 if he succeeds in getting his<br />
brother’s wife to induce a former lover of hers to<br />
sell his estate. This is his temptation, and he<br />
yields to it. The result and his penance are dealt<br />
with in the remainder of the play with much skill<br />
and wit. The caste includes Mr. Lewis Waller,<br />
Miss Evelyn Millard, and Mr. Frank Mills.<br />
<br />
<br />
<br />
<br />
<br />
+—<>—-2<br />
<br />
PARIS NOTES.<br />
<br />
><br />
<br />
“"T ’AVENIR de I’Intelligence,” by M. Charles<br />
4. Maurras, is a book which seems to have<br />
been written at the right moment. The<br />
<br />
author compares the influence and position of<br />
literary men of the seventeenth, eighteenth and<br />
nineteenth centuries. ‘La situation morale,” he<br />
says, “du lettré frangais en 1905 n’est plus du<br />
tout ce qu’elle était en 1850... . Les hautes<br />
classes, de beaucoup moins fermées qu’elles ne<br />
étaient autrefois, beaucoup moins difficiles A tous<br />
les égards, ouvertes notamment & l’ayenturier et a<br />
Y enrichi se montrent froides envers la supériorité<br />
<br />
de l’esprit.”. M. Maurras shows the dangers for<br />
<br />
the future which must ivevitably result from the<br />
exaggerated worship of gold. The second part of<br />
the book is devoted to a study of Auguste Comte<br />
and to a series of brilliant but severe criticisms of<br />
a group of women novelists, including Madame de<br />
Regnier, the Comtesse de Noailles and Renée Vivien,<br />
and a study of woman’s influence and power illus-<br />
trated by the life of the celebrated Aimée de<br />
Coigny, surnamed “ Mademoiselle Monk.”<br />
<br />
THE AUTHOR.<br />
<br />
“Les Gaites de Année” is an amusing book<br />
by M. Georges Rocher. In the preface the author<br />
tells us: “ J’ai regardé la vie qui passait et, sans<br />
me fixer le but d’ enseigner ou d’amuser, j’ai noté<br />
simplement les mille riens qui ont deéfilé devant<br />
mes yeux curieux.” It is the diary of a man who<br />
sees the humour of things in every-day life. He<br />
begins with the month of January, and touches on<br />
the social and political events of the year, not<br />
forgetting to mention also his own domestic affairs,<br />
He takes all things philosophically, is frequently |<br />
ironical, but never bitter or sarcastic.<br />
<br />
At a time when conscription has been proposed<br />
for England it is interesting to read the volume<br />
recently published in French, entitled “Le 71¢<br />
Trainglaux,” by M. de Beaurepaire-Froment. It<br />
is a study of military habits and customs. The<br />
motto of the book is Napoleon’s celebrated phrase,<br />
“ L’Idée a toujours vaincu le Sabre.” Throughout<br />
the whole volume—a book of nearly six hundred<br />
pages—the author’s object is to prove the<br />
demoralising influence of obligatory military<br />
service. In one of the last chapters, entitled<br />
‘‘ Le Chancre Militaire,” we are told that the army<br />
“ déracine les paysans, leur fait adopter les mauvais<br />
cotés de lexistence des villes. . . . Quand ils<br />
retournent chez eux, ils y apportent et répandent<br />
la corruption morale et sensuelle, le mauvais esprit<br />
grotesque, mais dangereux et néfaste, de Yyhomme<br />
qui sait quelque peu et ne sait pas assez.”<br />
<br />
“Monsieur Marcel,” by Marie Thiéry, has<br />
obtained a prize in the literary competition<br />
organised by the journal La Presse.<br />
<br />
“La Vie nuancée” is the title of an exquisite<br />
volume of poems by Madame Goyau Felix-Faure.<br />
<br />
“Sur le tard,” a volume of short stories, by<br />
M. A. Barratin.<br />
<br />
One of the latest books published in the<br />
‘ Bibliothéque Sociologique” is “La Physiologie<br />
Morale,” by G. Chatterton Hill.<br />
<br />
Among other recent books, “ L’impossible<br />
Sincerité,” by H. de Zuylen de Nyeveldt ;<br />
‘‘Gloriette,” by M. Richard O’Monroy; “La<br />
Roche aux fées,” by M. Th. de Grave ; “La Belle<br />
et la Béte,” by Louis Ulbach ; “ La Conquérante,”<br />
by Georges Olnet ; “Combats,” by Paul Adam ;<br />
“Femme d’officier,” by Pierre Maél ; “ Schumann,”<br />
by M.M. Schneider and Mareschal; “ Willy and<br />
Colette,” by Jean de la Hire; “ Les Bateleurs,”<br />
by Count Paul d’Abbes ; “ La Seconde Faute,” by<br />
M. Henri d’Hennezel; “Le Courandier,” by<br />
M. Hugues Lapaire ; “'lheatre,” by Jean Rouxel,<br />
a volume containing three plays ; “ Peut-étre,” a<br />
novel by M. Albert Emile Sorel ; “ Le roman d’un<br />
vieux garcon,” by M. Jean Thiéry; “La Vie<br />
belge,” by Camille Lemonnier.<br />
<br />
Among the latest translations from the English<br />
are the following: “Le Crime de Lord Arthur<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 43<br />
<br />
Savile,” by Oscar Wilde, translated by Albert<br />
Savine ; “De Profundis,” by Oscar Wilde: “ Le<br />
Mort vivant,” by Stevenson; “Les Visites d’<br />
Elisabeth,” translated by Arnelle ; “ Enlevé,” by<br />
R. L. Stevenson, translated by Albert Savine ;<br />
« Podmes et Poésies,” by E. B. Browning, trans-<br />
lated by Albert Savine. This is a translation in<br />
prose of the works of our poetess.<br />
<br />
In a recent number of the Revue des Deux<br />
Mondes Th. Bentzon writes an excellent article on<br />
the works of several English novelists. The<br />
books selected are “No. 5, John Street,” “ The<br />
Yellow Van,” and “Penal Servitude,” and the<br />
author of this article shows what good service the<br />
writers of these volumes have done for sociology.<br />
<br />
In the Revue de Paris M. Le Dantec upholds<br />
the theory of the possibility of spontaneous<br />
generation.<br />
<br />
In the Grande Revue Gabriel Ferry writes an<br />
interesting article on “ Un projet de fortune de<br />
Balzac.”<br />
<br />
In the Revue générale des Sciences there is an<br />
article by Sir William Ramsay discussing the<br />
discoveries of John Butler Burke.<br />
<br />
In the ZLrmitage Arthur Symons writes on<br />
Aubrey Beardsley.<br />
<br />
M. Henry Bordeaux writes in Le Correspondant,<br />
of October 11th, an article on ‘‘ Le Roman auto-<br />
biographique,” and Mare Hélys an admirable study<br />
of “Le Féminisme suédois” (ses caracteres et son<br />
éyolution).<br />
<br />
At the Comédie Frangaise ‘‘ Don Quichotte,” by<br />
Jean Richepin, has been produced. It is a drama<br />
in verse in three parts and eight scenes.<br />
<br />
Among the new plays announced at the Odéon<br />
for the forthcoming season are: “L’Eleéve,” by<br />
M. Georges de Porto Riche ; “ Une Fantaisie,” by<br />
M.M. Albert Guinon and Bonchinet ; “ Au temps<br />
de Amour,” by M. Jules Case; “ Jeunesse,” by<br />
M. André Picard; and “Hors du Mariage,” by<br />
Mme. Daniel Lesueur.<br />
<br />
The Gymnase is to produce a play by M. Bern-<br />
stein, entitled “ Les Variétés.”<br />
<br />
“ Voila le bonheur, Mesdames !” by M. Francis<br />
de Croisset, is to be given at Les Variétés, and<br />
“La Courtisane,” by M. Arnyvelde, at the Comédie<br />
Francaise.<br />
<br />
ALys HALLARD.<br />
<br />
——————<br />
<br />
A MODEL COPYRIGHT LAW.<br />
<br />
—$ 9 ——<br />
<br />
T the International Exhibition at Paris in<br />
1900 a Copyright Congress was held, com-<br />
<br />
posed of many of the chief copyright<br />
authorities in Europe and the United States.<br />
<br />
After considerable labour the text of a model copy-<br />
right law was agreed to.<br />
<br />
Through the kindness of Mr. Thorvald Solberg,<br />
the Registrar of Copyrights of the United States,<br />
who made a translation of this law, we have much<br />
pleasure in printing this translation, without, how-<br />
ever, expressing any opinion on the merits of the<br />
scheme, as it stands, though the principle of<br />
uniformity is no doubt excellent. Anything in<br />
the shape of a law satisfactory to all nations will<br />
only be obtained at the millennium.<br />
<br />
RESOLUTIONS VOTED BY THE PARIS COPYRIGHT<br />
CoNnGRESS.<br />
<br />
Project for a Type Law of Copyright.<br />
<br />
Arricue I. The author of a work of the intelli-<br />
gence has the exclusive right to publish it, and to<br />
reproduce it by any process, in any form, or for any<br />
purpose whatever.<br />
<br />
All manifestations of thought, written or spoken,<br />
dramatic, musical, and chorographic productions,<br />
and all works of graphic and plastic art, indepen-<br />
dent of their merit, their use, or their purpose, are<br />
also likewise protected, as well as works which<br />
have appeared in newspapers and periodicals.<br />
<br />
Official acts of public authorities and judicial<br />
decisions can not become the object of a private<br />
right.<br />
<br />
Art. II. The exercise of the author’s right is not<br />
subordinated to the accomplishment of any con-<br />
ditions or formalities.<br />
<br />
Art. III. The exclusive right provided for by<br />
Article I continues during eighty years after the<br />
death of the author, for benefit of his heirs or<br />
assigns.<br />
<br />
Art. 1V. Theright in case of anonymous works<br />
has a duration of eighty years from the date ofthe<br />
first authorised publication of the work. It is<br />
exercised by the publisher so long as the actual<br />
author is not known.<br />
<br />
If the author makes himself known before the<br />
expiration of this period, the term of the protection<br />
continues during the life of the author and eighty<br />
years after his death.<br />
<br />
Works which appear under the name of an<br />
incorporated body are considered anonymous<br />
works.<br />
<br />
Art. V. Collaborators have equal rights in a<br />
joint work, unless there are stipulations to the<br />
contrary.<br />
<br />
The rights of the assigns of a deceased<br />
collaborator continue until the expiration of the<br />
term of eighty years after the death of the last<br />
surviving collaborator.<br />
<br />
In the absence of assigns of a collaborator his<br />
44<br />
<br />
share accrues to the other collaborators or their<br />
heirs.<br />
<br />
Art. VI. Whoever edits a posthumous work of<br />
which he has the right to dispose enjoys the right<br />
of reproduction during eighty years, to date from<br />
such first publication.<br />
<br />
Works are considered as posthumous which<br />
during the lifetime of the author have not received,<br />
with his consent, such normal publicity as comports<br />
with their character.<br />
<br />
Art. VII. All reproduction, integral or partial,<br />
made without the consent of the author or his<br />
assigns is illegal.<br />
<br />
The same is the case as regards translation,<br />
representation, and public performance.<br />
<br />
Reproductions are equally illegitimate which<br />
contain abridgments, additions, and alterations ;<br />
such as adaptations, transformations of dramatic<br />
works into novels, and of novels into plays;<br />
arrangements of music, reproductions by another<br />
art, and illustration of a work.<br />
<br />
The same is true of the reproductions of musical<br />
compositions by mechanical instruments.<br />
<br />
Art. VIII. An author once his book is published<br />
cannot prohibit an analysis of or short citations<br />
from his work, made for the purpose of criticism,<br />
discussion, or education, when the author’s name<br />
and the source of the citation is indicated.<br />
<br />
Discourses pronounced in official assemblies or<br />
<br />
in public réunions may be reproduced for the<br />
' purpose of instruction or discussion.<br />
<br />
Art. IX. The right of reproduction is indepen-<br />
dent of the right of property in the material object<br />
(manuscript or original). The cession of the<br />
material object does not involve, by. itself, the<br />
cession of the right of reproduction and vice<br />
versa.<br />
<br />
The cession of the rights appertaining to the<br />
author (the right to publish, to represent; to<br />
perform, to translate, to illustrate, etc.) must always<br />
be restrictively construed.<br />
<br />
Art. X. The author of every work of the intelli-<br />
gence has the right to make known his authorship<br />
and to proceed in court against anyone who<br />
attributes to himself such authorship.<br />
<br />
The author who has ceded the right of repro-<br />
duction conserves the right to prosecute reprinters,<br />
to oversee the reproduction of his work, and to<br />
oppose all modifications made without his consent.<br />
<br />
The author who has ceded the material object<br />
constituting his work has the right to oppose all<br />
public exhibition of his production if it has been<br />
modified without his consent.<br />
<br />
Art. XI. After the death of the author, in<br />
default of a special representative designated by<br />
him, his heirs can compel respect of the rights<br />
provided for in Article X.<br />
<br />
Art. XII. No modification must be made in a<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
work, even by the heirs or assigns of the author,<br />
unless such changes are brought in an obvious<br />
way to the attention of the public.<br />
<br />
ArT. XIII. All interference with the rights of<br />
the author, as they are defined in the present<br />
proposed type law, constitutes cause for an action<br />
for damages, and if the infringement had been<br />
knowingly committed it constitutes cause for a<br />
penal action.<br />
<br />
Art. XIV. It is the same in the case of the<br />
usurpation of the name of the author or any<br />
fraudulent imitation of his signature or of any<br />
distinctive mark, monogram, or other sign adopted<br />
by him.<br />
<br />
Art. XY. The author or his assigns can require<br />
the representatives of the judicial authority to<br />
replevin the objects inferred to have been used in<br />
an infringement, all plates, molds, or matrices and<br />
other utensils which have served or are intended to<br />
be used specially in the making of the said<br />
infringing objects.<br />
<br />
In the case of a representation or performance<br />
the authors can proceed in the same manner to<br />
seize the total receipts.<br />
<br />
The publisher or manager of a performance must<br />
produce the previous consent in writing of the<br />
author or his assignee.<br />
<br />
The confiscation of the piratical articles, as well<br />
as of the plates, molds, or matrices, and the other<br />
utensils which have served or were destined to be<br />
used specially in the making of the said subjects,<br />
shall be for the benefit of the author or his<br />
assigns.<br />
<br />
In the case of illicit performance or representa-<br />
tion the receipts seized shall be allowed the<br />
complainant.<br />
<br />
Art. XVI. The law applies to all authors<br />
whatever their nationality, and in whatever place<br />
work has appeared for the first time.<br />
<br />
oo<br />
<br />
THE TRIUMPH OF “THE HALLS.”<br />
<br />
——<<br />
<br />
O the October number of Zhe Author Mr.<br />
Harold Hardy contributed a most interesting<br />
and well-reasoned paper on the question<br />
<br />
whether stage-plays should be permitted or pro-<br />
hibited at music-halls. Like most writers who<br />
are not prejudiced by having interests or invest-<br />
ments in theatre-land, he is in fayour of free<br />
trade ; and he goes so far as to remark that from<br />
the conduct of the theatre proprietors it would<br />
appear as if they thought the Theatres Act of 1848<br />
was intended to preserve the privileges of those<br />
who run theatres from the increasing competition<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
of the music-halls. There is no doubt this is the<br />
attitude of all of them, and, perhaps, the belief of<br />
a few. Certainly it is not a love of abstract<br />
justice that induces them to act as common<br />
informers.<br />
<br />
Recently a rumour ran through the land that<br />
an American trust was in course of formation,<br />
having for its object the purchase of English<br />
provincial theatres. A well-known proprietor of<br />
one such property, on hearing the news, remarked,<br />
«“ Well, I hope they will bring their audiences with<br />
them, for they will find none here.” It is more<br />
than likely that such a syndicate would find the way<br />
made very smooth in the majority of cases when it<br />
desired to purchase theatres: the trouble would<br />
come when it entered into possession. Not very<br />
long ago provincial and surburban theatres were<br />
gold-mines. | Now it is not too much to say that<br />
their struggle for existence has become very<br />
arduous. On all sides one hears of the cutting<br />
down of salaries, of the reduction of staffs, of the<br />
most drastic retrenchments. Ask the manager of<br />
the touring companies that visit these theatres the<br />
cause of the bad business, and he will attribute it<br />
to the parsimony of the resident manager. Ask<br />
the latter the same question, and he will tell you<br />
he cannot get good companies with attractive<br />
pieces. There is something in this complaint.<br />
Tt may, in part, be traced to the high prices<br />
demanded for the provincial rights of popular<br />
plays. I know of a great London success by an<br />
established author that after touring for three<br />
months returned its manager as net profit the sum<br />
of thirty shillings! The real reason, however, is<br />
neither of those put forward ; it is that people do<br />
not go to the theatre as they did !<br />
<br />
As in the provinces and suburbs, so in the<br />
West-end. The cry of the metropolitan managers<br />
is the same, and the cause is identical. A great<br />
popular success will draw all London. Mr.<br />
Bouchier claims that already over a quarter-of-a-<br />
million people have attended performances of Mr.<br />
Sutro’s play, “The Walls of Jericho.” But it is<br />
not easy to multiply instances. The average play<br />
now rarely produces a substantial profit.<br />
<br />
But people require amusement, and if they do<br />
not go to the theatres where do they go? The<br />
answer is not far to seek : they go to the music-halls.<br />
One thing alone shows this. The great majority<br />
of theatres close during the summer; without<br />
exception the halls remain open. The fact of the<br />
matter is that the music-hall has arrived, and it<br />
has come to stay. When the stage was scorned no<br />
words were severe enough with which to condemn<br />
the halls ; but now that the stage and the dramatic<br />
profession bask in the sunshine of popular favour,<br />
the halls are coming into their own.<br />
<br />
It must be admitted that the latter have been<br />
<br />
45<br />
<br />
vastly improved from every point of view. Take<br />
first the question of material comfort—and how<br />
important this is music-hall managers see very<br />
clearly. Smoking of course has always been per-<br />
mitted, and that is a great attraction to those<br />
business folk who cannot indulge in this habit<br />
during the day. Then, the newer halls are mag-<br />
nificent buildings, the seats are more comfortable,<br />
especially in the cheaper parts of the house ; and in<br />
many cases the buildings are cooler in summer and<br />
better heated in winter. The expense of going to<br />
a hall is much lower. An all-round average,<br />
outside London, is a fifty-per-cent. reduction.<br />
There is usually no charge for the cloak-room, and<br />
the cost of a programme is one penny. ‘These<br />
advantages attract many theatre-goers.<br />
<br />
In the vital matter of the entertainment the old<br />
order has changed and given place unto new.<br />
The lion comique is as extinct as the dodo or the<br />
premier danseur. The serio has gone who depended<br />
for her success on the double meaning of the words<br />
of her song. There is still in our midst one such,<br />
a very notable exception, but to her for her very<br />
great talents much may be pardoned. The order<br />
of the day is towards refinement. A great syndi-<br />
cate issues to every artist it employs a notice that<br />
for the halls it directs all vulgarity in word and<br />
business must be eliminated. When this printed<br />
form reached a friend of mine, a fastidious author<br />
who would rather go unsung to a pauper’s grave<br />
than write a vulgar line—he had written a sketch<br />
for “the halls”—he narrowly escaped apoplexy.<br />
“Well, of all the infernal impudence,” he began,<br />
and then words failed him. But there is no doubt<br />
the warning was required in many quarters, and<br />
it has done and will do good<br />
<br />
Mr. Oswold Stoll directs ‘this great syndicate,<br />
which controls some thirty halls in London and<br />
tbe provinces, and he has set himself the task of<br />
capturing theatrical audiences. ‘How well he has suc-<br />
ceeded most managers of theatres will admit with<br />
lugubrious mien. They might, however, content<br />
themselves by reflecting that, to a certain extent, he<br />
has achieved this purpose by enlisting the assistance<br />
of the theatres. He has secured the services of<br />
several well-known business managers and stage<br />
managers who “ in another place ” have studied<br />
what the public wants. Knowing this, it is their<br />
endeavour to give it something just a little better.<br />
So, slowly, it is true, but very surely, the tone of<br />
the entertainments at the best halls is being<br />
raised, and audiences who at first were resentful of<br />
the change have come to appreciate it.<br />
<br />
But it is not only his administrative staff that<br />
Mr. Stoll draws from the theatre. At his variety<br />
theatres he selects a large proportion of his artists<br />
from the “legitimate” stage. In one bill he pre-<br />
sents Mesdames Jessie Huddlestone, Mabel Love,<br />
46<br />
<br />
Queenie Leighton, and Mrs. Brown-Potter ; and<br />
Messrs. Lempriére Pringle, Edward Lewis, Courtice<br />
Pounds, Gilbert Hare, and Rutland Barrington.<br />
Five years ago what music-hall manager would<br />
have ventured to approach these artists? Five<br />
years ago what offer would have tempted any of<br />
these artists to desert even for a few weeks the<br />
“legitimate” stage? But Mr. Stoll is going<br />
still further, and is securing the dramatists also.<br />
Sketches by Mr. Charles Brookfield and Mr. Cecil<br />
Raleigh are the thin end of the wedge. Where<br />
these go, others are willing to follow.<br />
<br />
The newspapers as well as the public have<br />
realised the change that is taking place. Once<br />
they deemed “the halls” beneath their notice.<br />
Now their critics are regular attendants, and as<br />
time goes on the notices of new scenas and<br />
sketches become longer and more carefully critical.<br />
<br />
Even to-day with all these improvements “ the<br />
halls ” are still in an active state of evolution. What<br />
place they will eventually occupy in the world of<br />
amusement is dangerous to prophesy, but foolish<br />
to ignore.<br />
<br />
Lewis MELVILLE.<br />
<br />
Or<br />
<br />
AGENTS.<br />
<br />
a<br />
<br />
HE contracts which exist between publishers<br />
and authors, and agents and authors, are a<br />
constant theme for articles in this paper.<br />
<br />
In some of them it has been pointed out that<br />
although the author approaches the publisher as a<br />
business man, and therefore places him somewhat at<br />
arm’s length, taking a certain amount of care as to<br />
the settlement of the contract, yet he approaches an<br />
agent from an entirely different standpoint. The<br />
association between the author and the agent is<br />
much more close and intimate, for the author<br />
generally looks upon the agent as his confidential<br />
adviser. If this is so, and in many circumstances<br />
the agent should stand in this position, authors<br />
should be more careful of those to whom they<br />
entrust their work—the future arrangements and<br />
the terms of their contracts—than in the other<br />
case, and, vice versd, the agent, as he holds such a<br />
confidential position, should take care to be more<br />
open, and make a point of being more candid in<br />
every transaction and in every dealing which he<br />
carries through on behalf of the author.<br />
<br />
In the April (1904) number of this magazine, an<br />
exhaustive article was written on the subject of<br />
agents. Since that date other articles have been<br />
written dealing with different points arising out of<br />
the connection between the agent and the author.<br />
<br />
THE AUTHOR.<br />
<br />
There is one point, however, against which the<br />
author should guard himself most especially<br />
that is, the difference between agent and principal.<br />
It happens, not infrequently, that the agent writes<br />
to the author, “will you accept £ for your<br />
story?” In a case of this kind the author should<br />
make inquiries from whom the offer comes before he<br />
accepts, in order that he may know where the story<br />
will be published, and ascertain whether the offer is<br />
from the editor of a magazine ornewspaper. If, how-<br />
ever, the offer is made by the agent who desires to<br />
purchase the story as principal—a position an<br />
agent should avoid—then the agent should say<br />
in the first instance, “Are you willing to sell<br />
me, as principal, the story for £ - Stich a<br />
statement will make everything clear from the<br />
beginning and prevent the author from an hideous<br />
doubt which will arise subsequently. It has hap-<br />
pened, and it may happen again, that the agent is<br />
buying the story as principal at alow price when he<br />
has received a much more substantial offer from a<br />
magazine or newspaper, the author all the time<br />
labouring under the impression that he is acting<br />
as agent. Such a case is clearly fraudulent, and<br />
when discovered should be taken in hand with all<br />
possible severity. Even in a case where an agent<br />
has no prior offer, but desires to purchase as<br />
principal, omitting to mention the fact to the<br />
author, he would still be legally liable for the<br />
balance to the author who thought he was acting<br />
as his agent, supposing the story was subsequently<br />
sold fora larger amount. In any circumstances the<br />
position is unsatisfactory. It is impossible for the<br />
agent to purchase as principal without disclosing the<br />
fact to the author, and even when declared, the<br />
author should beware of dealing with any agent<br />
who varies his dealing as agent with that of<br />
purchaser.<br />
<br />
Another point should be mentioned. Agents<br />
very often act for editors of magazines and pub-<br />
lishers rather than for the author. Any contract<br />
in which an agent is in this position should be<br />
viewed with particular caution, and the agent<br />
should make the fullest discovery to the author,<br />
and should not consider his good faith in question<br />
when the author makes inquiries. Here again the<br />
position is unsatisfactory, and the author, should<br />
he discover that the agent is acting merely for the<br />
editor or publisher, should insist that he obtains<br />
his commission from his employer and not from<br />
the author.<br />
<br />
It has been necessary to insist on these two<br />
points again, as cases come before the secretary<br />
which show that these faults are still existing.<br />
Agents are useful, and in some cases indispensable<br />
to authors, but owing to the fact that they are<br />
placed in such confidential positions with authors,<br />
the latter should be more than ordinarily careful<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. AT<br />
| \ with whom they are dealing, and of the contracts EDINBURGH REVIEW.<br />
ie i and business arrangements made on. their behalf, Early Christian and Byzantine Art and Archeology.<br />
; An author should therefore in no circumstances The Novels of Miss Yonge. es<br />
oo and on no account deal with an agent who refuses, of The Study of Greek.<br />
i desired, to produce the original letters embodying the :<br />
iy offer of contract, and all details and information FORTNIGHTLY REVIEW.<br />
which may assist in elucidating the position. The Problems of Heredity. By OC. W. Saleeby.<br />
Sir Thomas Brown and his Family. By H. C. Minchin,<br />
Christopher Marlowe II. By W. L. Courtney.<br />
—______+—@—e —____ A Plea for the Religious Drama. By B. W. Findon.<br />
French Life and the French Stage. By J. F. Macdonald.<br />
MR. GRANT RICHARDS’ BANKRUPTCY. INDEPENDENT REVIEW.<br />
Tee English Ideas on Education. By A. H. Gilkes.<br />
. 7 Bunderstand that the Trustee and the Com- _ * The Religion of all Good Men.” By H. W. Garrod.<br />
mittee of Inspection in the bankruptcy Hope for British Drama. By Edward F. Spence.<br />
: of Mr. Grant Richards have now suc- te as tic oan,<br />
ceeded in selling the stock-in-trade, copyrights,<br />
and goodwill of the business. The purchaser is Sir Thomas Browne. By Daniel Johnstone Pageants.<br />
t |. Mr. Alexander Moring, of the De La More Press,<br />
<br />
who has, we are informed, transferred ‘The MonTH.<br />
<br />
i 3 World’s Classics,” ‘The Boys’ Classics,” and “ The Lourdes and Zola’s ‘‘ Lourdes.” By A. M. F. Cole.<br />
_ Parsons’ Handbook Series,” to Mr. Henry Frowde, Horace Walpole. By P. A. Sillard.<br />
<br />
of the Oxford University Press. Fata Aristotelis, 1210—1263. By C. Dessoulavy.<br />
A first dividend of about 2s. in the pound will<br />
‘t probably be payable to the creditors this year. MONTHLY REVIEW.<br />
_ And early next year, when all amounts due to the 4 Tomb at Ravena (Guidarello Guidarelli). By Julia<br />
estate have been paid, a final dividend of perhaps Cartwright.<br />
another 5s. in the pound may be forthcoming. Natiowar: REVIEW,<br />
<br />
A Stronghold of Art. By A. C. Benson.<br />
A Century’s Praise of Nelson. By E. Hallam Moorhouse.<br />
<br />
————__+—>—_+—___—_—__<br />
NINETEENTH CENTURY.<br />
<br />
MAGAZINE CONTENTS. A Municipal Concert Hall for London. By Frederick<br />
<br />
Verney, L.C.C.<br />
ea The Study of History in Public Schools. By C. H. K.<br />
<br />
BLA ’s MAGAZINE. Marten.<br />
<br />
aoe Sir Walter Scott on his “ Gabions.” By the Hon. Mrs.<br />
<br />
My “History” Vindicated. By Andrew Lang. Maxwell Scott.<br />
<br />
A Viennese Court Episode. By the Baronesse Suzette de<br />
Zuylen de Nyevelt.<br />
<br />
\BOOKMAN. Queen Christina’s Miniature Painter. By Alex. Baird.<br />
Byron. By J. Wright Duff.<br />
The Dawn of English Yiction. PALL MALL MAGAZINE.<br />
<br />
The Johnson Club: A Literary Pilgrimage to Rochester.<br />
Book MONTHLY. By Sidney Lee.<br />
<br />
“Boz” and Others. By Percy FitzGerald. Is Literature Doomed? By Harold Spender,<br />
<br />
Wanted: A Novelist. By Clarence Rook.<br />
QUARTERLY REVIEW.<br />
<br />
CHAMBERS’ JOURNAL. Recent Literary Criticism in France. By Garnet Smith.<br />
Goethe’s Mother. By Mrs. G. M. Trevelyan.<br />
<br />
ity of Robert Louis : :<br />
Se eee The. Poetry and Criticism of Mr. Swinburne.<br />
<br />
Ruskin and Millais in Scojland. By W. W. Fenn,<br />
Sir Walter Scott and one of His Reviewers. By M.B.W.<br />
TEMPLE BAR.<br />
<br />
CONTEMPORARY REVIEW. Lord Bacon’s Married Life. By Edward Manson,<br />
The Blackwashing of Dant>, By Howard Candler.<br />
The Evangelical Churches and the Higher Criticism. (There are no articles dealing with Literary, Dramatic,<br />
<br />
By P. T. Forsyth, D,D. or Musical Subjects in the Cornhill.)<br />
<br />
<br />
48<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
————<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, 7f a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It isnow<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
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 />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3,) Always avoid a transfer of copyright.<br />
<br />
ee<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
Sa<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. [tis 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 />
(2.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(0.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (b.) apply<br />
also in this case.<br />
<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 »erforming 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 tha; performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licznce to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘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 rurs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himselfall the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember chat the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
~~<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—— +<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisha demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—perforning right and copyright. He<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
<br />
<br />
1<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
SS<br />
<br />
maf Ss VIERY member has a right toask for and to receive<br />
bol K 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. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion. All this<br />
without any cost to the member.<br />
<br />
<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
Se<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 />
26.8<br />
<br />
4. Before signing any agreement whatever, send<br />
ithe document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
Ses<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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 />
This<br />
The<br />
<br />
9. Some agents endeayour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 41s. per<br />
annum, or £10 10s for life membership.<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
49<br />
TO MUSICAL COMPOSERS.<br />
<br />
—*+—+<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
+ —_____<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. he 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 />
———§_e——_2_____<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 />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
Se ea ee<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 />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—_*—>—+ —-<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
THE AUTHOR.<br />
<br />
AUTHORITIES.<br />
<br />
—-— + —<br />
<br />
ROM time to time complaints come before the<br />
Secretary that publishers object to the inter-<br />
vention of literary agents, and are roused<br />
<br />
with a just indignation at the charges they make<br />
to authors.<br />
<br />
However justified these complaints may be in<br />
some cases, there is no doubt that the literary agent<br />
has come to stay, and that the publishers had<br />
better make the best of the altered situation. But<br />
the complaint against the charges of agents causes<br />
us to smile, as the guile of the angry publisher<br />
becomes evident.<br />
<br />
In many of their recent agreements publishers<br />
have been endeavouring to obtain the author’s<br />
minor rights, such as translation rights, Tauchnitz<br />
rights, serial rights, and even dramatic rights.<br />
One would naturally conclude, complaining as they<br />
do of the charges made by the agents, that when<br />
they undertake an agent’s duties in placing the<br />
author’s smaller rights, they would endeavour to do<br />
so at a lower percentage to the author. But what<br />
is the truth? Just the reverse. In nearly all<br />
contracts they claim fifty per cent. of the authors’<br />
returns, and the lowest percentage in any<br />
<br />
publishers’ agreements that have come to this office,<br />
<br />
and we get at the lowest computation one a day,<br />
is twenty-five per cent., that is fifteen per cent.<br />
more than is charged by the literary agent. The<br />
reason then why publishers object to the agent is<br />
quite manifest.<br />
<br />
We have drawn the attention of authors to this<br />
point on previous occasions ; but we should like to<br />
add that, apart from the financial side of the<br />
question, it is the business of a literary agent to<br />
place these minor rights ; it is his duty to have an<br />
extensive knowledge of the different papers and<br />
their exact requirements, whereas it is not the<br />
business of the publisher to do more than publish<br />
the book that is given to him, limited either as to<br />
country or edition, or both. Even though he may<br />
be able with the translation rights to deal on an<br />
equal basis with the agent, this is certainly not the<br />
case with the Tauchnitz edition and serial rights ;<br />
and in the case of dramatic rights the publishers’<br />
position is absurd.<br />
<br />
Authors therefore must be warned to delete a<br />
clause of this kind from the publisher’s agreement.<br />
<br />
Som months ago there was no small commotion<br />
in the papers owing to the fact that in-the autumn<br />
of the year Messrs. W. H. Smith & Son’s<br />
term contracts with the two great railway com-<br />
panies, the London and North-Western and the<br />
Great Western, would expire, and that all future<br />
<br />
arrangements would be submitted to the test of<br />
public auction. In some of the daily papers it<br />
was stated that Messrs. Harmsworth intended to<br />
make a bid for these contracts, but this again has<br />
been denied by the Daily Mail.<br />
<br />
No doubt maintenance of an author’s circulation<br />
depends a great deal on the satisfactory manage-<br />
ment of the bookstalls, and business incapacity at<br />
the bookstalls would mean considerable loss to<br />
the author. There have, it is true, been com-<br />
plaints against Messrs. W. H. Smith & Son for<br />
what has been erroneously termed their boycott of<br />
certain books, but if the question is considered<br />
from all sides, there is no doubt that this old<br />
firm, owing to its numerous branches and its<br />
adaptable methods, has been the best channel for<br />
book circulation which authors could possess.<br />
The mere fact that disputes and disagreements<br />
have been so few and far between would tend to<br />
support this theory. Many large publishing<br />
houses could not possibly keep numerous accounts<br />
all over the kingdom with numerous small<br />
booksellers of whose financial position they might<br />
be ignorant. Any such method of distribu-<br />
tion would increase indefinitely the publisher’s<br />
labour, clog the wheels, and affect at once the<br />
author’s sale. Again, Messrs. Smith & Son have<br />
bookstalls during the summer months in a great<br />
many places where it would not pay a local book-<br />
seller to start a shop. For the publishing trade to<br />
have one big firm whose financial position was<br />
undoubted, so long as that firm, like Messrs. Smith<br />
& Son, was always willing and ready to push their<br />
business through every possible corner along the<br />
railroads where their contracts existed, cannot but<br />
have been a benefit to all parties concerned.<br />
<br />
Ir is now stated that Messrs. Wyman & Sons<br />
have obtained the contract from the London and<br />
North-Western Railway, and from the Great<br />
Western Railway also. This change of proprietors —<br />
may mean a change in methods, and we await<br />
with some anxiety to see the result. It would<br />
appear from the papers also that Messrs. W. H.<br />
Smith & Son are to continue their library and<br />
will open shops in various towns of Great Britain.<br />
These facts, together with the arrival of the<br />
Times Book Club, ought to smooth the way<br />
for readers of all kinds of literature, and ought,<br />
therefore, to be of advantage to the author and to<br />
the public. It must frankly be confessed that<br />
some of the older libraries did want a change in<br />
their methods. With difficulty it was possible to<br />
obtain recent fiction, but any book at all out of<br />
the way or out of date was beyond their limited<br />
powers. There may be better days in store.<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 51<br />
<br />
A CERTAIN -well-known novelist told the fol-<br />
., #@ lowing story of a personal experience. He went<br />
~ @# one summer to an out of the way spot abroad<br />
where he could obtain the necessary quiet to write<br />
a book. He was much annoyed during his stay<br />
4 by an objectionable habit that is prevalent in<br />
:4@ Germany among those who indulge in the not<br />
~@ uncommon vice of smoking (there is no need to<br />
particularise). In no unmeasured language he<br />
conveyed his impressions to his story. In due time<br />
the book appeared, and had a wide circulation. So<br />
wide, indeed, that its reputation crossed the<br />
Channel, and the author received an offer for a<br />
~°@ translated version. As the contract was satisfac-<br />
“"@ tory, the book was produced in the German<br />
+o language, but what was the author’s astonishment<br />
~@ when he found, on perusing the translation, that<br />
the objectionable habit which he had fastened on<br />
the Germans the translator had fastened on the<br />
@ English. Such is the liberty of those who deal<br />
“%@ with other people’s work. As the incident did<br />
@ not affect the main plot of the story he let the<br />
matter pass.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
A In the American Publishers’ Weekly the editor,<br />
-% commenting on the Copyright Conference, states<br />
)f neither the English nor the United States copy-<br />
_..9 right law compares very favourably with the more<br />
4 enlightened codes adopted by France, Germany,<br />
/_ and Japan.<br />
<br />
We do not know anything of the Japanese law<br />
+ except in outline, but we do know something of<br />
>. that of France and Germany. ‘The law of the<br />
‘ last-mentioned country was printed in the July<br />
number of The Author. We leave those who are<br />
skilled in copyright to consider carefully the legis-<br />
4 lative powers of the Fatherland and to judge the<br />
. 4 editor’s statement after perusal.<br />
<br />
4e _ At a later date we hope to publish another<br />
» German law which bears very closely on the deal-<br />
_ Ings in literary property, the law of publishers’<br />
- Contracts.<br />
<br />
_ This will be found even more interesting and<br />
} | amusing than the German law of copyright.<br />
<br />
<br />
<br />
<br />
<br />
Se eo<br />
<br />
SIR HENRY IRVING.<br />
<br />
enn dee cae ae<br />
<br />
7% the earliest days of the society when it was<br />
the custom to elect a few honorary members,<br />
<br />
’ Sir Henry Irving, with some others, was<br />
<br />
' @lected to honorary membership.<br />
<br />
_ _ He is one of the last survivors of the list of<br />
<br />
distinguished gentlemen who joined under these<br />
<br />
, * ®onditions. For many years the custom has been<br />
“°° abolished,<br />
<br />
<br />
<br />
<br />
i<br />
<br />
Although his death has come a a shock to<br />
all those interested in the drama, and although<br />
his loss is bound to be felt, yet we cannot regret<br />
that he died in the full power of his work.<br />
<br />
After the expressions of sympathy which have<br />
appeared in the papers from so many distinguished<br />
writers and actors, we can add but little to increase<br />
as glory of his fame or the magnitude of his<br />
OSs.<br />
<br />
The works of Shakespeare were, indeed, the<br />
chief objects of his veneration, and he did more to<br />
bring prominently before the public the poetic<br />
and literary value of the works of our greatest<br />
dramatist than any living actor has done or is<br />
likely to do.<br />
<br />
He began his theatrical career in the Theatre<br />
Royal, Sunderland, and made his own place by his<br />
hard work, keen study, and appreciation of the<br />
duties of life. He reached, perhaps, his highest<br />
success as actor-manager of the Lyceum. The<br />
credit of the position which he lately occupied as<br />
father of the English stage was due to himself<br />
alone—his strong individuality, his tried character.<br />
<br />
ee gg ee<br />
<br />
THE LITERATURE OF AUSTRALIA.<br />
<br />
—_<br />
<br />
USTRALIA has proved her claim to a dis-<br />
tinct literature of her own, but, except in<br />
poetry, the claim is comparatively recent.<br />
<br />
The present writer, looking back upon a period of<br />
something over thirty years, remembers when the<br />
literature of Australia was represented in fiction<br />
by Kingsley’s “ Geoffrey Hamlyn,” Marcus Clarke’s<br />
“His Natural Life,” Farjeon’s ‘‘ Grif,” and a few<br />
other novels not written by Australians at all.<br />
Even in poetry there were scarcely any native-born<br />
authors, and the more serious books, outside Dr.<br />
Lang’s writings about Australian origins and some<br />
other scientific works, were mainly reports of<br />
explorations, missionary tours, and Governmental<br />
administration.<br />
<br />
Now, Australian literature may be divided into<br />
two classes—the books written by genuine Austra-<br />
lians and the works of people who have lived in<br />
the country but are not of it. Under both head-<br />
ings exceptions must be made. In the first class,<br />
for example, Tasmania is justly proud of being<br />
Mrs. Humphry Ward’s birthplace, but there is not<br />
the faintest flavour of Australia -in Mrs. Ward’s<br />
writings ; while in the second class one would<br />
hesitate to include mere travellers’ descriptions of<br />
Australian life, even when the globe-trotters are<br />
such gifted authors as the late Mr. Froude, Anthony<br />
Trollope, and others, whose flying visits to the<br />
Colonies were made under agreeable social condi-<br />
tions not always conducive to impartial opinions.<br />
<br />
<br />
<br />
<br />
52<br />
<br />
Nor would one be quite justified in describing as<br />
Australian literature such works as those of Messrs.<br />
Gillen and Spencer, enormously valuable as these<br />
are to students of ethnology and anthropology ; of<br />
Mr. Carl Lumholtz, who spent over a year investi-<br />
gating the North Queensland flora and fauna and<br />
the habits of the blacks ; or of Mr. Andrew Lang,<br />
who has made a speciality of blacks’ folklore.<br />
<br />
In this connection should be mentioned a lady<br />
who may be regarded as a genuine Australian<br />
though not actually Australian born. Mrs. Langloh<br />
Parker, the author of “ Australian Legendary Tales”<br />
—to which Mr. Lang has written a preface—knows<br />
perhaps more than anyone living of the aboriginal<br />
traditions, for she has learned the language of<br />
certain tribes, and, sitting over their camp fires, has<br />
heard from them a number of totemistic legends,<br />
which she has made into two volumes of the most<br />
delightful fairy stories imaginable. And talking<br />
of the blacks’ traditions and of writers who have<br />
studied them on the spot, no sketch of Australian<br />
literature would be complete without the mention of<br />
Mr. Dawson, and also Mr. Archibald Meston, a<br />
younger writer, more particularly about Queensland,<br />
whose book about that colony is a mine of interest.<br />
Australia’s former backwardness in literature can<br />
be easily enough understood. The early settlers<br />
were too busy making the country to write about<br />
it, and those of the second generation who aspired<br />
to authorship were unfortunately imbued with the<br />
idea that nothing genuinely Australian could pos-<br />
sibly be interesting. So they aped English models<br />
without in reality knowing anything about English<br />
life, ignoring the fact that there was virgin gold in<br />
the shape of ‘‘copy”’ at their feet if they chose to<br />
scrape the soil for it. The old convict associations<br />
too made Australians rather ashamed of being<br />
Australian, though they have got over that non-<br />
sense long since. Consequently, young Australia<br />
of the ’sixties, if it wrote stories, copied Rhoda<br />
Broughton, Ouida, and Mrs. Oliphant, etc., tried to<br />
be English in all other respects possible, and ate<br />
roast beef and English plum pudding on Christmas<br />
Day with the thermometer at 100° Fahr. The<br />
result was apparent in its literature. Happily,<br />
now, though socially the system of imitation con-<br />
tinues more or less, an intellectual reaction has set<br />
in—all praise to those who started it—and Austra-<br />
lian literature of to-day is marked by a very definite<br />
note of originality.<br />
<br />
Speaking broadly, this is due to three causes—<br />
The Sydney Bulletin, Mr. Rolf Boldrewood—giving<br />
his pseudonym to the author of “ Robbery Under<br />
Arms”—and to Mr. Chamberlain’s policy of<br />
Imperialism.<br />
<br />
In the order of things, looked at from a distance,<br />
Mr. Rolf Boldrewood should come before The<br />
Sydney Bulletin, though chronologically The Sydney<br />
<br />
THE AUTHOR.<br />
<br />
Bulletin, under its most able editor, practically |<br />
<br />
started the new Australian school of literature<br />
<br />
But “ Robbery Under Arms” reached the British<br />
public before the clever writers educated in the<br />
school of Zhe Bulletin had in any noteworthy |<br />
<br />
instances made individual names. ‘ Rolf Boldre<br />
wood’s” novel was published in London, an<br />
<br />
appealed instantly, with the thrill of a fresh sensa- f<br />
<br />
tion, to a reading world beginning to weary o<br />
Jin-de-siécle morbidities, to quote the hack-phrase 0<br />
the time. ‘“ Robbery Under Arms” gave jade<br />
novel readers a strong invigorating whiff of th<br />
<br />
gum trees and did for the Australian bushman[<br />
something of what Bret Harte’s Californian tales |<br />
<br />
did for the American miner. The time of its<br />
appearance was fortuitous, for the English news-<br />
papers had lately given accounts of the career and<br />
capture of Ned Kelly, the bushranger, and “ Rolf<br />
Boldrewood ” told the story with a rough idealism<br />
and vivid presentment of conditions and atmosphere<br />
in the bush that made the book an immediate<br />
success. He wrote in the person and style of an<br />
Australian stockman, and—if a personal opinion be<br />
permitted—he has never written anything half so<br />
good as that first novel, about which, in the<br />
’eighties, all London was talking. He showed<br />
people that real Australia was likely to prove a<br />
profitable field for fiction-writers, and not a few<br />
<br />
breezy Australian books followed in that one’s &<br />
<br />
wake. It is true that several Colonial writers<br />
<br />
have dealt with the romance of bushranging and fi:<br />
<br />
gold-escort robbery—for one, Katherine King, who<br />
turned the Griffin tragedy into a clever story, the<br />
more interesting because Griffin, her hero’s proto-<br />
type, was well known socially in the district where<br />
he lived. There were other bushranging stories<br />
too, and some very good ones, but nevertheless<br />
“Robbery Under Arms” marked an epoch in<br />
Australian fiction, because it was inspired by the<br />
Genius of the bush.<br />
<br />
And nothing can be more distinctive than that<br />
Genius of the bush. He is a fearsome, almost<br />
grotesque, monster, giving the impression of an<br />
antediluvian survival—a lonely and weird survival<br />
amid scenery unlike any other scenery on the face of<br />
the globe. It is just that wild, uncouth, monstrous<br />
suggestiveness which is so difficult to render for<br />
anyone who has not sucked it into his blood. Any<br />
reader of “Robbery Under Arms” who has been<br />
under the spell of the bush will smell the gum<br />
leaves and the wattle bloom ; he will see the grass<br />
trees rear their black spikes on stony ridges ; he<br />
<br />
will hear the demoniacal laugh of the kookooburra,<br />
<br />
the whirr of locusts, the “ poomp” of tree frogs,<br />
the shriek of cockatoos, the thud of unshod horses’<br />
hoofs on solitary bush roads. He will know wha<br />
<br />
sort of life the free-selector lives; he will under- |<br />
stand the temptation of “nuggetting ” unbranded<br />
<br />
<br />
calves ; he will realise an outlaw who never meant<br />
to be a criminal; he will know what knocking<br />
down a cheque in “ out back shanties” means, and<br />
he will not need to be told why shepherds go mad.<br />
He will listen to the wild west wind howling down<br />
the gorges in winter and to the multitudinous roar<br />
of insects on hot summer nights. In short, he will<br />
live the rollicking, deadly monotonous, dramatic,<br />
“a erim, lonely life of the bush, and if he has once<br />
‘| breathed its breath, he will now breathe it again.<br />
<br />
a The bush repels, sickens, fascinates. It is like<br />
(a the gum trees, lean, lank, hideous, stretching out<br />
“ skeleton arms that claw you whether you will or not.<br />
Once you have experienced its uncanny magic you<br />
will be haunted by it till you die. A literature<br />
which conveys that magic is a thing by itself, and<br />
> that is what Australian literature is only just<br />
41@ beginning to be.<br />
<br />
The story of drought and desert, of rivers<br />
nara “coming down” in flood, of forest fires, is very<br />
tq different from the story of Sydney and Melbourne,<br />
<br />
- of Riverina squatting and civilised “ bush.” Tasma<br />
<br />
» -the late Madame le Couvreur—and Ada Cam-<br />
nid bridge have written delightfully of the gentler<br />
.0@ phases of Australian life. Ada Cambridge’s<br />
a “Marked Man ” has given us a picture of Sydney<br />
ig Harbour, the Domain, the grand North Head not<br />
<br />
34 easily to be forgotten. Madame Leconvreur and<br />
Mrs. Cross—to say nothing of a number of writers<br />
less distinguished—have not, however, conveyed<br />
arg that uncouth, grim and altogether tragic spell of<br />
ie the bush which is a peculiarity of the modern<br />
vA, Australian school. This is what most of Zhe<br />
kw Bulletin writers who have come to the fore have<br />
<br />
: undoubtedly done; and in specifying that par-<br />
ide ticular newspaper as typically Australian it must<br />
ok not be supposed that there are not other equally<br />
<br />
+ important Australian journals possessing the same<br />
iy qualities. But Ze Bulletin is mainly responsible<br />
i¢ for a whole crop of Australian authors racy of the<br />
soil on which they have grown.<br />
<br />
4 The literature of a new country is predominantly<br />
ine imaginative. So the note of the land has been<br />
24 struck chiefly in poetry and fiction and, as might<br />
hg have been expected in a school of journalistic<br />
origin, principally in the short story. Mr. Henry<br />
<br />
Lawson’s volumes of tales and sketches, ‘“ When<br />
the Billy Boils,” and “On the Track and over the<br />
Sliprails,” are absolute echoes of Australian life.<br />
Here again you sniff the aromatic odour of eucalyp-<br />
tus and the acrid smoke of burning bush ; you hear<br />
the drawl of the stockman and see the slouching<br />
gait of the “sundowner.” It is not so much life<br />
from the squatter’s point of view that Mr. Lawson<br />
describes as life from that of the drover, the<br />
“ rouseabout,” the shearer, the fossicker, the tramp<br />
who “ humps bluey” and grubs up stumps for his<br />
tucker. The squatter’s point of view is better given<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
53<br />
<br />
in such a book as Mr. Mcllvaine’s “ Dinkinbar,”<br />
wherein the awful loneliness and dependence upon<br />
Nature—often a monstrously cruel Nature—is<br />
described with terrible fidelity. If Mr. McIlvaine<br />
be not bush-born he has lived long enough in the<br />
bush to have absorbed its spirit. ‘ Dinkinbar ”<br />
deals with the eternal sex problem as it is some-<br />
times solved “ out-back ”—after a fashion that<br />
frequently leads to the kind of bush insanity<br />
technically termed “ becoming a hatter,” in which<br />
a white man forsakes his kind and lives alone or<br />
with the blacks. The hero of “Dinkinbar” is<br />
saved from this fate by the love of an English girl,<br />
but not before he has gone through a pretty rough<br />
time. ‘ Fate the Fiddler,” also by Mr. McIlvaine,<br />
is a burden of drought, mortgage, and of “the<br />
bank taking possession ”’—the tragedy of many an<br />
unsuccessful squatter, told realistically but with<br />
less of the peculiar and powerful fascination of<br />
* Dinkinbar.”<br />
<br />
“Out West”—in the words of an Australian<br />
popular song, “‘ Where the Pelican Builds Her<br />
Nest ”—would appear to be an inspiring atmosphere<br />
to the present school of Australian writers. Most<br />
of the volumes of short stories lately brought out<br />
have their scenes laid in the Never-Never region.<br />
Among them is a book that has scarcely received<br />
the praise it deserves—“ A Bush Honeymoon and<br />
Other Stories,” published a short time back by Mr.<br />
Fisher Unwin. Its author, Mrs. Palmer Archer,<br />
is also racy of the soil, but her outlook is a fairly<br />
cheerful one. She has humour as well as the sad-<br />
ness characteristic of modern Australian writers.<br />
Nowhere is the cry of rebellious pessimism more<br />
marked than in a crude striking little life-story<br />
told in the first person by a writer styling herself<br />
—for the work is evidently a woman’s—Miles<br />
Franklin. “My Brilliant Career” is essentially<br />
Australian, and gives promise of future powerful<br />
work. In speaking of present story-writers—too<br />
many to be enumerated—Barbara Baynton should<br />
be mentioned, and certainly Mary Gaunt cannot be<br />
passed over, nor Louise Mack.<br />
<br />
So far, Australian political life has not furnished<br />
much material to the novelist, and that is a pity,<br />
for it abounds in dramatic incident and character<br />
studies. The building of the Commonwealth and<br />
the true inwardness of the Labour Party would<br />
make sprightly reading. Up to now, Antipodean<br />
politics have been dealt with mainly by the serious<br />
writer. A number of books touching on economic<br />
and political aspects are for the most part anticipa-<br />
tions or results of Mr. Chamberlain’s declared<br />
policy of Imperialism. And thus this eminent<br />
statesman becomes a factor in Australian litera-<br />
ture, though his influence has been more or less<br />
indirect. Imperialism has done more than anything<br />
else to make Australian literature original. It has<br />
<br />
<br />
<br />
<br />
54<br />
<br />
<br />
<br />
emphasised the importance of Australia, and<br />
morally and intellectually, as well as politically,<br />
has given the Australians wholesome encourage-<br />
ment to be themselves, and not distorted reflections<br />
of Old World conventions. At last Australian<br />
writers have come to believe that it pays best, in<br />
all senses, to be genuinely Australian.<br />
<br />
This applies to imaginative literature, not to the<br />
graver sort, for though it is true of Australia as of<br />
other countries that the men who write the songs<br />
of their nation are they who make its history, the<br />
Commonwealth is too new for its historians to<br />
be real Australians. Mr. Henniker Heaton is a<br />
man of action rather than of letters, nevertheless<br />
his writings and compilations have done much<br />
towards popularising Australia. Sir C. Gavan<br />
Duffy belongs to the anticipatory period, and his<br />
Australian imperialism only points an example for<br />
Trishhomerule. The late Arthur Patchett Martin’s<br />
‘Australia and the Empire” is a most able survey<br />
of things Australian, and though English-born,<br />
Mr. Martin knew Australia intimately from the<br />
literary standpoint, and was a graduate in the<br />
Australian journalistic school. The Hon. Harold<br />
Finch-Hatton’s “ Advance Australia”’ is valuable<br />
<br />
as the fruit of strenuous years in Queensland. -<br />
<br />
And here, mention should be made of a very<br />
charming personal record of the settlement of Port<br />
Darwin by a daughter of the first administrator.<br />
Mrs. Dominic Daly’s “Digging, Squatting and<br />
Pioneering Life,” dates a good way back, but is<br />
fresh and vivid still.<br />
<br />
Turning to the Australian song-writers and poets,<br />
this, the most important branch of Australian<br />
literature, has been left to the last on the principle<br />
there remains very little to be said about it which<br />
has not been already fully said. Mr. Douglas<br />
Sladen, also a writer of Australian verse, has<br />
devoted much attention to the subject and gives<br />
much detailed criticism of the poets of Australia<br />
in the preface to his collection of Australian poems,<br />
and there is an admirable chapter on Australian<br />
poets in Mr. Percy Rowland’s book “The New<br />
Nation.” No words are needed to-day concerning<br />
Adam Lindsay Gordon, Kendall, Brunton Stephens<br />
—none of them Australian-born—concerning O. H.<br />
Harpur, Alfred Domett, Boake, Ogilvie, Victor<br />
Daley, “ Australie” and “ Austral ’—both Aus-<br />
tralian girls—or the two best known and most<br />
recent of Queensland poets—products too of The<br />
Bulletin school—R. L. Paterson and Henry Law-<br />
son, either of whom might be termed the Australian<br />
Kipling.<br />
<br />
R. M. PRazp.<br />
<br />
i ee<br />
<br />
THE AUTHOR.<br />
<br />
ON STYLE.<br />
<br />
—<br />
<br />
OST of the books and essays which have<br />
been written upon style do not seem to me<br />
to go deep enough. They are as if a writer<br />
<br />
on forestry told you how to trim the terminal leaf-<br />
lets of trees but said nothing about their roots, their<br />
growth and habit, or the soil of whose virtues<br />
they are in a sense the concrete and visible ex-<br />
pression. Exactly in so far as you think of style<br />
as a separate consideration, the literary common-<br />
place that a writer must be judged finally by his<br />
style becomes untrue. It is like the lying proverb<br />
that beauty is only skin deep. A beautiful woman<br />
is beautiful to her bones, and the style of a writer<br />
depends ultimately upon his digestion. “ Style is<br />
the man”’—yes, but the whole man; and if to<br />
his expression do not go all that he has ever lived<br />
and suffered and enjoyed—his appetites, his<br />
aspirations, his vices, even—exactly in so much<br />
and not from lack of colour, or vigour, or pic-<br />
turesqueness, or any other “literary ” quality, will<br />
his writing be imperfect. Style is a temperature-<br />
chart, a pulse-tracing of the individual mind, and<br />
“mind is as deep as the viscera.”<br />
<br />
There is a wonderful piece of criticism in Maxim<br />
Gorky’s “‘ Foma Gordyéeff :”<br />
<br />
“And the judgment of the Lord upon them will be<br />
according to their strength. Their bodies will be weighed<br />
and the angels will measure their blood .... and the<br />
angels of God will see to it that their sin shall not exceed<br />
in weight the weight of their blood and their body—do<br />
you understand? The Lord will not condemn a wolf if it<br />
devours a sheep—but if a miserable little rat is guilty of<br />
killing a sheep—He will condemn the rat !”<br />
<br />
This is not more profoundly true of morals than<br />
it is of literature. You cannot judge a man’s<br />
style by any abstract standard; its quality de-<br />
pends entirely upon the precision with which he<br />
has expressed—I had nearly written his meaning,<br />
but that is not definite enough—himself. And<br />
precision includes all other literary virtues. There<br />
can be no properties of style that are not funda-<br />
mental to the writer, and if he expresses himself<br />
with precision he expresses whatever of light or<br />
colour, or vigour, or picturesqueness, or subtlety<br />
is in his nature. This sounds like a commonplace,<br />
but it is a commonplace that is very imperfectly<br />
apprehended. How often, for example, is it said<br />
“so and so writes a good style but he has nothing<br />
to say.” That is impossible. A man cannot utter<br />
a platitude “ stylishly,” because the moment you<br />
say “style” you imply something personal which<br />
at once, be it ever so little, redeems the matter from<br />
commonplace. Again, it is said that so and so’s<br />
style is careful and precise but wanting in colour<br />
and richness. I believe that it is impossible for<br />
a style to be both meagre and precise. A tomato<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. 55<br />
<br />
is redder and'brighter than a turnip, but you would<br />
not say that a turnip was more precisely a turnip<br />
for simulating the redness and brightness of a<br />
tomato. Nor is it a poorer turnip for lack of those<br />
qualities. It is in so far as it exhibits the essen-<br />
tial properties of a turnip that it is a good turnip,<br />
and it is in so far as a man’s writing expresses the<br />
personal qualities of that particular man that he is<br />
a good writer. There are meagre styles, it is true,<br />
but then their precision is only apparent as his<br />
morality is only apparent who practises merely the<br />
negative virtues. A style which expresses more or<br />
less than a man’s personality must be bad; it is<br />
either affected or inadequate. This is the real<br />
quarrel with “ preciosity,” with the vices of those<br />
writers held up as eminently “ stylists.” It is not<br />
that they use fantastic or out of the way words, or<br />
sequences of words, but that they use words and<br />
phrases which do not belong to them nor sincerely<br />
express the movements of their mind. Their<br />
finery distracts the mind of the reader from the<br />
nervelessness of the expression as the bits of tinsel<br />
stuck on a stage dragon distract the eye from the<br />
inferiority of the modelling. Strip them off and<br />
you find a dull, dead shape underneath. The<br />
truth is you cannot separate style from matter.<br />
If you say that the style is good you already imply<br />
that the matter is good because, style admitted, it<br />
is necessarily one man’s personal and_ precise<br />
expression in words of the thought that is in him.<br />
Which, I think, is the final answer to the vexed<br />
question : What constitutes literature? That is<br />
to say, the old commonplace that a work of art<br />
must be judged finally by its style remains true,<br />
but only in a deeper sense than is generally<br />
accepted.<br />
<br />
A good deal of the confusion about style in<br />
literature is due to regarding it as concerned<br />
chiefly with form and colour. It is concerned<br />
with form and colour of course, but primarily with<br />
movement. Perhaps it would be juster to say—<br />
with form and colour as affecting movement. A<br />
great living landscape painter gave me the<br />
definition. “Painting deals with relations;<br />
literature with progressions.” That is true and,<br />
by the way, at once exposes the vicious principle<br />
underlying “ word-painting””—the verbal descrip-<br />
tion of objects in their relations of tone, and form,<br />
and colour only. Not rhythm alone, but all the other<br />
technical expedients of the art of writing,<br />
assonance, alliteration, even rhyme, are only<br />
tolerable in so far as they are concerned ultimately<br />
with movement.. The matter is too important and<br />
too complicated to be considered here, but I should<br />
not be surprised if the fundamental difference<br />
between verse and poetry turned out to be purely<br />
technical after all. It is quite obvious that the<br />
distinction does not rest upon abstract superiority<br />
<br />
of the thought and emotion in poetry. In reading<br />
verse—I am not now speaking’ of jingle or<br />
doggrel but of good verse, and taking for granted<br />
a distinction of ideas and emotion—one feels that<br />
the writer’s use of accent, assonance, alliteration<br />
and rhyme is governed by considerations of form<br />
and colour only ; the effects are static, relative :<br />
while in poetry they are dynamic, progresswe ;<br />
like the “kissing” of billiard balls they impress<br />
the ear but chiefly to mark a deflection of energy.<br />
<br />
Herbert Spencer wrote an “ Essay on Style.” “As<br />
I have not the volume containing it at hand, I am<br />
compelled to quite casual references from the<br />
Autobiography.<br />
<br />
‘Few would expect to find such a subject as style dealt<br />
with on physical principles. The first of the two theses<br />
(of the Essay) set forth and variously illustrated, was that<br />
nervous energy is used up in the interpretation of every<br />
one of the symbols by which an idea is conveyed ; and<br />
that there is greater or less expenditure of such energy<br />
according to the number of the symbols, their character<br />
and their order: the corollary being that in proportion as<br />
there is less energy absorbed in interpreting the symbols,<br />
there is more left for representing the idea, and, con-<br />
sequently greater vividness of the idea. Otherwise stated,<br />
this thesis was that the most successful form of sentence is<br />
one which guides the thought of the hearer or reader along<br />
the line of least resistance.”<br />
<br />
Now, of style in relation to the reader this is<br />
admirably stated, but what Herbert Spencer does<br />
not seem to have recognised is that it is yet more<br />
true of style in relation to the writer. If he had<br />
said “ the most successful form of sentence is one<br />
which guides the thought of the writer along the<br />
line of least resistance ” he would have stated the<br />
whole problem of style. But for a!l his clear per-<br />
ceptions and in spite of his own dictum that<br />
“mind is as deep as the viscera” he seems to have<br />
been obsessed by the notion of an abstract stan-<br />
dard of style. At the end of his Autobiography<br />
we find him regretting the supposed defects of his<br />
own style in these words.<br />
<br />
“Though my style is lucid, it has, as compared with<br />
some styles, a monotony that displeases me. There is a<br />
lack of variety in its verbal forms,and in its larger com-<br />
ponents, and there is a lack of vigour in its phrases.”<br />
<br />
The truth of the matter is, Herbert Spencer was<br />
regretting something more than a method of<br />
writing, and his regret was idle: he was regretting<br />
that he was not some other man. His style was<br />
monotonous because, in spite of the variety of his<br />
interests, his mind was monotonous ; it was want-<br />
ing in vigour because—I seem presumptuous, but<br />
there is the whole Autobiography to support me—<br />
he did not think or feel vigorously. He implied<br />
so much in a single sentence when he complained<br />
of Carlyle “ He thought in a passion.” Well, it is<br />
not a bad thing for a writer to think in a passion,<br />
but it must be a still, white rage. There is all the<br />
difference in the world between passion and<br />
<br />
<br />
56<br />
<br />
hysteria. It is only when you think in a passion<br />
that your expression becomes fused with your<br />
thought ; that you discover the line of least<br />
resistance. But if Spencer’s style had been more<br />
varied and more vigorous it would have been a<br />
bad style—for him. You cannot acquire vigour<br />
and variety any more than you can acquire red<br />
hair when your own is black—though you can<br />
dye it red. Style is neither clothes nor armour ;<br />
it is bone of your bone and flesh of your flesh.<br />
<br />
Is it not possible then for a man to improve his<br />
style? Certainly it is, but not by thinking about<br />
style in the abstract. Style can only be improved<br />
in relation to the thought and the emotion—an<br />
improved relation to the matter and consequently<br />
to the reader follows inevitably as a matter of<br />
course. In proportion as you think more clearly<br />
and feel more keenly your expression will become<br />
lither and more concentrated, unincumbered with<br />
any dead matter. Every word becomes alive ; it<br />
is all structural and all decorative. You cannot<br />
have the two purposes separately considered or the<br />
one added as an afterthought. Unless the<br />
decoration is inherent in the structure your writing<br />
is bad. You improve your style by purgation,<br />
emesis, by the sacrifice of whatever hinders the<br />
free and precise expression of your personal<br />
emotion. It is a process not of acquisition but of<br />
elimination ; it is, if you like, an exposure of<br />
differences. You grow liker yourself. Smith<br />
writes like Jones because the expression of either<br />
is hampered by a plethora of ready-made phrases<br />
common to everybody and proper to none. I<br />
should like to put many of our writers through<br />
Banting ; they suffer from fatty degeneration of<br />
language. It is not so much that they use too<br />
many words as that they stumble along under<br />
an adipose layer of words and phrases that hinder<br />
and obscure their authentic movements. Hlabo-<br />
rate theories to account for the difference<br />
between the styles of admittedly good writers—<br />
say Sir Thomas Browne and Mr. J. M. Barrie—are<br />
idle as the wind. The matter is quite simple.<br />
Sir Thomas Browne wrote like Sir Thomas<br />
Browne, and Mr. J. M. Barrie writes like Mr. J.<br />
M. Barrie.<br />
<br />
Style does not begin with a nice hesitation over<br />
the choice of epithets, but is determined by the<br />
fundamental character of the individual organisa-<br />
tion, by “the weight of blood.” There is no<br />
technique of writing, or rather, it is all technique<br />
and begins with the child’s first cry. If we could<br />
keep all our lives the limpid sincerity of childhood<br />
we should all be masters of style. The best writers<br />
are those that have preserved, or with pains<br />
recovered, the child’s purity of expression. Style,<br />
in whatever medium, is a matter of physics. All<br />
art, indeed, is but the record of a gesture; how<br />
<br />
THE AUTHOR.<br />
<br />
that particular man moved; it is literally the<br />
record of his emotions. The object of all training,<br />
whether physical, moral or mental, is not the<br />
acquisition of abstract “ qualities,” however desir-<br />
able in themselves ; it is nothing more than this ;<br />
to discover the line of least resistance between<br />
your powers and their expression whether in words<br />
or paint, the movement of the limbs or the<br />
equilibrium of the soul.<br />
<br />
“ Progress in style,’ wrote Herbert Spencer,<br />
“must produce heterogeneity in our modes of<br />
expression.” Exactly, because progress in style<br />
means the discovery under our superficial likeness<br />
to other men of that inimitable ego which resides<br />
in every one of us. It is therefore necessary for<br />
every writer to cultivate a wise egoism ; to pay no<br />
attention to what is said about “ good” or “ bad”<br />
styles. His own style is the best possible for him.<br />
He need not be afraid that he will come by it too<br />
easily, for, though there can be no properties of<br />
style that are not implicit in the writer, they are<br />
not, as a rule, immediately apparent. Every man’s<br />
nature is like a mine, and it is the whole business<br />
of life to discover and work out his original vein.<br />
Every living creature has something personal to<br />
say, and every living creature somehow and at<br />
some time contrives to say it—though not neces-<br />
sarily in words. One creature delivers his message<br />
by wearing the colours of the dawn, another in<br />
the ecstasy of flight ; this man with the sword, that<br />
other in prayer and good works ; but upon each,<br />
whether in life or art, the final judgment will be<br />
‘“< How nearly has he been himself ? ”<br />
<br />
CHARLES MARRIOTT.<br />
<br />
Oe<br />
<br />
THE MAN WHO WOULD WRITE.<br />
<br />
<br />
<br />
Y friend, Edward Blakenshaw, is a stock<br />
<br />
and share broker. Each man to his craft;<br />
<br />
I will confess that I am wholly unin-<br />
structed in the business of stock and share broking.<br />
Unfortunately, Blakenshaw imagines that he<br />
knows quite enough about the calling of letters to<br />
make his appearance at Mudie’s a mere matter of<br />
sitting down after dinner, and “ reeling off” two<br />
thousand words or so of fiction. And there are<br />
many persons like my friend Blakenshaw. :<br />
The other day, Blakenshaw wrote that, as times —<br />
were dull, and leisure hung upon his hands, he ~<br />
had resolved to give the world a novel.<br />
got the idea (sic) after reading ‘ , by 0. e<br />
wrote my aspirant. ‘Do you know the book? If ©<br />
such pifile as that gets published, surely there is a<br />
chance for me. I have never read such trash —<br />
before.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“J first fp<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR. 57<br />
<br />
I withhold the title of the novel and the author’s<br />
name, for reasons which will be manifest. I have<br />
read the “piffle,? with a species of envious<br />
admiration for the writer’s delicate and delightful<br />
style, and I must own that Blakenshaw’s fatuous<br />
estimate of a work of art almost moved me to<br />
deliver myself in very plain language. But what<br />
good? I am not angry with my grocer’s boy<br />
because he sings “ Bill Bailey ” instead of Gounod.<br />
To explain to Blakenshaw why the critics and a<br />
large number of cultivated readers acknowledge a<br />
high literary ability in H would be really quite<br />
impossible. The point is that my engaging<br />
amateur thinks he can achieve in a few months all<br />
that the laborious author of the “piffle” and<br />
“trash” has achieved after many years of stern<br />
effort. Nay more, Edward Blakenshaw has not<br />
the tinge of a doubt that the aptitude inheres in<br />
him. A little sacrifice of the leisure due to slack<br />
times is all that Blakenshaw needs to win a<br />
recognition equal to that of the gifted and<br />
experienced H——. Men of science term it<br />
egomania.<br />
<br />
Continuing in a light and casual fashion, my<br />
correspondent advised me that the tale was finished.<br />
“ What I would ask you to do is to recommend a<br />
likely publisher,” wrote Blakenshaw, “and to tell<br />
me how much I ought to ask for the work.”<br />
Businesslike Blakenshaw! Heat least has decided<br />
that “art for art’s sake” is a stupid shibboleth of<br />
the piffle-emongers. Cash down is goal and gnerdon<br />
of my friend’s ambitious excursion into the region<br />
of art. He wants to know of a “likely publisher.”<br />
Blessed phrase—how well we are accustomed to<br />
the sound of it! Atthe present moment I know<br />
personally four writers, two of them men of genius,<br />
who would like to meet the publisher with the<br />
acumen to discern a “ commercial success ” for their<br />
solid, serious works in fiction. What possible<br />
service can I render the Blakenshaws in recom-<br />
mending a publishing house? Publishers, like<br />
stock and share brokers, follow their business as a<br />
means of subsistence. Many of them deal out<br />
“piffle” and the poorest sort of “trash,” simply<br />
because the intelligent subscribers to the libraries<br />
demand such commodities.<br />
<br />
It is well, however, to discriminate between<br />
saleable and unsaleable piffle. A publisher may<br />
possess a true literary sense, and desire to sell only<br />
good literature. But his business is not conducted<br />
in the interest of high art, nor from motives of<br />
philanthropy. He must sell what his customers<br />
want, and not ‘caviare to the general ” if he wishes<br />
to succeed. Hence the majority of publishers are<br />
compelled to issue a number of saleable, popular<br />
books, more or less worthless from a literary<br />
standpoint.<br />
<br />
Now, Blakenshaw thinks that it is easy to pro-<br />
<br />
<br />
<br />
duce one of these trifling and inept stories. He is<br />
mistaken. An innate capacity for weaving plots,<br />
a facility in expression, and shrewdness in esti-<br />
mating the variable taste of the public are essentials<br />
in this trade of fiction-making. A genius may<br />
find himself hopelessly impotent to produce saleable<br />
tales, even though positive necessity urges him to<br />
make a bid for popularity by the sacrifice of his<br />
artistic ideals. The specific aptitude requisite for<br />
the invention of saleable piffle is a “gift.”<br />
Blakenshaw is not a genius, nor does he possess<br />
this specific aptitude. He is typical of that great<br />
order of amateurs who mistake will for ability.<br />
Never in my wildest dreams of ambition have I<br />
supposed that I could become a successful stock<br />
and share broker. The starling cannot soar with<br />
the eagle. Yet my estimable Blakenshaw imagines<br />
that he can suddenly project himself from ’Change<br />
to the realms of fancy, and outvie H—— in a first<br />
flight of the imagination.<br />
<br />
I was puzzled as to my course with Blakenshaw.<br />
Having read one of his “effusions,” some years<br />
ago, I was tolerably convinced that he is tempera-<br />
mentally incapable of viewing human nature with<br />
the keen and comprehensive vision of the writer of<br />
fiction. I knew that he would ask me to read<br />
a not too legible manuscript, relating to second-<br />
hand copies of humanity, drawn from the inferior<br />
novels in which he finds his recreation. I was<br />
assured that the “ copy ” would abound in solecisms<br />
of syntax and errors in grammar, and that the<br />
trail of the novice would be over it all. And yet<br />
I could not find it in my heart to assume a depre-<br />
ciative tone in replying to Blakenshaw’s letter.<br />
There is something exquisitely pathetic in all<br />
aspiring disability. Therefore, I wrote that I<br />
would meet my friend in the City, and tender<br />
him such advice as he might choose to accept.<br />
<br />
We met at arestaurant. Blakenshaw was charm-<br />
ingly sanguine. I brought him immediately face<br />
to face with the hard facts of publishing, by asking<br />
him how many words there were in his story. He<br />
seemed astonished at my question. If it was a<br />
matter of “ quantity,” of course he was prepared to<br />
make the tale as long as I liked. I informed him<br />
that a novel must be from 75,000 to 100,000 words<br />
in length. Blakenshaw “ thought ” that his story<br />
would be about 18,000 words.<br />
<br />
“That is the length of a rather short novelette,””<br />
T said.<br />
<br />
“Oh, this isn’t that sort of stuff,’ interrupted<br />
the author.<br />
<br />
«Tg it sentimental, sensational, serious, adven-<br />
turous, or what ?” I inquired.<br />
<br />
“Well,” said Blakenshaw, “ it’s a bit of all that.<br />
The style isa sort of mixture of Cutliffe Hyne, and<br />
Ouida.”<br />
<br />
“ Good |”<br />
<br />
<br />
58<br />
<br />
“ Now, how much do you think the story would<br />
sell for ?”” asked Blakenshaw.<br />
<br />
‘“‘Tmpossible to say. Perhaps a guinea per 1,000<br />
words.”<br />
<br />
“Ts that all?”<br />
<br />
Poor Blakenshaw! I had to doit. A dread of<br />
candour is one of my traits; but I realised that<br />
the case demanded a measure of plain-speaking,<br />
With gentle diffidence, I told him that he had<br />
chosen the very slowest means of raising cash. [<br />
spoke of grim disappointments, and of the difficulties<br />
of the author’s calling.<br />
<br />
*“ But how is it somany bad novelsare published ?”<br />
inquired Blakenshaw.<br />
<br />
I explained the commission system of publishing,<br />
and the difference between saleable and unsaleable<br />
“ piffle.’ To the mind of my ingenuous friend,<br />
the situation appeared paradoxical and bewildering.<br />
<br />
“Tt seems to me,” he remarked, ‘‘ that the thing<br />
to do is to write a lot of rotten stuff, and then you'll<br />
get it accepted.. What about sending my tale to<br />
one of these literary agents ?”<br />
<br />
“ You can try,” I said, in sheer despair.<br />
<br />
“What do they charge you ?”<br />
<br />
“Ten per cent on net results of sales.”<br />
<br />
“T don’t see much advantage in that.”<br />
<br />
“Perhaps you had better send your manuscript<br />
around yourself,” I said.<br />
I knew that Blakenshaw was sure to request me<br />
<br />
to read and report upon the manuscript. My<br />
refusal was prompt, and a little brutal. I explained<br />
that I read very few novels; that my view was<br />
prejudiced ; that I did not wish to incur a possible<br />
charge of undue critical severity, and that my<br />
opinion was probably quite valueless. When I<br />
rose, Blakenshaw seemed somewhat vexed with me.<br />
He walked by my side down the street, saying that<br />
perhaps he would change his mind, and “ get the<br />
story published in one of the good magazines.” I<br />
wished my friend good fortune, and said goodbye.<br />
<br />
On the top of the omnibus I had to decide<br />
whether [ was amused or annoyed by this inter-<br />
view. It seemed to me that Edward Blakenshaw<br />
would consider it as colossal folly on my part if I<br />
suddenly announced that I intended to raise money<br />
by turning stock and share broker on off-days,<br />
when things are slack in the writing profession.<br />
Why should the Blakenshaws be allowed to delude<br />
themselves that there is an easy side-door leading<br />
into our profession, and that any man, who has<br />
leisure and a quire of foolscap, can command a<br />
share of our limited pecuniary awards? How<br />
strange it is that megalomania so frequently dupes<br />
the most unimaginative of brains with the inspira-<br />
tion to write fiction and even poetry !<br />
<br />
WALTER M. GALLICHAN.<br />
<br />
Notr.—Since writing the above I have read<br />
Blakenshaw’s manuscript. It is crude and<br />
<br />
THE AUTHOR.<br />
<br />
impossible. My friend writes that he is of the<br />
opinion “ that there is nothing to be made out<br />
of literature.”<br />
<br />
Oe<br />
<br />
SOME MODERN METHODS OF<br />
ILLUSTRATION.<br />
<br />
—+—>— + —_<br />
<br />
(Reprinted from the Vew York Bookman by kind<br />
permission of the Editor.)<br />
<br />
O no one class of art workers has the camera<br />
brought wider or more practical results<br />
than to the men and women who draw for<br />
<br />
illustration. It has emancipated them completely<br />
from any hard and fast rules regarding technical<br />
methods, and enabled them to do their work in<br />
any way and in any medium that seems best<br />
adapted to the particular work in hand. We all<br />
profit by this freedom of choice, for we get the<br />
work of many artists in our magazines and books<br />
who but for the camera would be known only to<br />
the comparatively few who attend the exhibits of<br />
so-called easel pictures. Illustration in America<br />
has not been taken very seriously until within com-<br />
paratively recent years. To many artists it was,<br />
and is yet no doubt, but the handmaid of what<br />
they consider real art—the painting of pictures.<br />
Many artists in the past never had the patience or<br />
the skill to learn to draw in reverse and in the<br />
minute sizes formerly required for putting work<br />
on the wood-block. It was certainly a laborious<br />
and tiresome task at best, and the wonder is that<br />
so much of the illustration of the old days was so<br />
good. By the use of the camera all this drudgery<br />
vanished at once. The artist made his picture<br />
large or small, the lens brought it to the required<br />
size and preserved the exact drawing of the<br />
original.<br />
<br />
The wood-engraver has been a great power for<br />
good in the development of all illustrative art,<br />
and his work at its best is interpretative and —<br />
sympathetic in a very high degree. It is a matter<br />
of pride that in America wood-engraving has<br />
achieved its most remarkable results and been<br />
most fully recognised as an art of surprising<br />
capacity and rare beauty of expression. Artists —<br />
used to find fault with the engravers on wood, ©<br />
often with much justice, for not retaining the exact —<br />
drawing of the original, but wood-engraving is ©<br />
admittedly primarily interpretative and not in the<br />
strict sense reproductive, though the accomplished —<br />
wood-engraver gives with really wonderful dexterity —<br />
the delicate tones and values of many originals. —<br />
To-day wood engraving is a fast vanishing art, —<br />
but it will never cease to be appreciated as one of ©<br />
the most beautiful and worthy of all the graphic<br />
<br />
<br />
<br />
<br />
<br />
<br />
tH<br />
BIG<br />
8<br />
(brat<br />
ila<br />
<br />
<br />
<br />
7 various<br />
“= mediums between the drawing and the plate have<br />
@ made it possible to reproduce drawings made in<br />
<br />
atts. From its earliest manifestations it has<br />
<br />
always been an art for the people, and to it we<br />
+ owe undoubtedly the invention of movable type,<br />
<br />
with which it has ever since been so closely asso-<br />
ciated.<br />
<br />
It was the camera that gave the modern wood-<br />
engraver his greatest opportunity and at the same<br />
time laid the foundation for his undoing. With<br />
the invention of the half-tone screen used between<br />
the lens and the object to be photographed, it<br />
became possible by mechanical means to make<br />
engravings on metal that could be electrotyped<br />
and printed in relief in conjunction with type.<br />
<br />
Further improvements in the sensitising of the<br />
<br />
photographic plates used and the interposition of<br />
coloured glasses or coloured liquid<br />
<br />
fall colour with a very close preservation of their<br />
values.<br />
<br />
The half-tone process is a familiar and beautiful<br />
method of reproducing illustrations to-day, and a<br />
very large part of the pictures in our magazines<br />
and books are printed from half-tone plates. The<br />
principle upon which it is based is that to print in<br />
relief from a metal plate the surface must be<br />
broken up into minute points or dots in order to<br />
offer a suitable surface for taking the ink. Draw-<br />
ings, as has been said, may be in black and white<br />
or tint or in the full colour of a carefully wrought<br />
painting. The half-tone screen upon which the<br />
entire process depends is made by putting together<br />
two plates of glass upon which lines have been<br />
ruled at carefully calculated intervals in such a<br />
<br />
| way as to produce at the line intersections a series<br />
<br />
of minute dots. Some of these screens have as<br />
many as three hundred of these lines to the square<br />
inch. Upon their number and the shape of the<br />
diaphragm used in the lens in combination with<br />
the screen depends the texture of the resulting<br />
plate. In transferring the negative to the highly<br />
polished and suitably sensitised copper plate, it is<br />
reversed, either by stripping it from its glass<br />
support and transferring it to another, or by the<br />
use of a prism in the taking. Put in contact with<br />
the copper, it is exposed to light. Those parts of<br />
the picture which have been protected by the dark<br />
parts of the negative, corresponding to the lights<br />
of the original picture, may be washed away, the<br />
other parts in varying degree. The image on the<br />
copper plate is dried and held over heat to burn it<br />
in and made ready for the etching bath, Lights<br />
and darks, it will be apparent, are dependent upon<br />
the varying intensities of these in the original.<br />
The etching process requires trained judgment in<br />
order to know just how far to carry it and a<br />
careful study of the original drawing. This pro-<br />
cess derives its name “half-tone” from the fact<br />
<br />
THE AUTHOR.<br />
<br />
59<br />
<br />
that no pure whites are obtainable on account of<br />
the interposition of the screen. The whites are<br />
all modified into delicate greys. The effect, in<br />
fact, is like looking at the picture through a<br />
transparent gauze curtain. Whites and stronger<br />
blacks may be obtained by subsequent re-engraving<br />
by hand and by burnishing. — The half-tone is<br />
especially used to reproduce drawings in which<br />
there are gradations of tint either in flat washes or<br />
in colour. The very small cost of the plates as<br />
compared with wood-engraving, their mechanical<br />
accuracy and great value ag a time-saver have<br />
made them universally popular. In the old days<br />
a full-page wood-engraving might easily cost any-<br />
where from $75 to $250, and take three or four<br />
weeks to do. Half-tones of a very fine quality can<br />
be had at from $9 to $12 a page, and in an after-<br />
noon, if necessary. Any one can readily determine<br />
whether an illustration is a half-tone or not by<br />
looking at it through a magnifying glass—the<br />
screen, or “mesh,” is very apparent.<br />
<br />
A much simpler process is used when the draw-<br />
ing is in line or stipple, like one of Gibson’s<br />
cartoons, for instance. No screen is necessary,<br />
and the metal used instead of copper is a zinc<br />
plate. The rest of the process is much the same.<br />
Line plates are very inexpensive—a full page need<br />
cost only about $2.50, and can be made in a few<br />
hours.<br />
<br />
We are indebted to the camera and the half-tone<br />
for the constantly increasing use of coloured<br />
pictures in books and magazines, some of which<br />
are done with a great deal of taste and a very fair<br />
approach to the original subject. The Japanese<br />
have made wonderful colour prints for ages by the<br />
use of numerous wood blocks, and in France and<br />
America, especially, some very beautiful pictures<br />
in coloured tints have been printed in this way.<br />
Here again, however, the matter of expense has<br />
been practically prohibitive, and the mechanical<br />
difficulties are considerable. By use of the half-<br />
tone in conjunction with the so-called three-<br />
colour process the reproduction of coloured pictures<br />
has been made possible at a comparatively small<br />
expense. As is perhaps well known to many, the<br />
three-colour process is based upon the theory that<br />
all the colours of the chromatic scale are supposed<br />
to be derived from various combinations of the<br />
three primaries—blue, yellow and red. ‘Three<br />
negatives are made in exact register from the<br />
original painting, one for the yellow, one for the<br />
red, another for the blue, and these made into<br />
half-tone plates are printed in succession, the one<br />
over the other. The limitations of this process<br />
lie in the difficulty of choosing just the right<br />
yellow, red and blue that in combination will<br />
reproduce the original in all its parts. Thus far<br />
there has always been something to be desired,<br />
<br />
<br />
60<br />
<br />
especially when the process is employed in the<br />
reproduction of paintings involving delicate tones<br />
of grey. Many times the addition of another plate<br />
printed in grey or black will soften and blend the<br />
effect of the three primaries in a satisfactory way.<br />
Very successful colour reproductions are made by<br />
the use of four or five half-tones printed in delicate<br />
tints and over all a strong impression in black.<br />
In each plate some part may be left blank or<br />
made to print very faintly when not intended to<br />
take its particular colour all over. This method<br />
of colour printing in two or three tints is often<br />
intended only as a colour interpretation without<br />
any pretence of being a reproduction. All of<br />
this colour work depends for its success upon<br />
an expert knowledge of colour blending. The<br />
use of several plates is much like the work of the<br />
painter, who lays in his ground and then builds<br />
up the colours in succession to the degrees<br />
required.<br />
<br />
One of the most beautiful of all the reproductive<br />
processes is known as photogravure. Here the<br />
engraving, instead of being in relief, is incised or<br />
in intaglio, just the opposite of the half-tone, and<br />
the impression is made by pressing the dampened<br />
paper into the lines on the metal plate. No screen<br />
<br />
is used in making the negative, but a grain is<br />
obtained by sprinkling the copper plate with pow-<br />
<br />
dered rosin and melting it on. This makes a<br />
ground for the subsequent etching. The photo-<br />
graphic image printed on the copper plate in this<br />
instance is from a positive. There is a velvety<br />
softness and richness of light and shade, an effect<br />
of delicacy and refinement in this process that is<br />
very suggestive of the lovely textures of the<br />
old mezzotints. Photogravure, however, is not<br />
suitable for use in large editions, for the prints<br />
can only be made on a hand press, and the<br />
plates are too delicate in character to with-<br />
stand any very large number of impressions.<br />
The cost, too, is very considerable, and the<br />
process is chiefly employed in the reproduction<br />
of paintings and in the illustration of limited<br />
editions.<br />
<br />
Lithography, or printing from stone, is con-<br />
siderably used in the making of coloured covers<br />
and posters, but it involves so many different<br />
colours to obtain fair results and so much more<br />
presswork than the half-tone process that it is<br />
becoming less and less common, except in the<br />
more ordinary purely commercial work.<br />
<br />
For many years we looked to France for the<br />
best colour printing, but since our great magazines<br />
have admitted colour to their pages we have<br />
learned to do the best work of this kind in the<br />
world. There is apparently an increasing demand<br />
for colour upon the part of the public, and many<br />
illustrators who used to work only in black and<br />
<br />
THE AUTHOR.<br />
<br />
white now do their drawings in both oils and<br />
water colours, either upon the assurance of their<br />
reproduction in colour or in the hope that<br />
possibly they may make a sufficient appeal to the<br />
art editor to warrant their reproduction as they<br />
are drawn.<br />
<br />
Magazine and book-making is certainly a very<br />
much more complicated problem than in the old<br />
days. The tradition that once permitted only<br />
black and white illustrations to be printed in con-<br />
junction with type has long since given way to<br />
the ever-increasing demand for novelty. In a<br />
single number of a magazine in these days we may<br />
have examples of nearly all the current methods of<br />
colour printing—in three colours from half-tones,<br />
in line with a patch of red or blue here and there,<br />
in five or six varying tints superimposed, in simple<br />
biack upon a flat, yellow tint block. It is needless<br />
to say that all this adds very considerably to the<br />
cost of production and demands preparation for<br />
particular colour effects months in advance. When<br />
it comes to five or six printings instead of one for<br />
the large editions of to-day, time is a very essential<br />
factor.<br />
<br />
All that is needed now is some simplification of<br />
the photographic process for reproducing colour ;<br />
present methods are complicated and far from<br />
completely satisfactory.<br />
<br />
Illustration in any modern sense really began<br />
with the modest cutting of drawings on boards of<br />
apple or pear wood with the aid of a common<br />
knife, and at first it was employed chiefly as a<br />
means of conveying religious instruction to the<br />
illiterate common people. With the advent of<br />
Diirer it soon became a really great art, and<br />
Holbein carried it to a still higher plane. When<br />
Bewick in England conceived the idea of the<br />
“white line” and invented the modern tools of<br />
the wood-engraver the way was opened for a freer<br />
handling in general.<br />
<br />
Many of the great names in all art have been<br />
more or less identified with illustration, and in no<br />
country in the world can there be found so large a<br />
group of competent workers in this field as in<br />
America. We publish the best magazines, and<br />
it is only natural that we should have through<br />
them called forth the best talent in their<br />
illustration. The modern art editor, apparently,<br />
needs more than anything else a pretty general<br />
<br />
acquaintance with art in general, and the capa- |<br />
<br />
city and breadth of view that will allow him<br />
to appreciate the possibilities that lie in new<br />
and undeveloped talent. The plate-makers are<br />
his natural and willing aiders in devising new ©<br />
methods to achieve any particular result depending<br />
upon mechanical means.<br />
<br />
JAMES B. CARRINGTON.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
9} COMMENTS ON THACKERAY’S “ESSAY<br />
ON POPE.”<br />
<br />
S an example of Thackeray’s own style and<br />
individual power, this essay on Pope is<br />
one of the best of the series.<br />
<br />
It has needed the skill of a Thackeray, the<br />
humour of a Thackeray, and all his almost over-<br />
mastering sense of “the pity of it,” to give such a<br />
generous appreciation of one of whom it is a little<br />
difficult to think generously.<br />
<br />
But, as a piece of literary criticism pure and<br />
simple, I confess that I think it possible to read<br />
this essay, and to go away with a very wrong, one-<br />
sided idea of Pope, of his character, and of his work.<br />
One understands of course that Thackeray has tried<br />
to touch the feelings of his readers, to instruct<br />
them, to make them want to read and judge and<br />
find out for themselves, and that he has not tried to<br />
marshal cold facts with the deadly precision of the<br />
author of a condensed History of English Literature.<br />
<br />
None could have touched us better, none could<br />
have interested us more ; still, there is very much<br />
that one cannot accept without reservation, and a<br />
good deal with which one entirely disagrees.<br />
<br />
For instance, in the opening sentences we are<br />
told that “ English men of letters should admire<br />
<br />
him” (Pope, of course) “‘as the greatest literary<br />
<br />
artist that England haseverseen.” Ifsuch indeed<br />
be the case, then I have regretfully to record the<br />
obtuseness of some at least of our English men of<br />
letters. I have not been able to find one instance<br />
of a modern critic who supports Thackeray in this<br />
view. They do not rank him nearly so highly,<br />
though they do agree, as far as I could discover, in<br />
granting him absolute supremacy as the greatest<br />
master of a certain kind of poetic form that<br />
England has ever seen, which in other words<br />
means that he is the poet who brought the<br />
Drydenian couplet to a perfection which has never<br />
‘been surpassed or even equalled.<br />
<br />
One can admire for oneself, quite apart from the<br />
criticism of authorities, the wonderful skill and<br />
dexterity with which Pope handles these couplets,<br />
how he polishes, refines them, and turns them out<br />
clear and crisp and sparkling.<br />
<br />
Here is an extract from the “ Rape of the Lock,”<br />
which should serve to illustrate his style. Itis the<br />
description of a bevy of nymphs.<br />
<br />
“ Some to the sun their insect wings unfold,<br />
Waft on the breeze, or sink in clouds of gold ;<br />
Transparent forms, too fine for mortal sight,<br />
Their fluid bodies half dissolved in light,<br />
Loose to the wind their airy garments flew<br />
Thin glittering textures of the filmy dew,<br />
Dipt in the richest texture of the skies,<br />
Where light disports in ever mingling dyes<br />
While every beam new transient colours flings<br />
Colours that change when e’er they wave their wings.”<br />
<br />
61<br />
<br />
And it also illustrates, I think, the intolerable<br />
monotony of his rhythm.<br />
<br />
Again, Thackeray uses such terms as “sublime<br />
art,’ “immortal young wings,” “astonishing<br />
victories,” “dazzling achievements,” which may<br />
or may not be flights of rhetoric or flashes of<br />
fancy. But when he says “ the shafts of his satire<br />
rise sublimely,” and speaks of Pope’s “great soul<br />
flashing out,” then the words of another great master<br />
of English prose creep into one’s mind, the words<br />
of someone who said, “Sarcasm I now see to be<br />
in general the language of the Evil One” (or to be<br />
quite honest, an expression very much to that<br />
effect).<br />
<br />
There is hardly a page in all Pope’s poetry that<br />
does not hold a satire, more or less venomous, more<br />
or less cruel. There is scarcely even a thought of<br />
men or of manners, that is not satirical at its root.<br />
His philosophy of life is just one bitter satire, and<br />
I believe he is proud for us to know it. Those<br />
lines that he wrote of Addison are only one instance<br />
amongst hundreds ; he could write of a man who<br />
had been his friend :<br />
<br />
“ Should such a man, too fond to rule alone<br />
Bear, like the Turk, no brother near the throne.<br />
View him with scornful, yet with jealous eyes<br />
And hate for arts that caused himself to rise ;<br />
Damn with faint praise, assent with civil leer,<br />
And without sneering teach the rest to sneer ;<br />
Willing to wound and yet afraid to strike,<br />
Just hint a fault, and hesitate dislike ;<br />
Alike reserved to blame, or to commend,<br />
O tim’rous foe, and a suspicious friend.”<br />
<br />
Tf this is a “sublime shaft of satire,’ if these are<br />
the thoughts of a “great soul,” then it were<br />
infinitely better to be one of the poorest, most<br />
squalid of those Grub Street scribblers whom Pope<br />
did so much to torture and maim, red flannel,<br />
tallow candles and all.<br />
<br />
No! No! We cannot all be scholars with an<br />
educated taste for good things of a purely literary<br />
nature. And, for those of us who are not, these<br />
lines and others like them, show clearly enough,<br />
pitifully enough, a man who could hit in the dark,<br />
and would stab in the back, using weapons that<br />
were the more deadly because no one of all his<br />
foes but lacked the power to forge any to match<br />
them.<br />
<br />
‘And so we leave Mr. Pope. But not without a<br />
word of gratitude to Thackeray who has<br />
touched his faults so gently and excused his failings<br />
so tenderly, that one’s heart goes out after all to<br />
the poor little cramped self-conscious creature,<br />
recognising in him the most pathetic figure surely<br />
of all these so-called humorists.<br />
<br />
—_—_—_———_——_ +<br />
<br />
<br />
<br />
<br />
+<br />
<br />
POINTS OF VIEW.<br />
<br />
+<br />
<br />
WO articles in the October number of The<br />
Author, both written by authors of distinc-<br />
tion, are very suggestive to readers and<br />
<br />
writers, and their points of view are so divergent,<br />
that it might be worth while to make a few com-<br />
ments on them, which may or not be worth the<br />
attention of the readers of The Author.<br />
<br />
Mr. Harold Begbie, with genuine sympathy and<br />
encouragement for those desirous of invading the<br />
overcrowded fields of literature or journalism,<br />
asserts that “there is not an editor in London<br />
who is not anxiously searching for writers with<br />
something to say.” This stimulating dnd con-<br />
soling statement, addressed to the journalistic<br />
novitiate, would be excellent, if the aspirant<br />
possessed some of the abilities of the distinguished<br />
writer of the “way of journalism.” This supposi-<br />
tion, however, I am afraid, has no foundation in<br />
fact. Mediocrity is more common than brilliancy<br />
or originality. Asarule, then, the “ something to<br />
say” has been said many times before very much<br />
better. Why strive to increase the stodgy, prolix<br />
articles of the hour? Editors are burdened with<br />
them, consequently they plead in vain for pub-<br />
lication.<br />
<br />
There are also other potent reasons why the way<br />
of journalism is barred to all except to those of<br />
exceptional talent. There is always a competent<br />
staff for the work ; the editor may be partial to<br />
names ; if a company controls the journal, the<br />
shareholders, generally contributors, will not have<br />
outside intruders; the gates are jealously guarded<br />
by the interested small capitalist. Sometimes a<br />
proprietor pays the editor a salary to run the<br />
paper, and with the aid of free clippings and<br />
badly paid hackwork, there is no need for<br />
outside contributions. These are all facts<br />
within! my own experience, and it may be wise<br />
to strip the glamour of journalism of some of its<br />
fond illusions, to look at naked truths, in order<br />
that the “ways of journalism” may be seen<br />
as they are and not as glowing pens imagine<br />
them to be.<br />
<br />
It must also be apparent that London’s intel-<br />
lectual world is a strong magnet which draws<br />
hosts of the cultured from the provinces. It is a<br />
modern Athens which attracts and absorbs. It is<br />
therefore the home of fierce literary activities and<br />
competition. Youthful talent flocks to the place<br />
where appreciation and success seem assured. The<br />
Pactolian spring is never dry for the young literary<br />
neophyte. The Oxford graduate who has led<br />
literary debates with a profound knowledge of use-<br />
<br />
less subjects, and cannot cope with the harassing<br />
details of law and medicine, seeks fame and fortune<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 />
<br />
<br />
in literary or journalistic fields. ‘The successful<br />
votary encourages him ; but the aspirant’s pen<br />
often becomes his enemy instead of his friend. He<br />
fights the air and the windmill. His forlorn MSS.<br />
only symbol misdirected thought and wasted<br />
hours. He might easily follow the advice of the<br />
late Grant Allen, and annex a street crossing<br />
instead of circulating MSS. amongst editors for a<br />
livelihood.<br />
<br />
With the spread of culture comes the desire of<br />
expression. Reading encourages thought ; thought<br />
finds its outlet in written words. Every one writes.<br />
The typists are always busy. Editors’ offices are<br />
beleaguered with MSS. Unfortunately economic<br />
laws cannot be displaced ; for the supply of even<br />
available MSS. is greater than the demand. Why<br />
not then give the afflicted editor a rest ? With all<br />
due deference to Mr. Begbie, would it not be<br />
advisable to create a scarcity and dearth of MSS.,<br />
and thus give unrecognised merit its real chance in<br />
the future.<br />
<br />
Whilst Mr. Begbie is preparing editors for<br />
another overwhelming rush of MSS., Miss Mary L.<br />
Pendered, one of those writers who can always<br />
delight and charm, inveighs against the tone and<br />
the lowered literary standard of our journals and<br />
magazines. This lady sweepingly denounces<br />
them. We are told that “they afford a kind<br />
of mental nausea,’ and “are devoted to the<br />
obvious and commonplace,” that their aim is<br />
all to please a class that delights in crude sensation,<br />
intricate plot, and treacly sentiment. In another<br />
place they are called “gaudy and obstreperous<br />
outpourings.”<br />
<br />
I have no desire nor space to attempt to refute<br />
this lady’s criticisms. To read and “inwardly<br />
digest” the numerous magazines is not possible.<br />
Life is short, and there is a limit to human patience;<br />
at the same time, her impressions, doubtless evoked.<br />
by scrutinising study, may not fall far off from the<br />
actual truth. But if the mass of our periodicals ig<br />
destitute of everything that appeals to nature, 91<br />
truth, and literature; if it falls short of that<br />
high standard of merit abounding in American<br />
magazines, as Miss Pendered informs us, why<br />
should Mr. Begbie encourage new writers to<br />
replenish unworthy literature, and give them such<br />
minute directions for their work? Here, then,<br />
is another potent reason for literary novices to desist<br />
writing for the present. Let them, instead, study<br />
the higher literature of the American magazin<br />
and souse their minds with American witticisms,<br />
before attempting to inflict editors with their MSS<br />
Perhaps then they may be able to raise the literary<br />
ideals of the British and improve the critical<br />
judgment of our unfortunate editors.<br />
<br />
TIstporE G. ASCHER.<br />
<br />
<br />
§ HOW IT IS DONE; OR, DO NOT SET AN<br />
’ ALIEN TO CATCH AN ALIEN.<br />
<br />
+<br />
<br />
TYNHE following is not fiction, it is a statement<br />
of facts as they occurred in a provincial<br />
town of more than ordinary importance, a<br />
few weeks ago.<br />
._.@ “Tuppence and threppence a copy; a piano<br />
1. @ given to every purchaser”’; thus cried the alien<br />
_ 9 vendor of pirated music in the market the other<br />
@ Friday. “I presume that there is not much<br />
4 demand for this stuff,’ said the man at the next<br />
stall, pointing to the music.<br />
“T can sell on a poor day,” replied the alien,<br />
“about one hundred copies.”<br />
YS “ About half of the takings of which I presume<br />
~<"@ is profit ?”<br />
<br />
“«My man,” said the music vendor, tapping his<br />
questioner upon the shoulder, “ when I have taken<br />
thirteen shillings, nine of it is profit.”<br />
ae “Tucky fellow! lucky fellow! But why do you<br />
“"@ charge threepence for some, and twopence for<br />
others?”<br />
<br />
“Because some people prefer to pay the larger<br />
> amount.”<br />
<br />
‘ “You pay the same price for them all?”<br />
<br />
“What do you think !”<br />
<br />
At, this point the attention of the stallholders<br />
‘) was drawn to a man who stood some distance from<br />
7°) the music stall, with his eyes first upon the music<br />
} and then upon the stallholder. “The publishers’<br />
() man,” was whispered from one stallholder to<br />
' another. “Will he seize his stock ?.” inquired a<br />
_ postman of a fruiterer.<br />
<br />
“What do you think ?” was the reply.<br />
catch a Jew! Never!”<br />
<br />
“Do you mean that the vendor will give him the<br />
slip?”<br />
<br />
“TI mean, young man, that the fellow selling<br />
¥* music will get the tip to clear out.”<br />
<br />
*~ _ Two hours passed, during which a brisk trade was<br />
© done by the Jew in pirated music. At twelve<br />
» @clock a young man, an Englishman forsooth !<br />
” of respectable appearance, pitched his stall, and<br />
© arranged a quantity of pirated music. No sooner<br />
<br />
w had he displayed his stock, than the publishers’<br />
# Man, with a policeman, advanced and seized<br />
#) the entire lot. While this was in process the<br />
_ dew calmly packed his took<br />
departure.<br />
<br />
The following day, Saturday, at the principal<br />
© Market of the town, the Jew was there doing a<br />
| Yoaring trade. The Englishman was there also, but<br />
» he was going from stall to stall to see if anyone<br />
_ Wanted an assistant.<br />
<br />
Sia er eS<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
«A Jew<br />
<br />
<br />
<br />
<br />
<br />
<br />
bag, and his<br />
<br />
<br />
<br />
dy DL, B.<br />
<br />
<br />
<br />
THE AUTHOR. 63<br />
<br />
THE ART AND CRAFT OF THE<br />
AUTHOR.<br />
<br />
<br />
<br />
N unpretentious little work entitled “The<br />
A Art and Craft of the Author,” by ©. E,<br />
Heisch, has been published by Mr. Elliot<br />
Stock. It was with some diffidence that we opened<br />
its pages. So many books have been written on<br />
similar subjects, “‘How to become Authors,”<br />
“How to Publish,” “How to do this,” “ How to<br />
do that,” and many of them so hopelessly bad ;<br />
our diffidence was in no wise allayed when we saw<br />
the Preface commence with the ominous words,<br />
‘* Most books are bad and ought not to have been<br />
written.” Did the remark apply in this case, and<br />
was Schopenhauer’s utterly truthful assertion<br />
going to be verified. On deeper investigation the<br />
pessimistic philosopher’s dictum appeared not to<br />
be altogether applicable.<br />
<br />
The book is divided into fifteen chapters. The<br />
headings of some of these will indicate sufficiently<br />
the scope and direction of the work. Chapter L.,<br />
Education and Training; Chapter II., Choice of<br />
Subject ; Chapter III., Handling of Materials ;<br />
Chapters VIII,, IX., X., on Style ; Chapters XII.<br />
and XIII, Originality and Inspiration.<br />
<br />
The matter, therefore, does not touch the method<br />
of marketing the literary commodities, the technical<br />
side, but endeavours to explain the inward and<br />
spiritual grace necessary to produce the outward<br />
and visible sign.<br />
<br />
It is not teeming with originality and inspiration,<br />
and most of its best sayings are in the form of<br />
quotations, from Josef Joubert, Emerson, Carlyle,<br />
Schopenhauer, and others.<br />
<br />
The student author, after careful reading, will<br />
not be carried away by enthusiasm, nor will he<br />
sink in the depths of despair. But on the other<br />
hand he may find in some of the statements food for<br />
quiet meditation. Take for instance the following<br />
from Schopenhauer: ‘‘ He compares the mind of<br />
the author to a mirror, which reflects every object<br />
which passes before it; but once within the mirror<br />
the objects change their positions, form fresh<br />
combinations, and enter upon new relations.”<br />
<br />
This is a fair simile of the process of selection<br />
going on in the mind of the artist who aims at<br />
originality. For the power of selection is one of<br />
the attributes of all great artists.<br />
<br />
As an introduction to the deeper study of the<br />
subject the book will afford pleasant reading to<br />
those who are thinking of interesting themselves<br />
in the pursuit of literature.<br />
<br />
—_——_+—>—_+__——_-<br />
<br />
<br />
CORRESPONDENCE.<br />
<br />
a<br />
<br />
A Missine VOLUME.<br />
<br />
Str,—I desire to enlist the friendly services of<br />
fellow-members in an endeavour to trace the third<br />
volume of an old novel entitled “ Rebecca ; or the<br />
Victim of Duplicity,” published close upon a century<br />
ago. Also to try and discover who was the author<br />
or authoress of the book. It was printed at<br />
Uttoxeter, in Staffordshire, “by R. Richards and<br />
sold by Lackington, Allen & Co., London, 1808.”<br />
This much is chronicled ; but nothing is said as<br />
to authorship. In April, 1904, two volumes only<br />
of “ Rebecca” were picked up by Mr. Edward 8.<br />
Dodgson from a second-hand book trough on the<br />
quais of Paris. He paid 10 centimes for his find,<br />
and presented it to the library of the Sorbonne.<br />
<br />
Tt is a curious fact that two novels of the same<br />
title were produced within a few years of each<br />
other. There is also some confusion as well as<br />
mystery surrounding their identification and form<br />
of issue. But there can be very little doubt that a<br />
third volume of this particular “ Rebecca” was<br />
published. Who will help to secure a complete set<br />
thereof? Some people think the work was written<br />
by a Mrs. Holbrook, who was responsible for other<br />
stories about the period mentioned. But no one<br />
is quite sure, though local history has been exten-<br />
sively tapped. Hence this inquiry, and my appeal<br />
for assistance in order that the quarry may be run<br />
<br />
to earth. CECIL CLARKE.<br />
Authors’ Club, 8.W.<br />
a<br />
Srr,—Would any of your readers, who are like-<br />
wise writers, care to submit a short list of reference<br />
books, &c., necessary to the literary stock-in-trade<br />
of a would-be author or journalist ? Such books<br />
as Roget’s “Thesaurus,” Bartlett’s “ Dictionary<br />
of Quotations,” Brewer's “ Reader’s Handbooks,”<br />
&e., excluding an encyclopedia, which might be<br />
beyond the means of some. Just a few essential<br />
volumes to form a “travelling library,” which can<br />
be bought at a moderate cost.<br />
Yours faithfully,<br />
A Srrueetine LirriraTEUR.<br />
Stonehouse, Glos.<br />
<br />
—_+-—<+—_<br />
<br />
Srr,—I should like to correct a printer’s error<br />
in my article, ‘‘ Wanted,” last month, when Van<br />
Bibber appeared as Van Bidder.<br />
<br />
Yours,<br />
Mary L. PENDERED.<br />
<br />
<br />
<br />
A New Way.<br />
<br />
Srr,—As The Author has done so much in<br />
protecting the interests of writers, | make a point<br />
<br />
THE AUTHOR.<br />
<br />
of sending to you, as a warning to others, notes of<br />
<br />
any “sharp practice” to which I myself have been ~<br />
<br />
subject.<br />
<br />
Some months ago T sent to a technical journal<br />
for review a copy of a new edition of one of my<br />
books, of which they were good enough to give me<br />
a very flattering notice. A few weeks ago, quite<br />
by accident, I picked up a copy of this paper and<br />
was astonished to find they had taken, without any<br />
acknowledgment, no less than forty-five lines from<br />
the book, and by writing a new head and tail piece<br />
had passed it on as original advice to a correspon-<br />
dent. I have no objection to my matter being<br />
used when suitably acknowledged, but I strongly<br />
object to this wholesale “lifting.” The paper has<br />
since acknowledged the source from which they<br />
obtained their “cheap copy,” but I have not yet<br />
decided whether to sue them for infringement or<br />
not. I think I ought to, as I believe this sort of<br />
thing is often done and never found out. Possibly<br />
the editor thinks he is entitled to a guid pro quo<br />
for his friendly notice.<br />
<br />
Yours faithfully,<br />
<br />
M. Powis-Baus, M.Inst.C..<br />
<br />
<br />
<br />
Wantep, A REFERENCE !<br />
SrIrR,—<br />
<br />
“ Cumque superba foret Babylon spolianda tropes,<br />
Bella geri placuit nullos habitura triumphos.”<br />
<br />
Could any reader of Zhe Author be 80 kind as to<br />
supply me with the reference to these two lines,<br />
and a little of the context ?<br />
<br />
Yours obediently,<br />
J. M. Ley.<br />
<br />
—<br />
<br />
MaGazIneE EDITORS.<br />
<br />
Srr,—Few editorial sins are more annoying to<br />
magazine writers than the practice of making<br />
arbitrary excisions subsequent to the correction<br />
of proof ; the whole tone of an article may thus<br />
be changed, or, in the case of a story, all logical<br />
sequence destroyed, and the pith of the matter<br />
omitted. An editor who purchases the serial<br />
rights of any MS. is indeed, nominally, not at<br />
liberty to tamper with it, yet redress for sup-<br />
pression is almost impossible to obtain, and in any<br />
case would be of little value to the author after<br />
the appearance in print of his or her signature to<br />
a mutilated production. In order to avoid this<br />
unpleasant experience, I would suggest that writers<br />
should accept an editor’s terms subject to their MS<br />
being published “ without excision.” 2<br />
<br />
A SUFFERER. | https://historysoa.com/files/original/5/510/1905-11-01-The-Author-16-2.pdf | publications, The Author |
511 | https://historysoa.com/items/show/511 | The Author, Vol. 16 Issue 03 (December 1905) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+03+%28December+1905%29"><em>The Author</em>, Vol. 16 Issue 03 (December 1905)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1905-12-01-The-Author-16-3 | | | | | 65–96 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1905-12-01">1905-12-01</a> | | | | | | | 3 | | | 19051201 | Che Mutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. X VI.—No. 3.<br />
<br />
DECEMBER<br />
<br />
Ist, 1905. [Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
—__¢—<—e___<br />
<br />
NOTICES.<br />
<br />
— + <4<br />
<br />
OR the opinions expressed in papers that are<br />
K signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
++<br />
<br />
List of Members.<br />
<br />
Tue List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
—_—<——_<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tuer Trustees of the Pension Fund met at the<br />
Society’s Offices in April, 1905, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. ‘They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
<br />
VoL, XVI.<br />
<br />
<br />
<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
This is a statement of the actual stock; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Congols 25 6 ee £1000 0 0<br />
Toca ioans 2.3.2.6... ees 500 0 0<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
Wear Loan... 201 9° 3<br />
London and North Western 3 % Deben-<br />
ture SlOGK 3.2.21. se 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates . : ~ 200 0 0<br />
Wl £2,443 9 2<br />
Subscriptions, 1905. £ sod:<br />
Jan. 12, Anonymous . : : : 2 6<br />
June 16, Teignmouth-Shore, the Rev.<br />
Canon. : TO<br />
<br />
July 13, Dunsany, the ‘Right Hon. the<br />
<br />
Lord . ; : 0 5 0<br />
Oct. 12, Halford, F. M. 0:5 0<br />
<br />
», Lhorbum, W. M. 010 O<br />
Nov. 9, “ Francis Daveen ” 0 5 0<br />
<br />
» >», Adair, Joseph 11 20<br />
<br />
,, 21, Thurston, Mrs. t 10<br />
<br />
Donations, 1905.<br />
<br />
Jan. Middlemas, Miss Jean 010 0<br />
Jan. Bolton, Miss Anna 0 5 0<br />
Jan. 24, Barry, Miss Fanny. 0O- bp 0<br />
Jan. 27, Bencke, Albert : 0 9 0<br />
Jan. 28, Harcourt-Roe, Mrs. 010 O<br />
Feb. 18, French-Sheldon, Mrs. 010 U0<br />
Feb. 21, Lyall, Sir Alfred, P.C. t 0.0<br />
Mar. 28, Kirmse, Mrs. 010 0<br />
April19, Hornung, HE. W. . ; ao 0<br />
May 7, Wynne, 0. Whitworth . 5 0 0<br />
May 16, Alsing, Mrs. J. E. : GO 5 0<br />
May 17, Anonymous . ; 1 1 0<br />
June 6, Drummond, Hamilton § 8 0<br />
<br />
<br />
66<br />
<br />
July 28, Potter, the Rev. J. Hasluck 0<br />
Oct. 12, Allen, W. Bird 0<br />
Oct. 17, A. C. N. : : : 1<br />
Oct. 17, Hawtrey, Miss Valentina 0<br />
Oct. 31, Williamson, C. No : pel<br />
1<br />
1<br />
0<br />
f<br />
<br />
oon<br />
<br />
Oct. 31, Williamson, Mrs. .<br />
Nov. 6, Reynolds, Mrs. Fred.<br />
Nov. 9, Wingfield, H.<br />
<br />
Noy. 17, Nash, T. A.<br />
<br />
_<br />
HOHRHRH Oo<br />
onoocoooo°e<br />
<br />
—_——————_1——_ + _<br />
<br />
COMMITTEE NOTES.<br />
<br />
—_-—<br />
<br />
N the sixth of last month, at four o’clock, at<br />
39, Old Queen Street, S.W., the committee<br />
met together for the November meeting.<br />
<br />
They have much pleasure in reporting a very<br />
large election, numbering thirty-three members and<br />
associates, and bringing the total for the current<br />
year up to two hundred and twenty-six— within<br />
seven of the number elected during 1904. It is<br />
hoped, therefore, that, with the December elections<br />
still to be added, the number may exceed that of<br />
1904, which was an exceptional year. The com-<br />
mittee are exceedingly pleased with the support<br />
that is increasingly given to the society and its<br />
work by the greater number of those who are<br />
engaged in the profession of writing ; but they<br />
will not be content until all writers of every<br />
denomination are included in its ranks.<br />
<br />
On the proposal of Mr. Austin Dobson, seconded<br />
by Mr. A. Hope Hawkins, Mrs. Maxwell (Miss<br />
M. E. Braddon) was elected to the Council<br />
of the Society. There is no need to discuss<br />
Miss Braddon’s title to such a position. The<br />
length and distinction of her literary career entitle<br />
her to the greatest honour which it is possible for<br />
the society to convey.<br />
<br />
After the committee had dealt with the elections,<br />
they proceeded to consider one or two cases which<br />
the secretary had placed before them.<br />
<br />
He reported that the case referring to the ex-<br />
clusive right in the use of a nom de plume had<br />
been satisfactorily settled. The infringer had<br />
withdrawn the name when his attention had been<br />
called to the matter. In another column counsel’s<br />
opinion is printed in full.<br />
<br />
The committee decided, in another case, where<br />
an author's rights had been infringed in Norway,<br />
to obtain the opinion of a Norwegian lawyer as to<br />
the exact position under the law of that country,<br />
and if such opinion favoured the author’s conten-<br />
tion, to carry the matter through the Norwegian<br />
Courts if necessary. The society is now engaged<br />
<br />
in cases in France, Germany and Norway, and it is<br />
<br />
THE AUTHOR.<br />
<br />
hoped that the result may be satisfactory in all<br />
these countries, and contribute to the respect of<br />
International Copyright.<br />
<br />
A dispute which had arisen between an author<br />
and an agent was carefully discussed, and finally,<br />
as the opinion of the society’s solicitors was<br />
opposed to the legal contention put forward by the<br />
member, the committee decided they could not<br />
take the case any further.<br />
<br />
The report of the sub-committee on copyright<br />
which had met previously, dealing with the question<br />
of the United States Copyright Law, was submitted<br />
to the committee, who decided to adopt the<br />
suggestions put before them. The committee<br />
regret they cannot, at the moment, give further<br />
details on this point.<br />
<br />
The secretary reported that he had heard from<br />
the Foreign Office with regard to Egypt and the<br />
Berne Convention, and that the matter the society<br />
had put forward would have Lord Lansdowne’s<br />
serious consideration.<br />
<br />
——<br />
<br />
Cases.<br />
<br />
Stncr the last issue there have been in the<br />
secretary's hands nine fresh cases. In four of<br />
these the return of MSS. was claimed. Two<br />
have already been successful. The demands of the<br />
secretary have been complied with, and the MSS.<br />
returned. The other two cases have come into the<br />
secretary’s hands so recently that insufficient time<br />
has elapsed to bring about the settlement. Money<br />
due under contracts has been withheld from two of<br />
our members. In one case the money has been<br />
paid and forwarded to the author, and it is hoped<br />
that the other case may be satisfactorily terminated,<br />
though there is a possibility that the magazine may<br />
go into bankruptcy. Of three cases for accounts<br />
one has been settled. In the remaining two no<br />
answer has yet been received from the offenders.<br />
One publisher has been notoriously careless in<br />
answering letters, but the society has on former<br />
occasions been finally successful, and, no doubt,<br />
finally, will be successful in the present instance.<br />
In the other case the demand is recent.<br />
<br />
With the exception of one case in the United<br />
States, all the cases that were open when the last<br />
number of Zhe Author was issued have been<br />
settled.<br />
<br />
None of the cases in the hands of the society's<br />
solicitors, either at home or abroad, have come on<br />
for trial during the past month. The results will<br />
be duly notified in Zhe Author.<br />
<br />
><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
November<br />
<br />
Adair, Joseph. :<br />
<br />
Anderson, Sir Robert,<br />
K.C.B<br />
<br />
Armour, Miss Frances J.<br />
<br />
Artus, A. Lancelot :<br />
<br />
Baker, Miss B. A. ;<br />
<br />
_Aiatchford, Robert ;<br />
<br />
‘sy,<br />
<br />
Bryden, H. A...<br />
Colomb, George, F.S.A.<br />
Deane, Miss Mary :<br />
<br />
“Francis Daveen”’ :<br />
Hall, Leonard . :<br />
<br />
Hichens, Robert . :<br />
<br />
Lacy, F. St.<br />
A.R.A.M.<br />
<br />
John,<br />
<br />
- Lodge, Sir Oliver, F.R.S.<br />
<br />
Ludlow, Frederick (Fred.<br />
Ludlow)<br />
<br />
Maxwell, Mrs. (“«M. E.<br />
<br />
Braddon ”’)<br />
Moller, Fraulein Clara .<br />
<br />
Nash, Thomas A. . ;<br />
<br />
Ridge, W. Pett .<br />
Robins, Miss Elizabeth<br />
<br />
“ Samuel George ” :<br />
<br />
Snaith, J. C. : :<br />
Sharp, Cecil J... .<br />
<br />
Stephen, Miss A.G.<br />
Thonger, Miss M. Ellen<br />
<br />
Thurston, Mrs. . :<br />
<br />
Waddell, Lieut. - Col.<br />
L. A., C.B.<br />
<br />
Whyte, Wolmer .<br />
<br />
Wingfield, Herbert :<br />
Wingate, A. K. P. :<br />
Winchilsea and Notting-<br />
<br />
ham, The Countess of<br />
<br />
Two of those elected do not desire either their<br />
names or addresses to be printed.<br />
<br />
THE AUTHOR.<br />
<br />
Elections.<br />
Gill Foot, Egremont,<br />
Cumberland.<br />
<br />
39, Linden Gardens, W.<br />
<br />
Blea Beck, Worcester.<br />
<br />
11, Emperor’s Gate, S.W.<br />
<br />
16, Alexander Square,<br />
S.W.<br />
<br />
42, Deronda Road,<br />
Herne Hill, 8.E.<br />
<br />
Down View, Gore Park<br />
Road, Eastbourne.<br />
<br />
Junior United Service<br />
Club, 8.W.<br />
Hartley, Bourton- -on-<br />
<br />
the-Water, Glos.<br />
<br />
121, St. James’ Street,<br />
Brighton.<br />
<br />
St. Stephen’s, near<br />
Canterbury.<br />
<br />
Savage Club, Adelphi<br />
Terrace, W.C.<br />
<br />
Mariemont, Birming-<br />
ham. ;<br />
<br />
9, Laxey Road, Horfield,<br />
Bristol.<br />
<br />
Taubenstrasse 38, Sch-<br />
werin i. M., Germany.<br />
<br />
60, Elm Park Gardens,<br />
S.W.<br />
<br />
Garrick Club, W.C.<br />
<br />
24, Iverna Gardens,<br />
Kensington, W.<br />
<br />
West Bridgford, Not-<br />
tingham<br />
<br />
183, Adelaide Road,<br />
N.W.<br />
<br />
Peniarth, Dorking.<br />
<br />
19, Cavendish Road,<br />
Leeds.<br />
<br />
20, Victoria<br />
Kensington, W.<br />
<br />
61, Lissenden Mansions,<br />
Highgate Road, N.W.<br />
<br />
34, Chapter Road, Wil-<br />
lesden Green.<br />
<br />
64, Cannon Street, E.C.<br />
<br />
Underwood, Crieff, N.B.<br />
<br />
Harlech, Merioneth.<br />
<br />
Road,<br />
<br />
67<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
+<br />
<br />
Cin the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
ANTHROPOLOGY.<br />
THE SECRET OF THE TOTEM. By ANDREWLANG. 9 x 6.<br />
215 pp. Longmans. 10s. 6d.n.<br />
ARCH AZOLOGY.<br />
THE CLYDE Mystery. By ANDREW LANG. 7? x 51.<br />
141 pp. MacLehose. 4s. 6d. n.<br />
ART.<br />
<br />
THE TEMPLE OF ART. A Plea for the Higher Realisation<br />
of the Artistic Vocation. By E. NEWLAND SMITH.<br />
Second Edition. Revised and enlarged. 7? x 54. 151 pp.<br />
Paignton: The Order of the Golden Age. 3s. 6d. n.<br />
<br />
ARUNDEL CLUB PUBLICATIONS, 1905. 164 < 12. Robert<br />
Ross, Hon. Secretary, 10, Sheffield Gardens, Kensington,<br />
W.<br />
<br />
PETER PAUL RUBENS.<br />
Great Masters in Painting and Sculpture.<br />
138 pp. Bell. 5s. n.<br />
<br />
BIOGRAPHY.<br />
WILHELMINA, MARGRAVINE OF BAIREUTH. By EDITH<br />
<br />
By Hore REA. Bell’s Series of<br />
8 x of<br />
<br />
E. CUTHELL. 9 x 6. 293 and 411 pp. Chapman<br />
& Hall. 21s. n.<br />
<br />
MASTER WORKERS. By HAROLD BEGBIE. 9 x 5}. 306<br />
pp. Metheun. 7s, 6d. n..<br />
<br />
KATE GREENAWAY. By M. H. SPIELMANN and G. 8.<br />
LAYARD, 9.x 6%. 301 pp. Black. 20s. n.<br />
<br />
ALMOND OF LORETTO. Being the Life and a Selection<br />
from the Letters of Hely Hutchinson Almond. By R. J.<br />
MACKENZIE. 8% x 54. 408pp. Constable. 12s. 6d.n.<br />
<br />
THE ROMANCE OF WoMAN’S INFLUENCE. By ALICE<br />
CoRKRAN. 73 x 5}. 377 pp. Blackie. 6s.<br />
<br />
Mrs. FITZHERBERT AND GEORGEIV. 2 Vols. By W. H.<br />
<br />
WILKINS. 9 x 6%. 350 and 340 pp. Longmans. 36s.<br />
CAPTAIN JOHN SmitH. By A. G. BRADLEY (English Men<br />
of Action). 72 x 54. 226 pp. Macmillan. 2s. 6d.<br />
IN THE SIXTIES AND SEVENTIES. Impressions of Literary<br />
People and Others. By LAuRA HAIN FRISWELL.<br />
<br />
9 x 53. 331 pp. Hutchinson. 16s. n.<br />
<br />
BOOKS FOR THE YOUNG.<br />
THE STOWAWAY’S Quest. By Henry CHARLES MOORE.<br />
<br />
72 x 5}. 248 pp. Pitman. 5s.<br />
A Kyicut oF Sr. Joun. A Tale of the Siege of Malta.<br />
<br />
By Captain F. S. Brereton. 7% X 53. 384 pp.<br />
Blackie. 6s.<br />
Sir Toapy Crusor. By S. R. CROCKETT. 8} X 6}.<br />
406 pp. Wells Gardner. 6s.<br />
His Most Dear LADYE. By BEATRICE MARSHALL.<br />
72 x 54. 317 pp. Seeley. 5s.<br />
<br />
How THINGS Went WronG. By RAYMOND JACBERNS.<br />
<br />
243 pp. Wells Gardner. 2s. 6d.<br />
<br />
OLD FASHIONED TALES. Selected by E,. V. LUCAS.<br />
84 x 6. 390 pp. Wells Gardner. 63,<br />
<br />
Rounp THE WorLD. By <A. R. Hops. 10} X 8.<br />
Blackie. Is.<br />
<br />
A SoupIER oF JAPAN. By Capt. F. S. BRERETON,.<br />
74 x 5. 350 pp. Blackie. 5s.<br />
<br />
<br />
<br />
<br />
68<br />
<br />
Mr. PuNcH’s CHILDREN’S BOOK. Edited. by E. V.<br />
<br />
Lucas. 93 x 8}. Punch Office.<br />
<br />
Tur LITTLE ONE'S Book or BiBLE STORIES. By Mrs,<br />
L. HASKELL. 103 x 7}. Blackie. 2s. 6d.<br />
<br />
Micky. By EVELYN SHARP. 7} x 9. 240 pp. Mac-<br />
millan. 4s.<br />
<br />
THe LAY OF THE WEE BROWN WREN. By H. W.<br />
SHEPHEARD WALWYN. 9% x 7}. 43 pp. Longmans.<br />
2s. 6d.<br />
<br />
FAMOUS BRITISH ADMIRALS. By ALBERT LEE. 8} x 5h.<br />
<br />
360 pp. Melrose. 6s.<br />
<br />
TENDER AND TRUE. By L. E. TIDDEMAN. 8 x 54.<br />
361 pp. Religious Tract Society. 3s. 6d.<br />
<br />
Tus WizaRDS or RyErown. A Fairy Tale. By A,<br />
CoNSTANCE SMEDLEY and L. A. TALBOT. 7% X 5.<br />
<br />
265 pp. Hurst & Blackett. 5s.<br />
<br />
DRAMA.<br />
WHITEWASHING JuLIA. By HENRY ARTHUR JONES.<br />
<br />
63 x 44. 136 pp. Macmillan. 2s. 6d.<br />
King WILLIAM THE First. By ARTHUR DILLON.<br />
245 pp. Elkin Mathews. 4s. 6d.<br />
ENGINEERING.<br />
TRANSACTIONS OF THE CIVIL AND MECHANICAL<br />
<br />
ENGINEERS’ SOCIETY. 46th Session, 1904-5. Edited<br />
by A. S. E. ACKERMANN. 8} x 53. 111 pp. Published<br />
by the Society.<br />
<br />
FICTION.<br />
<br />
THE TUNNEL Mystery. By A. W. 4 BECKETT. Geo.<br />
Routledge & Sons, Ltd. 6d. :<br />
<br />
Tue DIFFICULT WAY. By MABEL DEARMER. 7} x 5.<br />
324 pp. Smith, Elder. 6s.<br />
<br />
Witp WueEat. A Dorset Romance. By M. EH. FRANCIS.<br />
<br />
8 x 54. 291 pp. Longmans.<br />
<br />
FRENCH NAN. By AGNES and EGERTON CASTLE.<br />
72 x 5. 216 pp. Smith, Elder. 6s.<br />
<br />
THE UnKNowN Deprus. By Euiior O'DONNELL.<br />
<br />
7k x 5. 315 pp. Greening. 6s.<br />
<br />
THE PRoFESSOR'’S LEGACY. By Mrs, ALFRED SEDGWICK.<br />
72 x 5. 320 pp. Arnold. 63.<br />
<br />
THE Man From America. By Mrs. HENRY DE LA<br />
PASTURE. 74 x 5. 343 pp. Smith, Elder. 6s.<br />
<br />
THE MAKING OF MICHAEL. By Mrs. FRED REYNOLDS.<br />
73 x 5. 310 pp. Allen. 6s.<br />
<br />
JAcoB AND JOHN. By WALTER RAYMOND.<br />
430 pp. Hodder & Stoughton. 6s.<br />
<br />
A SECRET OF LesomBo. By BERTRAM MITFORD.<br />
7% x 54. 300 pp. Hurst & Blackett. 6s.<br />
<br />
THe CHERRY RIBAND. By 8S. R. CROCKETT. 8 x 5.<br />
410 pp. Hodder & Stoughton.<br />
<br />
THE FLAMING SworD. BySinasK.Hockine. 7} x 53.<br />
440 pp. Warne. 33s. 6d.<br />
<br />
‘ue HORNED Own. By W. BouRNE CooKE. 7} x 4.<br />
380 pp. Drane. 6s.<br />
Rep Porracr. By Mary CHOLMONDELEY. New and<br />
cheaper edition. 73 x 5. 374 pp. Arnold. 2s. 6d.<br />
Tur TRAVELLING THIRDS. By GERTRUDE ATHERTON.<br />
74 x 5. 295 pp. Harper. 6s,<br />
<br />
A LAME Doq’s Diary. By S. MACNAUGHTAN.<br />
253 pp. Heinemann. 6s.<br />
<br />
SOPRANO. By F. MARION CRAWFORD. 7} X 5}. 386 pp.<br />
Macmillan. 6s.<br />
<br />
Dick PENTREATH. By KATHERINE TYNAN.<br />
344 pp. Smith, Elder, 6s.<br />
<br />
THE CLEANSING OF THE ‘“ LORDS.”<br />
7% x 54. 303 pp. White. 6s.<br />
<br />
A MAN FROM THE SHIRES. By Mrs. JoHN TAYLOR.<br />
7h x 5. 299pp. Gay & Bird. 6s.<br />
<br />
Wuo was Lapy THUME? By FLORENCE WARDEN.<br />
72 x 6. 320 pp. John Long. 6s.<br />
<br />
72 x O54.<br />
<br />
72% x 5.<br />
<br />
7k xX 5.<br />
<br />
By H. WINTLE.<br />
<br />
THE AUTHOR.<br />
<br />
Cuirr’s END FARM AND OTHER STORIES. By FLORENCE<br />
<br />
WARDEN. 72 x 5. 318 pp. White. 6s.<br />
Car Taues. By W. L. ALDEN. Illustrated by Louis<br />
Wain. 73 x 5. 303 pp. Digby Long. 6s.<br />
<br />
HISTORY.<br />
<br />
BuURFORD PAPERS. Being Letters of Samuel Crisp to his<br />
Sister at Burford; and other Studies of a Century,<br />
1745—1845. By W. H. Hutton, B.D., Fellow and<br />
Tutor of St. John Baptist College. 9 x 6. 336 pp.<br />
Constable. 7s. 6d, n.<br />
<br />
SOUTHERN ITALY AND SICILY AND THE RULERS OF THE<br />
SoutH. By F. Marion CrAwForp. (New Edition in<br />
One Volume). 8 X 5}. 411 pp. Macmillan. 8s. 6d. n.<br />
<br />
STUDIES FROM COURT AND CLOISTER. By J. M. STONE.<br />
9 x 53. 379 pp. Sands. 12s. 6d. n.<br />
<br />
LITERARY.<br />
<br />
Tue Day Book oF CLAUDIUS CLEAR. By W. ROBERT-<br />
SON eae 8 x 51. 351 pp. Hodder & Stoughton.<br />
3s. 6d.<br />
<br />
Dip SHAKESPEARE WRITE “TITUS ANDRONICUS?” By<br />
J. M. RoBERTSON. 8 X 54. 255 pp. Watts. 5s. n.<br />
ON TEN PLAYS oF SHAKESPEARE. By STOPFORD A.<br />
<br />
BRooKE. 9 Xx 5. 311 pp.- Constable. 7s. 6d.n.<br />
<br />
THE New RAMBLER. From Desk to Platform. By Sir<br />
LEWIS Morris. 8 x 5}. 327 pp. Longmans. 6s. 6d.n.<br />
<br />
A BEGGAR'S WALLET. Edited by ARCHIBALD STODDART<br />
<br />
WALKER. 10 x 74. 291 pp. Edinburgh and London:<br />
Dobson, Molle.<br />
8} x 5}.<br />
<br />
EDITORIAL WILD OATS.<br />
84 pp. Harper. 2s. n.<br />
<br />
In THE NAME OF THE BODLEIAN AND OTHER ESSAYS.<br />
By AUGUSTINE BIRRELL. 8} X 6. 214 pp. Stock.<br />
58. D.<br />
<br />
THE FRIENDLY TowN. 377 pp. THE OPEN Roap. (New<br />
and Enlarged Edition.) 369 pp. Compiled by EK. V.<br />
Lucas. 7 x 44. Methuen. 5s. each.<br />
<br />
By Mark TWAIN.<br />
<br />
MEDICAL.<br />
<br />
MEDICINE AND THE Pusnic. By S. SQUIRE SPRIGGE,<br />
M.D. 72x 51. 293 pp. Heinemann. 63.<br />
<br />
Tue Foop FactoR IN Disease. By FRANCIS HARE,<br />
M.D. 2 Vols. 8% x 5}. 497 and 535 pp. Longmans,<br />
30s. n.<br />
<br />
Wat Foops Frep Us. By EusTacE MILES. 7} x 43.<br />
93 pp. Newnes. 1s. n. %<br />
<br />
MUSIC,<br />
<br />
Tur CoMPLETE COLLECTION oF IRIsH Music AS<br />
Norep BY GEORGE PxrrtE, LL.D. (1789-1866).<br />
Edited from the original manuscripts by C. VILLIERS<br />
STANFORD. 11 x 73. 397 pp. Boosey.<br />
<br />
NATURAL HISTORY.<br />
<br />
Narure’s Nursery, or Children of the Wilds. By<br />
H. W. SHEPHEARD WALWYN, F.R.Met.Soc., F.Z.8., &e,<br />
7} x 5. 352 pp. Hutchinson. 6s.<br />
<br />
ORIENTAL.<br />
<br />
INDIAN PortRY. Selections rendered into English Verse.<br />
By Romesa Durr, C.F.E. (The Temple Classics).<br />
6x 4. 163 pp. Dent. 1s, 6d. n.<br />
<br />
PAMPHLETS.<br />
<br />
Tye RISE OF THE PAROCHIAL SYSTEM IN ENGLAND.<br />
By the Rev. 0. J. RnicHEL. Exeter: Pollard. 6d.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
POETRY.<br />
NEBULA TO MAN. By Henry R. KNIPE. 12 x 9.<br />
251 pp. Dent. 21s. n.<br />
<br />
By C. WHITWORTH WYNNE.<br />
Kegan Paul. 7s. 6d. n.<br />
By EDEN PHILLPOTTS.<br />
Methuen. 5s, n.<br />
<br />
PoEMS AND PLAYS.<br />
84 x 54. 410 pp.<br />
Up-ALONG AND DOWN-ALONG.<br />
<br />
103 x 7%. 16 pp. 8 Illustrations,<br />
<br />
POLITICAL.<br />
THE FUTURE PEACE OF THE ANGLO-SAxons. By Major<br />
STEWART L. Murray. 8} x 6. 128 pp. Watts. 6d.<br />
A TROPICAL DEPENDENCY. An Outline of the Ancient<br />
History of the Western Soudan, with an Account of the<br />
Modern Settlement of Northern Nigeria. By Fiora L.<br />
<br />
SHAW (Lady Lugard). 10 x 6%. 500 pp. Nisbet.<br />
18s, n.<br />
REPRINTS.<br />
<br />
THE LETTERS OF HORACE WALPOLE. By Mrs, PAGET<br />
TOYNBEE. In 16 Vols. Vols. 13—15. 9 x 6. 447,<br />
448, and 456 pp. Oxford: Clarendon Press. London:<br />
Frowde. £4 n. the set.<br />
<br />
SOCIOLOGY.<br />
POVERTY AND HEREDITARY GENIUS. By F.C. CONSTABLE.<br />
$x 5. 139 pp. Fifield. 2s. n.<br />
<br />
IN THE GooD OLD Times. A Review of the Social,<br />
Industrial, and Moral Life of England during the<br />
last Century and a-Half. By J. C. WRIGHT. 9 x 53.<br />
366 pp. Elliot Stock. 6s. n.<br />
<br />
A HIsTORY OF ENGLISH PHILANTHROPY. By B. KIRKMAN<br />
GRAY. 82 x 5}. 302 pp. P.S8. King. 7s. 6d. n.<br />
<br />
SPORT.<br />
THE SALT OF My Lire. By F. G. AFLALO. 84 x 54.<br />
277 pp. Pitman. 7s. 6d. n.<br />
THEOLOGY.<br />
THE EVANGELIST MontHuy. Vol. for 1905. Edited by<br />
the Rev. A. WHYMPERand FLORENCE MOORE. 9? X 7}.<br />
<br />
284 pp. Bemrose. 2s.<br />
<br />
THE GRACE OF EPISCOPACY, AND OTHER SERMONS. By<br />
H. C. BEECHING, D.Litt. 74 x 5. 254 pp. Nisbet.<br />
3s. 6d. n.<br />
<br />
JESUS OF NAZARETH. By EDWARD CLODD. 8% x 6.<br />
119 pp. Watts. 6d.<br />
<br />
TOPOGRAPHY.<br />
In THE MARCH AND BORDERLAND OF WALES. By A. G.<br />
BRADLEY. With Sketches of the Country. By W. M.<br />
MEREDITH. 93 x 6}. 430 pp. Constable. 10s. 6d. n.<br />
<br />
TRAVEL.<br />
IypIa oF To-pay. By WaLreR DEL Mar. 8} x 5.<br />
288 pp. Black. 6s. n.<br />
Iv THE TRACK OF THE Moors. By SYBIL FITZGERALD.<br />
104 x 74. 204 pp. Dent. 21s. n.<br />
THE ITALIAN LAKES DESCRIBED. By RICHARD BAGOT.<br />
Painted by Ella du Cane. 9 x 64. 201 pp. Black.<br />
<br />
208. n.<br />
A Boon OF THE RIVIERA. By S. BARING GOULD.<br />
7% x 51, 320 pp. Methuen. 6s.<br />
————_+-—<>—_+—_______<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
<br />
; NOTES.<br />
\ | RS. JEAN CARLYLE GRAHAM'S illus-<br />
<br />
trated work on San Gimiguano has been<br />
_ delayed by the leisurely proceedings of<br />
Italian archivists. ‘Certain necessary documents of<br />
<br />
<br />
<br />
<br />
<br />
69<br />
<br />
the quattro cento and cinque cento, which have<br />
reposed undisturbed under the dust of centuries in<br />
various Tuscan archives, are now being laboriously<br />
unearthed. Until these are copied, the book cannot<br />
be brought to a close.<br />
<br />
We understand that Mr. A. Pavitt, author of<br />
“Two Friends of Old England,” which we noticed<br />
in October, has been appointed Knight of the<br />
Legion of Honour.<br />
<br />
“The Truth about Man,” by A. Spinster, pub-<br />
lished by Messrs. Hutchinson & Co. recently, has<br />
gone into a second edition. The writer of this<br />
book has, we understand, another work to follow<br />
it, in the form of a novel.<br />
<br />
H.R.H. the Princess of Wales has been<br />
pleased to accept a copy of Mr. Walter Del Mar’s<br />
“India of To-day,” which we referred to in our<br />
last issue.<br />
<br />
“ French Nan,” by Agnes and Egerton Castle,<br />
which Messrs. Smith, Elder & Co. published a few<br />
weeks ago, is an eighteenth century story, telling<br />
of the conflict of hearts and wits, between a spoilt<br />
young beauty bred amid the artificialities of the<br />
Versailles Court, and her English husband, a<br />
chivairous but strong-willed country-loving squire.<br />
<br />
The same publishers have also issued Mrs. De La<br />
Pasture’s new novel entitled “The Man from<br />
America.” The scenes of the story are laid in the<br />
west country and in London, and the love interest<br />
is concerned exclusively with the courtship of men<br />
and maidens. The theme is the descent of an<br />
adventurous American upon a primitive cottage<br />
home in Devon.<br />
<br />
Messrs. Smith, Elder & Co. have also published<br />
a new novel by Katherine Tynan, under the title<br />
of “Dick Pentreath.” The atmosphere of the<br />
story is that of English country life, and the<br />
personages introduced are mainly those who make<br />
up society in a very quiet and exclusive English<br />
county.<br />
<br />
Mr. F. G. Aflalo has written his reminiscences<br />
as an angler in a book which Sir Isaac Pitman &<br />
Sons have published, under the title of “The Salt<br />
of My Life.” The book contains nearly fifty illus-<br />
trations from photographs of actual fishing experi-<br />
ences. The price of the volume is 7s. 6d. net.<br />
<br />
Miss Evelyn Sharp’s new book, “ Micky,” is a<br />
story of a little boy of six, who lives in an imagi-<br />
native world peopled with fairies and dragons,<br />
and beautiful princesses who are shut up in towers<br />
and are rescued by wonderful princes. Messrs.<br />
Macmillan & Co. are the publishers.<br />
<br />
Messrs. Kegan Paul & Co. announce the pub-<br />
lication of a collected edition of the poems and<br />
plays of Mr, C. Whitworth Wynne. About a third<br />
of the volume is new matter.<br />
<br />
“A Book of Mortals: being a Record of the<br />
Good Deeds and Qualities of what Humanity is<br />
<br />
<br />
70<br />
<br />
pleased to call the Lower Animals,” is the title of<br />
Mrs. Flora Annie Steel’s new book which Mr.<br />
Heinemann has published. The work is a plea for<br />
the recognition of what may be called the human<br />
side of animals and their far-reaching influence upon<br />
man. Examples are taken from modern instances<br />
as well as from the myths of Hast and West.<br />
<br />
Mr. Holman Hunt’s work, “ Pre-Raphaelitism<br />
and the Pre-Raphaelite,” which is rapidly approach-<br />
ing completion, will form two volumes, which will<br />
be enriched with forty photogravure plates and<br />
many illustrations in the text. In the opening<br />
words of this work, which Messrs. Macmillan & Co.<br />
will publish, Mr. Hunt opines that the time has<br />
come for a complete and final history of the<br />
reform movement which began in 1848.<br />
<br />
Mr. Elliot Stock published about the middle of<br />
November a new work by Mr. J. ©. Wright,<br />
entitled “In the Good Old Times.” Its aim is to<br />
show the changes in the social, industrial, and<br />
moral condition of England during the last century<br />
and a half, and particularly to note the achieve-<br />
ments of the later half of the nineteenth century.<br />
By numerous examples and quotations, the author<br />
seeks to prove that former days were not better<br />
than these—generally speaking were not so good—<br />
but at the same time he is disposed to look with<br />
a kindly eye on a period which was a turning<br />
point in the country’s history.<br />
<br />
“The Lay of the Wee Brown Wren,” by H. W.<br />
Shepheard-Walwyn, is a romance from bird life,<br />
in verse, with fifty-four illustrations from the<br />
author’s photographs. Messrs. Longmans & Co.<br />
are the publishers.<br />
<br />
Mr. Archibald Colquhoun’s book, ‘The Africander<br />
Land,” published by Mr. John Murray, is the fruit<br />
of a visit which the writer recently paid to South<br />
Africa, and its aim is to depict, untinged by<br />
partisan bias, the present political, social, and<br />
economic state of that country.<br />
<br />
Miss Beatrice Harraden’s new story, which<br />
Messrs. Methuen & Co. will publish shortly, will pro-<br />
bably be entitled “‘ The Scholar’s Daughter.” It has<br />
for its heroine the daughter of a retired bookworm.<br />
<br />
Mr. Baring Gould’s book, dealing with the<br />
Riviera, which Messrs. Methuen have also pub-<br />
lished, contains an account of the coast from<br />
Marseilles to Savona, and treats not only of its<br />
history, but of its geology and botany.<br />
<br />
Mr. J. W. Caldicott has written, and Messrs.<br />
Bemrose are publishing, an illustrated work on the<br />
values of old English silver and Sheffield plate,<br />
from the sixteenth to the nineteenth century. It<br />
is claimed that the work is a practical guide,<br />
written both for the buyer and seller. The price<br />
to subscribers is two guineas net.<br />
<br />
“A Golden Trust,” by Theo. Douglas (Mrs.<br />
H. D. Everett), which Messrs. Smith, Elder & Co.<br />
<br />
THE AUTHOR.<br />
<br />
published in the early part of last month, ran as a<br />
serial through the pages of The Graphic during<br />
last summer. The scene of the story is laid partly<br />
in the home of Northumbrian wreckers, which<br />
conceals a treasure, partly in the Paris of 1792,<br />
whither the murderous designs of his kinsman<br />
drive the young hero.<br />
<br />
Mr. J. M. Lely’s Annual Edition of the Statutes<br />
of Practical Utility and Selected Statutory Rules,<br />
which was published last month (Sweet and<br />
Maxwell: Stevens & Sons, 7s. 6d.), contains,<br />
in addition to the Aliens Act, the Unemployed<br />
Workmen Act, the Trade Marks Act, and nine<br />
other of the twenty-three Acts passed last session,<br />
the Education Code and Secondary School Regula-<br />
tions of the Board of Education ; the Orders,<br />
Circulars, and Regulations of the Local Govern-<br />
ment Board under the Unemployed Workmen<br />
Act, and the Licensing Rules of the Home Office,<br />
which were issued at too late a date to be included<br />
in last year’s collection.<br />
<br />
“My Pretty Jane ; or, Judy and I,” is the title<br />
of a story by Alfred Pretor, published in London<br />
by Geo. Bell & Sons, and in Cambridge by<br />
Deighton, Bell & Co. The work is a studied<br />
comparison of the fidelity of a dog with that of a<br />
lover. The author depicts the failure of the lover<br />
in the first test to which he is put, and contrasts it<br />
with the fidelity of the dog which ends with death.<br />
<br />
“ Up-Along and Down-Along ” ig a volume of<br />
poems of the west country, by Eden Phillpotts,<br />
which Messrs. Methuen & Co. published early last<br />
month.<br />
<br />
The Strand Magazine for this month contains<br />
the opening chapters of Sir Arthur Conan Doyle’s<br />
new story “Sir Nigel.” The story which is<br />
written in the manner of “The White Company,”<br />
will be published in book form by Messrs. Smith,<br />
Elder & Co.<br />
<br />
“The Stowaway’s Quest” is the title of Mr.<br />
Henry Charles Moore’s latest book for boys. It<br />
describes adventures at sea, in Matabeleland, in<br />
Barotseland, and is published by Sir Isaac Pitman<br />
& Sons, Ltd.<br />
<br />
Miss Edith A. Barnett left about the middle of<br />
<br />
ast month for a trip to New Zealand and round<br />
<br />
the world. Miss Barnett, who expects to be away<br />
for ten ot twelve months, hopes to bring out a new<br />
book in the spring of 1906.<br />
<br />
The city of Prague has just done honour to an<br />
English author, by voting in its senate and council<br />
the great silver medal of merit of Prague to Mr.<br />
<br />
James Baker, author of “ The Inseparables,” &¢.,<br />
<br />
“for his efficient efforts to propagate the knowledge<br />
of the kingdom of Bohemia and its capital of Prague,<br />
by means of numerous books and articles pub-<br />
lished during the last twenty years.” The medal<br />
bears on the obverse the arms of Prague and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i, @<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. at<br />
<br />
“Praga Caput Regni”; and on the reverse, a<br />
figure of Fame standing by the Bohemian lion,<br />
holding forth a wreath of bays, with an inscrip-<br />
tion, With the medal is an illuminated diploma<br />
on vellum, signed by Dr. Srb (the chief burgo-<br />
master) ; a covering official letter in Bohemian,<br />
with English translation, also illuminated, was sent<br />
with it.<br />
<br />
Our former secretary, Dr. Squire Sprigge, has<br />
just published a book with Mr. William Heine-<br />
mann, entitled “ Medicine and the Public.” It<br />
has for its object the evoking of a more widespread<br />
sympathy than at present exists for the difficulties<br />
which medical men undergo in the exercise of their<br />
professional duties. Dr. Sprigge adduces statistics<br />
and official information as to the distribution and<br />
qualification of doctors, points to manifold abuses<br />
in medical practice, and is never afraid to indicate<br />
the lines upon which reform should run for the<br />
public good. The fairness of the book is con-<br />
spicuous, for throughout all the recommendations<br />
for reform the popular interest is kept steadily to<br />
the fore ; it is never subordinated to the welfare of<br />
the class. Dr. Sprigge advocates various amend-<br />
ments—some of them of a drastic nature—to<br />
the existing Medical Acts. Everyone knows that<br />
Parliament will turn a deaf ear to mere professional<br />
grievances, but may be persuaded to listen to a<br />
ery for reform based upon public needs.<br />
<br />
“Somerset House, Past and Present,” is the<br />
title of a work by R. Needham and A. Webster, in<br />
which is given a continuous record of its history,<br />
from its foundation by the Lord Protector in 1547<br />
to the present day. The volume, which Mr. Fisher<br />
Unwin is publishing at the price of 21s., is illus-<br />
trated with reproductions of prints and a series of<br />
modern photographs.<br />
<br />
Part I. of “King William I.,” written by<br />
Mr. Arthur Dillon and published by Mr. Elkin<br />
Mathews, deals with the great duke’s marriage<br />
with Matilda of Flanders, and his strengthening<br />
of his power in Normandy; Part II., with his<br />
overthrow of Harold, giving the incident of Edith<br />
Swan-neck at Senlac; and concludes with his<br />
crowning as King of England ; and Part III., with<br />
his quarrel with his rebellious son Robert, his<br />
difference with his queen, and his death.<br />
<br />
Messrs. Skeffington will publish shortly a new<br />
book, entitled “The Happy Christ,” in which Mr.<br />
Harold Begbie endeavours to prove that the con-<br />
templation of Christ as a Man of Sorrows is due to<br />
the last act in the Saviour’s life, and is in direct<br />
contradiction to the life itself.<br />
<br />
The 1906 edition of ‘ Who’s Who ?” which will<br />
be published by Messrs. Black on December 8th,<br />
will contain a couple of thousand more biographies<br />
than its predecessor, and in order still further to<br />
increase the utility of the book the number of a<br />
<br />
man’s sons and daughters will be recorded, also<br />
his motor-car number, telephone number, and<br />
telegraphic address, where necessary.<br />
<br />
The other year-books published by the same<br />
firm, viz., “ Who’s Who? Year-Book,” “ English-<br />
woman’s Year-Book,” and “The Writers and<br />
Artists’ Year-Book ”—the last named just acquired<br />
by them—vwill all be published about the same time.<br />
<br />
“The Voysey Inheritance,” by H. Granville<br />
Barker, produced at the Court Theatre on<br />
November 7th, 1905, depicts the downfall of the<br />
family of an apparently respectable solicitor. He<br />
dies suddenly, and leaves as a legacy a business<br />
which he has only been able to maintain by<br />
persistent perversion of his clients’ money. The<br />
effect of this position on the various parties<br />
mainly concerned, and the discussion which it<br />
produces, form the theme of the play, which was<br />
adequately interpreted by a caste including Miss<br />
Florence Haydon, Mr. Eugene Mayeur, and<br />
Mr. Dennis Eadie.<br />
<br />
«The Temptation of Samuel Burge,” by W. W.<br />
Jacobs and Frederick Fenn, was produced at the<br />
Imperial Theatre on November 9th, in front of.<br />
“The Perfect Lover.” The main character—the<br />
converted burglar, whose peculiarities are, no<br />
doubt, familiar to all who have read the story upon<br />
which the piece is founded—was taken by Mr. A<br />
E. George.<br />
<br />
Mr. Alfred Sutro’s one-act play, “ The Correct<br />
Thing,” performed at the Shaftesbury Theatre on<br />
November 4th, is a social sketch describing the<br />
manner in which a man of the world has to<br />
disembarrass himself of the mistress of whom he<br />
tires, and whose affections threaten to interfere<br />
with his chances of social success. The caste<br />
included Miss Darragh and Mr. Nye Chart.<br />
<br />
An original satirical comedy, entitled “The<br />
Assignation,”’ will be produced at the Haymarket<br />
Theatre on December 7th, at a matinée. A pre-<br />
liminary performance of the play will be given at<br />
the Grand Stand, Ascot, at a matinée on the<br />
4th December. The proceeds of both performances<br />
will be in aid of the Royal Waterloo Hospital.<br />
Among the distinguished performers taking part<br />
are Miss Genevieve Ward, Miss Edyth Olive,<br />
Miss Marie Illington, Mr. Gerald Du Maurier, and<br />
Miss Ethel Irving.<br />
<br />
oo ——_—_—<br />
<br />
PARIS NOTES.<br />
<br />
— +<br />
<br />
JOSE-MARIA DE HEREDIA, whose<br />
recent death is so universally deplored,<br />
had been a member of the French<br />
<br />
Academy since the year 1894. M. de Heredia’s<br />
<br />
literary celebrity was earned by his one volume of<br />
<br />
<br />
72<br />
<br />
absolutely perfect poems, “ Les T'rophées.” These<br />
poems were the result of long years of patient<br />
work, and the fame of some of the best-known ones<br />
is world-wide. “ Fuite des Centaures,” ‘‘ Les Con-<br />
quérants,” “ Soleil couchant,” “Soir de Bataille,”<br />
and “Le vieil Orfévre,” are among those which<br />
are most frequently quoted. M. de Heredia was<br />
buried in the little cemetery of Bon Secours, near<br />
Rouen. The President of the Socicté des Gens de<br />
Lettres pronounced a farewell at the grave.<br />
<br />
The following are extracts from the funeral<br />
oration :<br />
<br />
“ Messieurs, il y eut & Paris un écrivain d’une<br />
production si parfaite qu’elle signifie dans un seul<br />
volume, et bien mieux qu’un amas de livres, le<br />
labeur constant de lentes et patientes années : un<br />
écrivain si passionnément épris de son art quwil put<br />
justement relever la fiere devise de Ronsard :<br />
<br />
L’honneur sans plus du verd laurier m’agrée ...<br />
<br />
“Le temps de cet écrivain était, par conséquent,<br />
précieux entre tous... . Pourtant, chaque fois<br />
qu’un inconnu frappait 4 sa porte et lui disait :<br />
‘Maitre, j’ai mis mon effort dans ces vers, dans<br />
cette prose ; écoutez-moi, conseillez-moi,’ le grand<br />
écrivain posait sa plume, souriait au néophyte, et<br />
lui disait : ‘ Asseyez-vous et lisez. . . .’ La chose<br />
lue était-elle indifférente ? il osait le dire, mais si<br />
paternellement que la blessure était pansée aussitot<br />
que faite. Si, par contre, il devinait des promesses<br />
de talent, comme il savait, de sa voix chaude et<br />
retentissante, conforter le poste, célébrer l’ceuvre,<br />
aider A sa fortune !<br />
<br />
“ Messieurs, il y eut un tel écrivain 4 Paris. .<br />
Nous ne savons pas s'il en existe un autre dune<br />
Ame aussi généreuse, maintenant que José-Maria<br />
de Heredia est mort... .<br />
<br />
“Voila pourquoi non seulement la gloire littéraire<br />
de la France est aujourd’hui en deuil par ce deuil,<br />
mais aussi, corporativement, tous les gens de<br />
lettres. Ils ont perdu un de leurs protecteurs, un<br />
de leurs guides, un de leurs parrains. Voila<br />
pourquoi aussi leur Compagnie devait étre repré-<br />
sentée ici et témoigner des rares vertus profession-<br />
nelles du Maitre que nous pleurons.”<br />
<br />
“Au Pays de lHarmonie,” by M. Georges<br />
Delbruck, is a novel written with the one aim and<br />
object of exposing a philosophical doctrine, which<br />
the author proposes later on to treat in further<br />
detail. We are taken, in this book, to a land in<br />
which the “struggle for life” is unknown, a land<br />
where all things are beautiful, where the people<br />
dwell together in perfect harmony and happiness.<br />
A traveller from modern France arrives in this<br />
wonderful country. He is a typical, up-to-date<br />
sportsman and man of the world. He has done<br />
everything, seen everything, been everywhere, and,<br />
<br />
THE AUTHOR.<br />
<br />
at the age of thirty, decides to make some great<br />
discovery or bring out some marvellous invention.<br />
His great difficulty is that in this present century<br />
nearly everything has been discovered, there are<br />
so few possibilities left for him. Finally he builds<br />
an air-ship and on his trial journey in it discovers<br />
the “Land of Harmony,” which is situated in the<br />
very centre of Africa. He finds there a race of<br />
people hundreds of years in advance of all Euro-<br />
peans in matters of science and civilisation. The<br />
watchwords of this extraordinary race are Beauty,<br />
Harmony, and Love, and the inhabitants of this<br />
wonderful country have attained to such perfection<br />
by obeying the wishes and instructions of their<br />
founder, Déon. The chapter containing these<br />
commandments is one of the finest in the book.<br />
Psychological, physiological end social problems<br />
are all treated and new laws are laid down which<br />
differ vastly from those now in vogue in many So-<br />
called civilised countries of the present day.<br />
Among the new precepts are the following : “ Ilne<br />
faut ni punir, ni pardonner, il faut guérir. Il ne<br />
faut pas critiquer, il faut créer; il ne faut pas<br />
gémir, il faut produire; il ne faut pas réver, il<br />
faut penser.” Lysias, one of the inhabitants of<br />
this country, explains that while our revolutionists<br />
have been fruitlessly endeavouring to suppress<br />
wealth, his compatriots have effectually suppressed<br />
<br />
poverty, and that while, for twenty centuries, our<br />
<br />
activity has been employed in destroying our<br />
fellow-creatures they have used their energy in<br />
creating and improving. We have been making<br />
of our earth a valley of tears, whilst they have<br />
made of their land a wonderful garden of beauty,<br />
harmony and love. Whilst we have been, and<br />
still are, grovelling in superstition and ignorance<br />
they have been climbing to the heights of ideal<br />
beauty based on science, so that their life now is<br />
glorious yet simple, whilst ours is dull, petty and<br />
complex. The book is curious and original, full<br />
of thought and ideas, and will no doubt be much<br />
discussed here on account of its daring theories<br />
and ideals.<br />
<br />
“Le Fardeau,” by Hugues Lapaire, is a study<br />
of peasant life and psychology. Weare introduced<br />
to the inhabitants of a certain country village in<br />
the centre of France. The story is very true to<br />
life; the primitive simplicity of these humble<br />
people, their independence of character, the hard,<br />
plain existence they lead, their every-day tasks,<br />
their love affairs and their sorrows—everything is<br />
touched upon with great delicacy and exactitude.<br />
The “burden” to which the book owes its title is<br />
the load on the conscience of a young peasant,<br />
Claude Jacquet, who, in his anxiety to win the<br />
woman whom in his rough way he adores, steals<br />
the savings of an old peasant woman, and then<br />
allows suspicion to rest upon an old man. The<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 73<br />
<br />
remorse and repentance are well depicted, and the<br />
whole story is well told.<br />
<br />
“ Avant l’Amour,” by Mme. Marcelle Tinayre,<br />
is another powerful novel by the author of “La<br />
Maison du Péché.” Ever since the publication of<br />
the latter book all novel readers have been<br />
anxiously awaiting another work of equal charm<br />
from the pen of the same writer. The present one<br />
is strong, but not convincing, as there is much<br />
that appears to be overdrawn.<br />
<br />
“Comment vout les Reines,” by Colette Yver, is<br />
a story dedicated to wives of politicians who,<br />
thanks to the pre-occupation of their husbands,<br />
are doomed to a life of solitude.<br />
<br />
“Ta Valeur de la Science,” by M. Poincaré, of<br />
the Institute of France, is an interesting book of<br />
scientific philosophy.<br />
<br />
Among the new novels are “‘ Les Bonshommes en<br />
Papier,” by M. Jules Perrin ; ‘“ Fumée d’Opium,”<br />
by M. Claude Farrere ; “ Les Papiers Brilés,” by<br />
M. Montégut; “Les Martyrs de Lyon,” by<br />
M. Baumann: “La Conquéte de Paris,” by<br />
M. Paul Segonzac ; “Le Précurseur” by M. Jacques<br />
Fréhel ; “‘ Les Hannetons de Paris,” by M. Georges<br />
Lecomte. Among other new books are “La<br />
Comédie Protectionniste,’ by M. Yves Guyot ;<br />
«Visite sur un Champ de Bataille,” by Maurice<br />
Barres; ‘‘ Vers lHglise Libre,” by Julien de<br />
Narfon ; “Les Noéls Frangais,” by M. Noél<br />
Hervé.<br />
<br />
The following publications are shortly expected :<br />
“Memoires de Granet,” by Ludovic Halévy ;<br />
“Coeur de Josanne,” by Marcelle Tinayre ;<br />
“ Jean d’Arc,” by Anatole France ; ‘‘ Balzac,” by<br />
M. Brunetiére.<br />
<br />
The death of Jules Oppert is a great loss to the<br />
Assyriologists—he was one of the four greatest<br />
of our times. Sir Henry Rawlinson is generally<br />
acknowledged to be the first. Fox Talbot and<br />
Hincks are the other two.<br />
<br />
We are told in a French paper that a Biblio-<br />
graphical Bureau has been founded in Rome. The<br />
idea of it is to provide savants with information<br />
they may require at the least possible expense.<br />
The Bureau will, when required, supply a réswmé<br />
of documents or manuscripts, and even send a<br />
photograph of them if necessary. The director is<br />
Professor Henri Celani.<br />
<br />
The question has been raised as to whether the<br />
yearly prize given by the Académie Goncourt can<br />
be awarded to M. Jules Huret for his book,<br />
“New York 4 San Francisco.” The objection<br />
brought forward is that this is not a work of<br />
Mmagination, but it is said that M. Octave<br />
Mirbeau is to plead in favour of M. Huret.<br />
<br />
In the Revue des Deux Mondes of November 1st,<br />
M. de Vogiié writes on “ Les Villes Hanséatiques.”<br />
<br />
Tn a recent number of the Revue de Paris, the<br />
<br />
<br />
<br />
“Lettres & ma Niéce,” by Flaubert, give some<br />
te details about that author’s work and<br />
ife.<br />
<br />
In a recent number of the Revue des Deua<br />
Mondes, Alfred Fouillée writes an able article on<br />
“La Science des Mceurs.”<br />
<br />
At the Francais, M. Hervieu has read his three-<br />
act play “ Le Reveil.” MM. Donnay is now finishing<br />
his “ Paraitre,” and M. Bataille has a play to be<br />
given this season entitled “ Potiche.”<br />
<br />
“La Vieillesse de Don Juan,” by Pierre Barbier<br />
and Mounet-Sully, is not to be played at the<br />
Frangais, as was at first thought.<br />
<br />
The Comédie-Frangaise celebrated recently the<br />
twentieth anniversary of M. Jules Claretie’s<br />
administration. It is generally acknowledged that<br />
the post he holds is one of the most difficult, and<br />
that it would be almost impossible to find in France,<br />
at this moment, anyone to replace him.<br />
<br />
One of the events of the theatrical season has<br />
been the representation of “ Les Bas-Fonds,” by<br />
Gorki, at the theatre of L’Ciuvre with La Duse in<br />
the principalvéle. “La Rafale,” by Henry Bernstein,<br />
at the Gymnase, has certainly been the greatest<br />
success hitherto of this season. It is an admirably<br />
written play, and has been greatly appreciated by<br />
the public.<br />
<br />
“Tia Marche Nuptiale,” by M. Henry Bataille,<br />
has been given at the Vaudeville. It is a work<br />
that would have been more convincing probably in<br />
anovel. A young girl, of good family, elopes with<br />
her music master. She marries him and lives in<br />
Paris in poverty. She then visits one of her convent<br />
friends whose husband makes love to her and pro-<br />
poses a second elopement, upon which she commits<br />
suicide.<br />
<br />
“ Bertrade,’ by M. Jules Lemaitre, has been<br />
produced at the Renaissance, but is not a play<br />
likely to hold the bill a long time.<br />
<br />
Mme. Rejane is to have a theatre of her own,<br />
and will probably put on first a piece by M. Capus.<br />
<br />
M. Saint-Saéns has written the three acts of his<br />
opera “ L’Ancétre,” which is to be staged during<br />
the winter.<br />
<br />
For the Gaité, M. Bazin’s novel, “Les Oberlé,”<br />
has been adapted for the stage by M. Haraucourt.<br />
<br />
Other plays announced at this theatre are<br />
“T/Attentat,” by MM. Capus and Descaves, and<br />
“‘ Qhantecler,” by M. Rostand.<br />
<br />
Among the new plays to be produced at the<br />
Vaudeville are “Le Bourgeon,” by M. Georges<br />
Feydeau, and “La Cousine Bette,” by Balzac,<br />
adapted by M. Pierre Decourcelle.<br />
<br />
M. Antoine has a long list of pieces to produce,<br />
some of which are ‘“‘L’Employé du Gaz,” by M.<br />
Dieudonné ; “ Mile. Bourrat,” by M. Claude Anet,<br />
and “ Vieil Heidelberg.”<br />
<br />
Auys HaLLarp.<br />
SPANISH NOTES.<br />
<br />
+ —<br />
<br />
ON BENITO GALDOS has not been idle<br />
during his so-called holiday in Cartagena,<br />
for he has worked several hours every day at<br />
<br />
the correction of the proofs of his new novel,<br />
“‘Qasandra,” which is written in the form of a<br />
dialogue, like El Abuelo” ; andthe third and last<br />
series of his “Episodios Nacionales” will appear<br />
under the title of “Prim y La de los tristes<br />
destinos.” The great author showed the genial<br />
side of his nature by his visit to the Cacharreria,<br />
which is a club for young people ; and, in con-<br />
versation with a few friends, he has enjoyed the<br />
fine sea view and the climate, which rivals that of<br />
his native spot—the Canary Isles.<br />
<br />
Senor Palaeio Valdés seems also to have<br />
mingled work with his recreation during the sum-<br />
mer and autumn months at La Hendaye in the<br />
Pyrenees, for he tells me that he is engaged on a<br />
new novel, which will be published in the early<br />
spring. The last romance of this popular novelist<br />
is entitled “La Aldea Perdida” (“The Lost<br />
Hamlet”), and it is with the pen of a true artist<br />
that he describes the transformation of village life<br />
and character, when the place falls into the hands of<br />
amining company. The author’s rank in moral<br />
philosophy, of which he is a great authority in<br />
the Atheneum at Madrid, gives particular point<br />
to the psychological side of his novels, and in<br />
“The Aldea Perdida” this grip on the characters<br />
gives an unusual interest to their evolution in the<br />
stirring events recorded.<br />
<br />
To pass from the pen to the brush—and<br />
as Valdés shows in his article on “ Art and<br />
her Schools” (which I have just translated<br />
into English), the two arts are closely related<br />
it is in the studio of Lino Iborra that one<br />
sees the high standard of modern Spanish art in<br />
the hands of a first-rate painter. The artist’s<br />
medals, and especially the Cross of Alfonso XII.,<br />
prove that his work is much appreciated. His<br />
“ Sheepfold” received high distinction at the last<br />
exhibition at Munich, and although animals are<br />
Iborra’s speciality, such figure paintings as<br />
“Rachel,” “My Daughter's Death,” “Judas<br />
Selling Jesus,” brought him renown ; whilst the<br />
picture called “ The Master is Coming,” now hung<br />
in the Exhibition of Modern Paintings in Madrid,<br />
shows a further development in the painter’s<br />
powers. The well-known Spanish novelist, Blasco<br />
<br />
<br />
<br />
Ibafiez reveals a great power as an art critic in his<br />
book called “En el pais del Arte” (“In the<br />
Country of Art”), in which he gives an erudite<br />
account of his three months’ tour in Italy. The<br />
descriptions of the masterpieces of the country are<br />
very forcible, and the interest of the book is<br />
<br />
THE AUTHOR.<br />
<br />
increased by his historical settings of his subject,<br />
and the mention he makes of the great littérateurs<br />
of the land down to Fernando de Amicis of the<br />
present day, for whom he expresses great personal<br />
admiration.<br />
<br />
The success of “ Aire de fuera,” on the boards<br />
at Madrid, shows that the author, Linares-Rivas<br />
Astray, is a first-class dramatist, for, although he<br />
treats of ordinary “high life” in the Spanish<br />
capital, it is the treatment of one who sees beneath<br />
the surface of society.<br />
<br />
The recent visit of M. Loubet to Madrid was<br />
not only the occasion of a gala evening at the<br />
theatre, a review, etc., but the French President<br />
was shown the palatial offices of the illustrated<br />
paper, Blanco y negro, with its marble staircase,<br />
frescoed reading-room and picture gallery, as well<br />
as its printing machines of the latest inventions.<br />
Moreover, as photography has made such strides<br />
in Spain, Napoleon, the expert in cinematographic<br />
views, gave an exhibition of subjects before<br />
Alfonso XIII. and his distinguished French guest,<br />
when the programme included a series of views<br />
of the Lady Warwick College at Studley Castle,<br />
during the visit of Colonel Figuerola Feretti,<br />
when he was invited to inspect this system of<br />
agricultural education. The King of Spain has<br />
lately taken a fresh step for the advance of<br />
natural science, by signing a royal decree for the<br />
establishment of a biological laboratory on the<br />
coast of Morocco, more especially for the study<br />
of the fauna and flora peculiar to those parts.<br />
Moreover, it is understood that it is at the desire<br />
of King Alfonso that the Ministry of Agriculture<br />
is about to organise a course of agricultural study<br />
for soldiers whilst in active service, so that they<br />
will be better equipped for their lives on the land<br />
when their time in the army is over.<br />
<br />
The Spaniards are certainly appreciative of<br />
clever women, for they are taking steps to erect a<br />
monument to the well-known authoress, Emilia<br />
Pardo Bazan, and various important literary<br />
centres are organising a commission to carry out<br />
the idea. Further recognition of woman’s work<br />
has been shown by Sefiora Carmen Burgos de Segiii,<br />
the foremost lady journalist in Spain, being com-<br />
missioned by the Minister of Education in Madrid<br />
to visit all the most important centres of woman’s<br />
education on the Continent, and these reports are<br />
not only made officially to her native land, but<br />
they are also published in her Spanish newspaper,<br />
El diario Universel de Madrid. The country-<br />
women of the Spanish writer are now hearing of<br />
her experiences in France ; and it will not be<br />
long before they read in the Spanish Press the<br />
impressions she will receive on woman’s work<br />
in England.<br />
<br />
RACHEL CHALLICE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ay<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
an<br />
<br />
pt<br />
<br />
<br />
<br />
THE AUTHOR. 75<br />
<br />
GERMAN LAW RESPECTING PUBLISHERS’<br />
RIGHTS AND CONTRACTS.<br />
<br />
—<br />
Section 1.<br />
FYF\HE author under agreement with the pub-<br />
[' lisher relating to a work of literature or<br />
music is bound to hand over to the pub-<br />
lisher the work to be reproduced or distributed by<br />
the publisher. The publisher is bound to reproduce<br />
and distribute the work.<br />
<br />
Section 2.<br />
<br />
The author must not during the continuance of<br />
the contract reproduce or distribute the work so<br />
far as such reproduction or distribution is forbidden<br />
to a third party as long as the copyright lasts.<br />
<br />
Nevertheless the privilege of reproduction and<br />
distribution remains with the author for :<br />
<br />
1. The translation into another language or<br />
another dialect.<br />
<br />
2. The rendering of a story in dramatic form or<br />
a stage play in the form of a story.<br />
<br />
3. The elaboration of a musical work, as long as<br />
it is not merely an extract, or a transposition into<br />
another key, or an arrangement for another voice<br />
(Tonart oder Stimmlage).*<br />
<br />
The author is also privileged to reproduce and<br />
distribute a work in a collected edition (Gesammt-<br />
ausgabe) when twenty years have elapsed, reckon-<br />
ing from the end of the calendar year in which<br />
the work was published.<br />
<br />
Section 3.<br />
Articles inserted in a collective work for which<br />
an author is not entitled to obtain remuneration,<br />
can be used by him elsewhere as soon as a year has<br />
<br />
elapsed, reckoning from the end of the calendar<br />
year in which they appeared.<br />
<br />
Section 4.<br />
<br />
The publisher is not entitled to make use of a<br />
single work in an edition of collected works, nor of<br />
a collective work or portions either of an edition of<br />
collected works or of a collective work for a<br />
separate edition. In so far, however, as such use<br />
of the works is free to everyone during the duration<br />
of copyright it is free to the publisher.<br />
<br />
Section 5.<br />
<br />
The publisher is only entitled to one edition.<br />
If the right of preparing several editions is granted<br />
him, then in case of doubt the same agreement<br />
holds good for every new edition as for the one<br />
above mentioned.<br />
<br />
If the number of copies is not specified then<br />
the publisher has the right of producing 1,000<br />
<br />
* German musical authorities are doubtful as to the<br />
exact legal interpretation of these two words.<br />
<br />
<br />
<br />
copies. If the publisher, before reproduction has<br />
commenced, has by agreement with the author<br />
fixed the number of the edition at less than 1,000<br />
copies, then the publisher is only entitled to pro-<br />
duce an edition of the number agreed,<br />
<br />
Section 6.<br />
<br />
The customary “extra copies” are not reckoned<br />
in the number of the edition agreed upon. The<br />
same holds good of free copies as long as their<br />
number does not exceed the twentieth part of the<br />
edition agreed upon. ‘ Extra copies” which have<br />
not been used for replacing or completing those<br />
that happen to be damaged may not be distributed<br />
by the publisher.<br />
<br />
Section 7.<br />
<br />
If the copies which the publisher has in his<br />
warehouse are destroyed he can replace them by<br />
others ; but he must first give notice to the author.<br />
<br />
Section 8.<br />
<br />
So far as the author under sections 2—7 is pledged<br />
not to reproduce and distribute and to concede<br />
reproduction and distribution to the publisher, so<br />
far is he bound to procure for the publisher the<br />
exclusive right of reproduction and publication in<br />
the absence of any agreement to the contrary in the<br />
contract.<br />
<br />
Section 9.<br />
<br />
The right of publication (Verlagsrecht) begins<br />
with the delivery of the work to the publisher, and<br />
ends with the termination of the contract.<br />
<br />
As long as the protection of the publishing con-<br />
tract demands it the publisher can put into force<br />
against the author, as well as against a third<br />
person, those privileges which are provided by the<br />
law for the protection of copyright.<br />
<br />
Section 10.<br />
<br />
The author is bound to hand the work to the<br />
publisher in a condition fit for reproduction.<br />
<br />
Section 11.<br />
<br />
If the contract with the publisher refers to a<br />
work already completed, then the work must be<br />
handed over immediately. If the work is to be<br />
produced only after the signing of the contract,<br />
the date of its delivery is to be determined by the<br />
scope of the work. If that, however, in no way<br />
determines the date, the period shall be reckoned<br />
by the time within which the author, according to<br />
his circumstances, shall be able to produce the<br />
work. Other engagements of the author are only<br />
left out of consideration in reckoning the period if<br />
the publisher at the time of signing the contract<br />
neither knew nor could know of them.<br />
<br />
<br />
76<br />
<br />
Section 12.<br />
<br />
The author is entitled to make alterations in the<br />
work until the completion of the reproduction.<br />
Before the preparation of a new edition the pub-<br />
lisher must afford the author opportunities of<br />
revision. Alterations are permissible only to such<br />
an extent as shall not injure the just interests of<br />
the publisher. The author may have the altera-<br />
tions made by a third person.<br />
<br />
If the author, after the beginning of the repro-<br />
duction, makes alterations which exceed the ordi-<br />
nary usage, he is bound to detray the consequent<br />
expenses. He is not under an obligation to do<br />
this in a case where the circumstances necessitating<br />
the alterations have occurred since the completion<br />
of the work.<br />
<br />
Section 13.<br />
<br />
The publisher may not make abbreviations or<br />
alterations either in the work itself or in the title<br />
or in the descriptions of the author.<br />
<br />
Alterations to which the author cannot fairly<br />
and honestly refuse his consent are permissible.<br />
<br />
Section 14.<br />
<br />
The publisher is bound to reproduce and dis-<br />
tribute the work in a suitable form and in the<br />
customary manner. The form and the appearance<br />
of the copies shall be determined by the publisher<br />
in accordance with the customs of the book trade,<br />
and also with due consideration of the aim and<br />
contents of the book.<br />
<br />
Section 15.<br />
<br />
The publisher must begin the reproduction as<br />
soon as he has received the completed work. If<br />
the work appears in parts, the reproduction must<br />
begin as soon as the author has delivered a part<br />
destined to appear in the regular order.<br />
<br />
Section 16.<br />
<br />
The publisher is bound to produce the number<br />
of copies which he is entitled to produce according<br />
to the contract or according to section 5. He<br />
must take such measures in good time as will<br />
provide against the stock being sold out.<br />
<br />
Section 17.<br />
<br />
A publisher who has the right of producing a<br />
new edition, is not bound to avail himself of this<br />
right. The author can fix a time for the exercise<br />
of this right. On the termination of the time<br />
fixed the author is entitled to cancel the contract<br />
if the production has not taken place. If the<br />
publisher has refused to reproduce the author need<br />
not fix a time.<br />
<br />
Section 18.<br />
<br />
If after signing the contract the purpose which<br />
the work was to serve does not exist, the publisher<br />
can cancel the agreement. The author’s right to<br />
<br />
THE AUTHOR.<br />
<br />
remuneration remains unaltered. The same holds<br />
good when the subject of an agreement is a con-<br />
tribution to a collective work and the reproduction<br />
of the collective work does not take place.<br />
<br />
Section 19.<br />
<br />
If fresh copies of a collective work are produced<br />
then the publisher is entitled with the consent of<br />
the editor to leave out single contributions.<br />
<br />
Section 20.<br />
The publisher must provide for corrections. He<br />
must supply the author in good time with one<br />
roof for correction. The proof counts as approved<br />
if the author does not within a stated period<br />
notify the publisher of his objections.<br />
<br />
Section 21.<br />
<br />
The publisher has the right to fix the published<br />
price at which the work shall be sold in the case<br />
of every edition. He may lower the price as long<br />
as the just interests of the author are not injured<br />
thereby. For the raising of the price the consent<br />
of the author is necessary always.<br />
<br />
Section 22.<br />
<br />
The publisher is bound to pay the author the<br />
stipulated remuneration. Remuneration is to be<br />
considered as tacitly implied when the circum-<br />
stances show that it could not be expected that the<br />
work should be handed over without remuneration.<br />
<br />
Tf the amount of the remuneration is not stated,<br />
an equitable payment in money is to be regarded<br />
as agreed upop.<br />
<br />
Section 23.<br />
<br />
Remuneration is to be paid upon delivery of the<br />
work. If the amount of the remuneration is not<br />
fixed, or depends upon the dimensions of the<br />
published work, in particular upon the number of<br />
sheets, then the remuneration is due when the<br />
work appears.<br />
<br />
Section 24.<br />
<br />
When the remuneration depends upon the sale,<br />
the publisher must annually present the author<br />
with an account for the previous commercial year,<br />
and permit him to examine his books, so far as<br />
may be necessary for the verification of the account.<br />
<br />
Section 25.<br />
<br />
The publisher of a literary work is bound to<br />
send the author one free copy for every hundred<br />
copies printed; but under no circumstances less<br />
than five, or more than fifteen. He is also bound<br />
to deliver the author on his demand one proof<br />
copy. The publisher of a musical work is also<br />
bound to send the author the customary number<br />
of free copies.<br />
<br />
In the case of articles appearing in collective<br />
works separate reprints may be sent as free copies.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 77<br />
<br />
Section 26.<br />
<br />
The publisher must, at the author’s request,<br />
supply him with copies of the work which are at<br />
his disposal, at the lowest trade price.<br />
<br />
Section 27.<br />
<br />
The publisher is bound to restore the manu-<br />
script of the work to the author as soon as the<br />
work has been reproduced, provided that the<br />
author has stipulated for this return of the manu-<br />
script before the beginning of the reproduction.<br />
<br />
Section 28.<br />
<br />
In the absence of special agreement to the con-<br />
trary between the publisher and the author, the pub-<br />
lisher’s rights are assignable. But the publisher<br />
cannot, without the consent of the author, assign<br />
his rights under a contract which is only con-<br />
cluded with reference to separate works. Consent<br />
cannot be unreasonably withheld. If the pub-<br />
lisher demands a declaration from the author of<br />
his consent this is regarded as given if the author<br />
has not declared his refusal within two months<br />
after the receipt of the demand from the publisher.<br />
<br />
The reproduction and distribution of the work,<br />
which are the publisher’s duty, can be effected by<br />
his assignee. In the case when the publisher’s<br />
assignee makes himself responsible to the pub-<br />
lisher for reproduction and distribution of the<br />
work, he becomes also, together with the publisher,<br />
jointly liable to the author for the performance of<br />
all the obligations under the contract. At the<br />
same time the obligation does not extend to the<br />
payment of damages already accrued due.<br />
<br />
Section 29.<br />
<br />
If the publisher’s agreement is confined to a<br />
definite number of editions or of copies, the con-<br />
tract ceases when the editions or vopies are<br />
exhausted.<br />
<br />
The publisher is bound to inform the author, at<br />
the latter’s request, if the single edition or the<br />
specified number of copies is exhausted.<br />
<br />
If the agreement is concluded for a definite<br />
time, then at the expiration of this time the pub-<br />
lisher is not entitled to distribute the remaining<br />
copies.<br />
<br />
Section 30.<br />
<br />
If the work is not, either wholly or in part,<br />
delivered at the specified time, the publisher can,<br />
instead of insisting on his right to demand the<br />
fulfilment of his contract, fix a certain reasonable<br />
time for the delivery of the work by the author,<br />
and give notice that after the expiration of this<br />
_time he will refuse to accept the work. If, even<br />
before the date at which the work ought (in con-<br />
formity with the contract) to be delivered, it<br />
<br />
<br />
<br />
appears it will not be delivered, then the publisher<br />
may immediately mention the extension of time<br />
allowable. The period must be so calculated that<br />
it does not expire before the date originally fixed,<br />
At the expiration of this extension of time, if the<br />
work has still not been delivered, the publisher<br />
has the right to cancel the contract, but not to<br />
demand that the work shall be delivered to him.<br />
<br />
This extension of time is unnecessary when it is<br />
impossible to produce the work within the period,<br />
or when the author refuses to produce the work,<br />
or when the immediate cancellation of the agree-<br />
ment is justified by some particular interest of the<br />
publisher’s. Cancellation of the agreement is<br />
forbidden when it is clear that non-delivery of the<br />
work at the time specified causes the publisher<br />
merely an insignificant loss.<br />
<br />
These regulations do not affect the rights which<br />
belong to the publisher when the author does not<br />
deliver the work in proper time.<br />
<br />
Section 31.<br />
<br />
The regnlations of section 30 also apply when<br />
the work does not present the qualities stipulated<br />
for in the agreement.<br />
<br />
In the case where the failure is due to circum-<br />
stances under the control of the author, the pub-<br />
lisher, instead of cancelling the contract conform-<br />
able with section 30, has the right to proceed for<br />
damages for non-fulfilment of contract.<br />
<br />
Section 32.<br />
<br />
If the work has not been produced and dis-<br />
tributed in accordance with the contract, the<br />
regulations of section 30 are by analogy applicable<br />
in favour of the author.<br />
<br />
Seclion 88,<br />
<br />
If the work is accidentally destroyed after having<br />
been delivered to the publisher, the author retains<br />
his right to remuneration. In other respects the<br />
parties are released from their contract.<br />
<br />
Nevertheless the author is bound at the demand<br />
of the publisher to deliver, for a reasonable con-<br />
sideration, another work identical in its essential<br />
parts with the first, if he can re-write the work<br />
without too great difficulty, with the assistance of<br />
his preparatory notes, or of other materials. If<br />
the author offers to deliver gratuitously a similar<br />
work within a reasonable period, the publisher is<br />
bound to reproduce and distribute it in place of<br />
the work which has perished. Hither party can<br />
also claim these rights when the work, after having<br />
been delivered, has perished in consequence of an<br />
act for which the other party was responsible.<br />
The fact that the publisher has been placed in a<br />
position to accept delivery of the work is equivalent<br />
to its delivery.<br />
<br />
<br />
78<br />
<br />
Section 34.<br />
<br />
If the author dies before he has finished the<br />
work, and a portion of the work has been delivered<br />
to the publisher, the publisher has the right to<br />
maintain his contract (so far as the part delivered<br />
is concerned) by a declaration addressed to the<br />
heirs of the author.<br />
<br />
The heir can appoint the publisher a reasonable<br />
period for the exercise of the right mentioned in<br />
the previous paragraph. This right expires if the<br />
publisher does not, before the end of this period,<br />
state his intention of maintaining his agreement.<br />
These regulations apply in like manner if the<br />
completion of the work is impossible in consequence<br />
of some other circumstance for which the author<br />
is not responsible.<br />
<br />
Section 35.<br />
<br />
Up to the beginning of the reproduction the<br />
author is entitled to withdraw from the contract<br />
if circumstances arise which could not be foreseen<br />
on the signing of the contract, and which would<br />
have stopped the author from publishing the work,<br />
after he had known the circumstances and fully<br />
considered the case. If the publisher is entitled<br />
to produce another edition, then these regulations<br />
will also apply for the new edition. If the author<br />
cancels the agreement on the grounds set forth in<br />
paragraph 1 then he is bound to remunerate the<br />
publisher for the expenses he has incurred.<br />
<br />
If he publishes the work elsewhere, in the course<br />
of a year after cancellation, then he is bound to<br />
pay damages for non-fulfilment of contract, except<br />
in the case when the author has proposed to the<br />
publisher that he should ultimately execute the<br />
agreement, and the publisher has refused this<br />
proposition.<br />
<br />
Section 36.<br />
<br />
(This section refers to the bankruptcy of a pub-<br />
lisher and the legal position of his trustee or<br />
assignee.)<br />
<br />
. Section 37.<br />
<br />
The regulations dealing with the right of<br />
cancellation of contracts under sections 346 to 356<br />
of the Civil Code apply equally by analogy to the<br />
right to cancel a publisher’s contract in sections 17,<br />
30, 35, 36. If the motive for cancellation is a<br />
circumstance for which the other contracting party<br />
is not responsible the responsibility will be deter-<br />
mined according to the regulations relative to<br />
restitution on account of any advantage unlawfully<br />
allowed.<br />
<br />
Section 38.<br />
When the agreement is cancelled after delivery<br />
<br />
of the whole or a part of the work, then it will<br />
depend on the circumstances whether the contract<br />
<br />
THE AUTHOR.<br />
<br />
shall be held to be binding in part. It makes no<br />
difference whether the cancelling takes place in<br />
consequence of the Act, or in consequence of a<br />
clause in the contract. In case of doubt the con-<br />
tract will be binding in so far as it applies to<br />
copies which are no longer at the disposal of the<br />
publisher, to earlier portions of the work, or to<br />
editions which have already appeared.<br />
<br />
In go far as the agreement is binding, the author<br />
may claim a corresponding part of the proceeds of<br />
sale, These regulations can be applied also when<br />
the contract is cancelled in any other manner.<br />
<br />
Section 39.<br />
<br />
If agreement is made concerning a non-copyright<br />
work the author is not bound to secure to the<br />
publisher the rights of publication.<br />
<br />
Nevertheless if the author fraudulently conceals<br />
from the publisher the fact that the work has been<br />
previously published elsewhere, then by analogy<br />
the regulations of the Civil Code are applicable,<br />
which declares the vendor responsible for the<br />
non-existence of the rights transferred.<br />
<br />
The author must abstain from reproducing and<br />
distributing the work in conformity with the<br />
provisions of section 2 exactly as if a copyright<br />
existed. This restriction ceases six months after<br />
the publication of the work by the publisher.<br />
<br />
Section 40.<br />
<br />
In the case of section 39 the publisher has in<br />
common with any third person, the right to<br />
reproduce the work which he has published, either<br />
with or without alterations. This regulation does<br />
not, however, apply if according to the agreement<br />
the production of new editions or of more copies<br />
depends upon special payments.<br />
<br />
Section 41.<br />
<br />
In the absence of any regulations of sections 42<br />
to 46 to the contrary the regulations of this law<br />
are applicable when articles are accepted with a<br />
view to publishing in a newspaper, a review or any<br />
other periodical collective work.<br />
<br />
Section 42.<br />
<br />
As long as circumstances do not prove that the<br />
publisher is to receive the exclusive rights of<br />
reproduction and distribution. The author retains<br />
the right freely to dispose of his article. :<br />
<br />
After the publisher has acquired the exclusive<br />
right of reproduction and distribution of such an<br />
article, the author can freely dispose of it after the<br />
expiration of one calendar year from the date of<br />
publication. If the article is destined for a news-<br />
paper then the author has this privilege (of freely<br />
disposing) as soon as it is published.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Section 48.<br />
<br />
No restriction is laid upon the publisher respect-<br />
ing the number of copies of articles for a collective<br />
work. The regulations of section 20 Div. 1<br />
Sentence 2 do not apply.<br />
<br />
Section 44.<br />
<br />
When the article appears without the author's<br />
name, the publisher is entitled to make in the text<br />
such alterations as it is usual to make in collective<br />
works of the same description.<br />
<br />
Section 45.<br />
<br />
If the article has not been published within one<br />
year from the date of its delivery to the publisher,<br />
the author can cancel the contract. The author’s<br />
right to remuneration remains intact.<br />
<br />
A claim to reproduction and distribution of the<br />
article, or for damages on account of non-fulfil-<br />
ment, is only due to the author if the period of<br />
time in which the article should be published, has<br />
been fixed by the publisher.<br />
<br />
Section 46.<br />
<br />
If the article appears in a newspaper the author<br />
cannot claim free copies. The publisher is not<br />
bound to accord the author copies at the usual<br />
trade price.<br />
<br />
Section 47.<br />
<br />
If anyone undertakes to create a work in accor-<br />
dance with a plan which the person giving the<br />
commission describes exactly, determining both<br />
the contents of the work, and the manner in which<br />
the subject shall be treated in case of doubt, the<br />
person giving the commission is not bound to<br />
reproduce and distribute the work.<br />
<br />
The same rule applies when the work of the<br />
author consists in collaboration in the production<br />
of encyclopeedias, or in auxiliary or supplementary<br />
labours for the works of others, or for a collective<br />
work.<br />
<br />
Section 48.<br />
<br />
The provisions of this law also apply when the<br />
person who makes the contract with the publisher<br />
is not the author.<br />
<br />
Section 49.<br />
<br />
In civil actions, in which by claim or counter-<br />
claim, a right is made valid on the basis of the<br />
regulations of this law, the final appeal and<br />
decision lie within the jurisdiction of the Supreme<br />
Court of the Empire in accordance with Section 8<br />
of the law dealing with judicial organisation.<br />
<br />
Translated from the German by<br />
Go. i. 7.<br />
<br />
19<br />
PROPERTY IN A “NOM DE PLUME,”<br />
<br />
1<br />
COUNSEL’S OPINION.<br />
<br />
N the November number of The Author it<br />
I was stated that the committee had decided at<br />
their meeting in October to take counsel’s<br />
opinion on the question of an author’s property in<br />
a nom de plume, and, further, that as counsel’s<br />
opinion had been in favour of the member’s con-<br />
tention of her right of property, the committee of<br />
the society had decided to take the matter up.<br />
When the solicitors of the society wrote to the<br />
editor of the offending paper, he at once, on his<br />
attention being drawn to the point, frankly and<br />
courteously consented to withdraw the heading of<br />
the column which was the cause of complaint, and<br />
the matter thus terminated satisfactorily, without<br />
the necessity of any further action. For some<br />
reasons we regret that no legal decision was come<br />
to, as the point—the property that it is possible to<br />
acquire in a name—is one of great importance to<br />
all authors, whether they write under a nom de<br />
plume or not. As it is not at all unlikely that the<br />
same question may arise from time to time, the<br />
case as laid before counsel, together with his<br />
opinion on the points put forward, is printed<br />
below.<br />
CASE.<br />
<br />
Mrs. W. Desmond Humphreys is a novelist who<br />
has, during the last twenty-five years, written a<br />
large number of books under the nom de plume of<br />
“ Rita,” which has become in consequence a very<br />
well-known name amongst readers generally.<br />
<br />
Mrs. Humphreys has written some fifty-two<br />
novels under this name.<br />
<br />
A list of the chief ones will be found under the<br />
entry “ Rita,” in “ Who’s Who ?” for 1905.<br />
<br />
There can, we believe, be no doubt that the<br />
name of “Rita” is widely associated with Mrs.<br />
Humphreys’ work, that when the name is used in<br />
newspapers and elsewhere Mrs. Humphreys is the<br />
person intended to be referred to, and that it is of<br />
distinct pecuniary value in literary and journalistic<br />
circles; what may be called Mrs. Humphreys’<br />
literary “ good-will’? having become attached to it.<br />
On the other hand it is, we believe, a not uncommon<br />
name, and cannot, we think, be regarded as in any<br />
sense a “fancy ” or invented word.<br />
<br />
Mrs. Humphreys has been a good deal annoyed<br />
of late by the publication in a provincial journal<br />
of a “ children’s page,” purporting to be conducted<br />
by “ Rita.” Mrs. Humphreys says she is constantly<br />
being told that she writes in this paper—a report<br />
which is at once annoying and calculated also to<br />
injure her literary reputation, and consequently, in<br />
<br />
<br />
80<br />
<br />
the long run, her pecuniary results also, which ulti-<br />
mately depend largely upon that reputation. The<br />
question arises, whether Mrs. Humphreys can in<br />
any way prevent this annoyance and the use of her<br />
name ?<br />
<br />
The answer to this question depends, we<br />
suppose, upon the same principles as those which<br />
have been applied in the case of trade names<br />
generally, though there are some practical differ-<br />
ences in applying those principles to the profession<br />
of authorship. We suggest that if an author<br />
writes and acquires a reputation under an invented<br />
and fancy name he would be able to protect<br />
himself against the use of that name unfairly by<br />
other authors. Further, we submit that the fact<br />
of an author using a name already known does not<br />
alter his rights, save, of course, that no other person<br />
could we suppose be prohibited from writing under<br />
his own name. Upon these principles we should<br />
suggest that if any other person published a novel<br />
simply as by “ Rita,” as she could easily distinguish<br />
her work by adding her surname, according to the<br />
ordinary practice, she would equally be restrained<br />
from using the word “ Rita” alone. As regards<br />
this user in a newspaper, the question presents<br />
perhaps rather greater difficulty, but Mrs.<br />
Humphreys has, for the last ten years, constantly<br />
written under the name “Rita” in a_ large<br />
number of newspapers, and her name is well<br />
known.<br />
<br />
Tt is, no doubt, the usual practice to write<br />
“children’s pages” in newspapers under some<br />
fancy or other name than that of the person<br />
writing. The full name of the writer is seldom<br />
ised. Some name is chosen, either the writer’s<br />
own, or more commonly some other. ‘The name<br />
in this case is, we expect, so far as the author of<br />
the page is concerned, a fancy name, and if so,<br />
why have chosen “ Rita” ?<br />
<br />
There may have been no intention to mislead<br />
anyone, but we take it an innocent intention is not<br />
sufficient.<br />
<br />
The question is, have Mrs. Humphreys’ rights<br />
in the name of “ Rita” been infringed in fact ?<br />
Mrs. Humphreys is as well known as a journalist<br />
under the name “ Rita” as a novelist, so that the<br />
fact of the name being used for newspaper work<br />
as distinguished from novels could not be made<br />
use of, We suggest, therefore, that in this case<br />
also Mrs. Humphreys would have a remedy by<br />
injunction to prevent this writer from trading on<br />
«“ Rita’s” literary reputation.<br />
<br />
Counsel is desired to advise Mrs. Humphreys :<br />
<br />
1. Whether she can restrain the writer in the<br />
provincial journal from conducting the “ children’s<br />
page” under the name “ Rita,” and the proprietors<br />
from permitting such user ; or whether she has any<br />
other and what remedy in the matter ?<br />
<br />
THE AUTHOR.<br />
<br />
2. Whether, if another writer published a novel<br />
in ordinary book form, under the name of “ Rita,”<br />
he could be restrained from such user of the name ?<br />
<br />
3. Generally, whether Mrs. Humphreys has<br />
acquired any and what rights in the name “ Rita?”<br />
<br />
OPINION.<br />
<br />
In my opinion, where an author has gained a<br />
reputation for his works, and has become known to<br />
the public under a nom de plume as the writer of<br />
such works, he has the right to prevent any other<br />
person from holding out to the world that such<br />
author is the writer of literary matter which he<br />
never wrote. If it were otherwise, writers of<br />
inferior merit would be able to put their composi-<br />
tions before the public under the names of writers<br />
of high standing and authority, and thereby per-<br />
petuate a fraud, not only on the writer whose<br />
name is used, but also on the public. ;<br />
<br />
I further think that the principles which govern<br />
cases of trade names generally are applicable to<br />
this case.<br />
<br />
The law on the subject is very pithily put by Lord<br />
Halsbury, L.C., in Reddaway v. Banham ( [1896]<br />
A. C., p. 204), where he says, * The principle of<br />
law may be very plainly stated, and that is, that<br />
nobody has any right to represent his goods as the<br />
goods of somebody else.” In Lord Byron v. John-<br />
stone (2 Merivale, 29) the defendant was restrained<br />
from advertising for sale certain poems, which he<br />
represented by the advertisement to be the work<br />
of Lord Byron when such was not the case. In<br />
Besant v. Moffat and Paige (84 L. T. Journal, 152),<br />
upon an application for an interim injunction, it<br />
was held that the publisher was wrong in repre-<br />
senting that a book was written by Sir Walter<br />
Besant when it had not been written by him, but<br />
upon the defendant undertaking to block out the<br />
words objected to no order was made on the<br />
motion.<br />
<br />
In view of these cases, and the case of Metzler v.<br />
Wood (L. R. 8 ©. D. 606), I think it is clear that<br />
if Mrs. Humphreys had written her books and<br />
articles in her own name, she would be entitled to<br />
restrain anyone else from using her name, as the<br />
writer of works which were not hers, in such a<br />
manner as would be calculated to deceive persons<br />
into the belief that they were Mrs. Humphreys’<br />
works.<br />
<br />
T have not been able to find any English case<br />
where the writer has used a “nom de plume,” but<br />
in my opinion the user would not alter the prin-<br />
ciples to be applied.<br />
<br />
There are, however, two American cases upon<br />
the subject, viz., Clemens v. Such (Sebastian’s<br />
Digest, 429) and Clemens v. Belford (11 Biss. 459).<br />
In the first case it was held that the plaintiff,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 81<br />
<br />
whose works were published under the “nom de<br />
plume” of Mark Twain, was entitled to restrain<br />
the unauthorised use of that name by another<br />
person.<br />
<br />
In the second case, it was held that an author<br />
who is known to the public under a “nom de<br />
plume” has the right to prevent the publication<br />
of matter which he did not write, in connection<br />
with his “nom de plume” and purporting to be<br />
written by him.<br />
<br />
Of course, the American decisions are not binding<br />
on the English courts, but in my view they were<br />
correctly decided in accordance with the principles<br />
of English law.<br />
<br />
In all cases of this description the plain-<br />
tiff must, of course, show that deception is<br />
probable, but in the present I do not think the<br />
Court would have much difficulty in arriving at<br />
such a conclusion. The Judge, however, cannot<br />
act on the mere view, but he must be satisfied by<br />
independent evidence that there is at least a<br />
reasonable probability of deception (London General<br />
Omnibus Co. v. Lavell [1901] 1 Ch. 185). There<br />
ought to be no difficulty in getting this evidence,<br />
as | understand from my instructions that Mrs.<br />
Humphreys is being constantly told that she<br />
writes for the provincial journal. I think it is<br />
immaterial whether or not the writer in the pro-<br />
vincial journal used the name fraudulently (see Worth<br />
Cheshire and Manchester Brewery Co. v. Manchester<br />
Brewery Co. [1899] A. C. 83), although if it should<br />
be proved that the writer has assumed the name of<br />
“Rita,” it would be almost sufficient evidence of<br />
fraud if taken alone (see per Turner, L.J., in Burgess<br />
v. Burgess, 3 De G. M. & G. 896).<br />
<br />
Assuming that the facts which I have indicated<br />
above can be proved, I am of opinion that :<br />
<br />
1. Mrs. Humphreys can restrain the writer in the<br />
provincial paper from conducting the “ children’s<br />
page,” under the name of “ Rita,” and the pro-<br />
prietors from permitting such user.<br />
<br />
She is also entitled to damages, but most<br />
probably they would be only nominal, as it would<br />
be very difficult to prove any specific damage.<br />
<br />
2 and 3. Mrs. Humphreys can restrain any<br />
person from using the nom de plume of “ Rita”<br />
to any literary work, which has not been written<br />
by Mrs. Humphreys, in any manner as is calculated<br />
to deceive persons into the belief that it is the work<br />
of Mrs. Humphreys.<br />
<br />
Lastly, before taking any proceedings against<br />
either the writer in the provincial journal or the<br />
proprietors thereof, a letter should be written<br />
asking them to discontinue the use of the name<br />
* Rita.”<br />
<br />
W. OuiverR Hones.<br />
1, King’s Bench Walk,<br />
Temple, E.C.<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
od<br />
<br />
BOOKMAN.<br />
Geo. Macdonald. By James Moffatt.<br />
<br />
Book MONTHLY.<br />
<br />
The Modern Novel. By Hubert Bland.<br />
A Literary Peer.<br />
<br />
CHAMBERS’ JOURNAL.<br />
With Coleridge at Samuel Rogers’. By Robert McClure.<br />
<br />
CONTEMPORARY REVIEW.<br />
The Narratives of the Resurrection, By G. Margoliouth.<br />
Old and New Lights on Shakespeare’s “ Hamlet.” By<br />
Prof. Churton Collins.<br />
Humanism asa Religion. By R. Christie.<br />
<br />
CORNHILL.<br />
The Creation of the British Museum. By Sir E. Maunde<br />
Thompson, K.C.B.<br />
A Book of Martyrs. By Dora Greenwell McChesney.<br />
<br />
FORTNIGHTLY REVIEW.<br />
<br />
Geo. Farquhar. By. Wm. Archer.<br />
<br />
Sir Oliver Lodge on Religion and Science. By W. H.<br />
Mallock.<br />
<br />
A Classic of the Chase. By E. H. Lacon Watson.<br />
<br />
Life and Literature in France. By W. Lawler Wilson.<br />
<br />
Henry Irving: A Personal Reminiscence. By TE, 8:<br />
Escott.<br />
<br />
INDEPENDENT REVIEW.<br />
Charles Lamb. By Herbert Paul.<br />
<br />
MACMILLAN’S MAGAZINE,<br />
<br />
Matthew Arnold as a Social Reformer. By H. H.<br />
Dodwell.<br />
MONTHLY REVIEW.<br />
Charles Lamb. By Arthur Symons.<br />
Living Legends of the Saints. By Lady Gregory.<br />
Society Journalism. By Stephen Stapleton.<br />
<br />
NATIONAL REVIEW.<br />
Arisoto. By W. J. Courthorpe, C.B.<br />
Some Public Aspects of “The Times” Book Club, By<br />
Hugh Chisholm,<br />
<br />
NINETEENTH CENTURY.<br />
<br />
Latin for Girls. By Stephen Paget.<br />
The Deans and the Athanasian Creed. By The Very<br />
Rev. The Dean of Winchester.<br />
The Gaelic League. By The Countess Dowager of<br />
Desart.<br />
PALL MALL MAGAZINE.<br />
Thomas Hardy and The Land of Wessex. By Clive<br />
<br />
Holland. : d<br />
The Romance of a French Artist: Felix Ziem. By<br />
<br />
Frederic Lees.<br />
Lord Acton’s List of Books. By Lord Avebury,<br />
<br />
TEMPLE BAR.<br />
Some Recent Tragedy. By A. Balliol.<br />
<br />
WorLp’s WORK.<br />
The Education of an Artist. By GC. Lewis Hind,<br />
<br />
(There are no articles dealing with Literary, Dramatic,<br />
or Musical Subjects in Blackwood’s Magazine or The<br />
<br />
Month.)<br />
82<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
———+—<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :-—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duetion forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(8.) Not to allow a special charge for “ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights. : :<br />
<br />
(5.) Not to give up serial or translation rights. :<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author,<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :-— :<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combimations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
—————_1—__+—__—_<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
oe :<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
: “petent legal authority.<br />
2. {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
_(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 6<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.<¢., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (6.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. ‘The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
<br />
. drawn and executed before collaboration is commenced.<br />
<br />
10, An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
++ __<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—_-—> +<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
<br />
property. The musical composer has very often the two —<br />
<br />
rights to deal with—performing right and copyright, He<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
+e<br />
ec<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 83<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
9<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
a<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel's opinion. All this<br />
<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinarysolicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. ‘The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
aah without the advice of the Secretary of the Society.<br />
<br />
embers are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members,<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10, The subscription to the Society is £1 1s. per<br />
annum, or £10 10s for life membership.<br />
<br />
<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
=o<br />
<br />
Gee: Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
——_—— +o —_<br />
<br />
THE READING BRANCH.<br />
<br />
ee ee oe<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea.<br />
—_—————_.—>—_e_____<br />
<br />
NOTICES.<br />
<br />
— ++ —<br />
<br />
HE Editor of The Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s, 6d. subscription for the year.<br />
<br />
Communications for “ The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
ges<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
a<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
1<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, H.C.<br />
AUTHORITIES.<br />
<br />
—_——<br />
<br />
E must congratulate Sir George Darwin on<br />
receiving the Birthday honour of K.C.B.<br />
‘he son of a distinguished father, he has<br />
followed in his father’s footsteps as @ man of science.<br />
He was Second Wrangler and Smith’s Prizeman<br />
in 1868 at Cambridge, and was elected a Fellow of<br />
Trinity College in the following year. This year,<br />
everyone will remember, he was President of the<br />
British Association, and in South Africa opened<br />
the bridge over the Falls of the Zambesi.<br />
His writings on scientific subjects are well<br />
known, but too numerous to recount in detail.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Iv is constantly argued that the success of adver-<br />
tisement depends upon its persistence ; that after<br />
a certain amount of repeated advertisement the<br />
mind receives the obsession of a certain idea and<br />
yields to this obsession.<br />
<br />
It is essential from time to time to apply this<br />
principle in The Author, and to repeat the faults<br />
of various methods of dealing with literary pro-<br />
perty suggested by publishers, editors, and agents,<br />
so that, finally, members may be convinced of the<br />
points to be avoided. This repetition—from our<br />
point of view completely satisfactory—has, how-<br />
ever, its drawbacks. For those authors who are<br />
capable of managing their own business satisfac-<br />
torily, or whose position is such that they are not<br />
over careful about driving hard bargains, some-<br />
times come to the conclusion that the Society of<br />
Authors is the embittered enemy of all publishers.<br />
It is needless to repeat, what has been repeated so<br />
often, that the society is nothin of the kind.<br />
<br />
Only the other day a certain ell known author,<br />
on being asked to join the society, refused to do<br />
so for the reason already mentioned. If the accu-<br />
sation were true—which we deny—there would<br />
still remain many reasons why the author, however<br />
successful, and however little he might need the<br />
help of the society in the conduct of his own special<br />
business, should still become a member. He<br />
benefits indirectly, and he has no right to live or<br />
to gain part of his livelihood from the guineas of<br />
his more gregarious fellow writers. It is possible<br />
he might deny the position, but he should remember<br />
that every effort made by the society to obtain<br />
better copyright laws in Great Britain, her colonies<br />
and dependencies, in the United States, and in the<br />
direction of international legislation, or to obtain<br />
a wider protection by agitation for the adhesion of<br />
other countries to the Berne Convention, increases<br />
the value of his property. This applies to the case<br />
of an author of established position more than to<br />
the case of a beginner.<br />
<br />
It is needless also to mention that the committee<br />
<br />
THE AUTHOR.<br />
<br />
of the society have all these points before them,<br />
and are constantly moving in one direction or<br />
another to increase and to protect the value of<br />
literary property.<br />
<br />
Tt is for reasons such as these, then, that every<br />
writer should join the society. The guinea paid<br />
is not in charity—it is paid to an insurance<br />
company.<br />
<br />
In this month’s issue we print the German Law ~<br />
<br />
of Publishers’ Contracts. In the July, 1905,<br />
number we printed the German Law of Copy-<br />
right. These two translations cover the Acts<br />
dealing with literary property in Germany, and<br />
deserve the careful consideration of members of<br />
the society. The former law, that of publishers’<br />
contracts, is a most interesting document, showing<br />
with what minute preciseness legislation is carried<br />
in the Fatherland. We may fairly say that it<br />
would be impossible for such a law to pass through<br />
the Parliament of Great Britain. However, it is<br />
an exceedingly instructive document, and a studied<br />
perusal will enable the author to obtain many<br />
suggestions of clauses and terms to be embodied in<br />
contracts with publishers.<br />
<br />
There are some points, however, which would<br />
appear almost superfluous. For instance, in<br />
Section 1, “1f there is an agreement between<br />
the author and the publisher to publish a work,<br />
the author undertakes to deliver the work and the<br />
publisher undertakes to reproduce and distribute<br />
it.” Again, in Section 29, “if the agreement<br />
with the publisher is restricted to a definite<br />
number of editions the relationship of the con-<br />
tracting parties ceases when the editions or copies<br />
are exhausted.” There are other examples of<br />
what would appear to be self-evident platitudes.<br />
<br />
Of the clauses containing useful hints to authors<br />
we should like to draw attention to clause 5.<br />
“In the absence of agreement the publisher is<br />
only entitled to produce one edition limited to<br />
1,000 copies.” Again, in clause 8 (a hint for<br />
publishers) in the absence of any stipulation to<br />
the contrary the author must secure to the pub-<br />
lisher the exclusive right of reproduction and<br />
distribution.<br />
<br />
In clause 12, again, there are some curious<br />
points which refer to the alterations allowed to<br />
authors, In clause 23 payment to the author<br />
becomes due on delivery of the work to the pub-<br />
lisher—a most important point often overlooked<br />
in English contracts. We do not desire to go<br />
through the law clause by clause, but leave to<br />
members of the society the full consideration, as<br />
the study will afford them many useful ideas as<br />
to the manner of dealing with their literary<br />
<br />
property.<br />
<br />
<br />
<br />
6<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 85<br />
<br />
THE PENSION FUND CO MMITTEE.<br />
<br />
1<br />
<br />
N order to give members of the society, should<br />
I they desire to appoint a fresh member to the<br />
Pension Fund Committee, full time to act,<br />
it has been thought advisable to place in Zhe Author<br />
a complete statement of the method of election<br />
under the scheme for administration of the Pension<br />
Fund. Under that scheme the committee is com-<br />
posed of three members elected by the committee<br />
of the society, three members elected by the society<br />
at the general meeting, and the chairman of the<br />
society for the time being, ex-officio. The three<br />
members elected at the general meeting when the<br />
fund was started were Mr. Morley Roberts, Mr.<br />
M. H. Spielmann, and Mrs. Alec ‘Tweedie. These<br />
have in turn during the past three years resigned,<br />
and, submitting their names for re-election, have<br />
been unanimously re-elected. This year Mr.<br />
Morley Roberts again, under the rules of the<br />
scheme, tenders his resignation and submits his<br />
name forre-election. The members have power to<br />
put forward other names under clause 9, which<br />
runs as follows :—<br />
<br />
Any candidate for election to the Pension Fund Com-<br />
mittee by the members of the society (not being a retiring<br />
member of such committee) shall be nominated in writing<br />
to the secretary at least three weeks prior to the general<br />
meeting at which such candidate is to be proposed, and the<br />
nomination of each such candidate shall be subscribed by<br />
at least three members of the society. A list of the names<br />
of the candidates so nominated shall be sent to the members<br />
of the society, with the annual report of the Managing<br />
Committee, and those candidates obtaining the most votes<br />
at the general meeting shall be elected to serve on the<br />
Pension Fund Committee.<br />
<br />
In case any member should desire to refer to the<br />
list of members, a copy, with the exception of<br />
those members referred to in the note at the<br />
beginning, can be obtained at the society’s office.<br />
This list, dated 1902, owing to the small demand,<br />
has not been re-edited, and is, therefore, not<br />
absolutely accurate. A further list of the elections<br />
for 1903 was published in separate form, and all<br />
further elections have been duly notified in The<br />
Author. They can easily be referred to, as all<br />
members receive a copy every month.<br />
<br />
It would be as well, therefore, should any of the<br />
members desire to put forward a candidate, to take<br />
the matter within their immediate consideration.<br />
The general meeting of the society has usually<br />
been held towards the end of February or the<br />
beginning of March. This notice will be repeated<br />
in the January number of 7'he Author. It is<br />
essential that all nominations should be in the<br />
hands of the secretary before the 31st of January,<br />
1906.<br />
<br />
THE NOBEL PRIZE COMMITTEE.<br />
ee<br />
HE Nobel Prize Committee of the Society of<br />
Authors met on November 15th at the<br />
offices of the society, 39, Old Queen Street,<br />
when the chair was taken by Lord Avebury.<br />
Among those present were Mr. Austin Dobson,<br />
Mr. Edmund Gosse, Mrs. John Richard Green,<br />
and Sir Donald Mackenzie Wallace; Mr. G.<br />
Herbert Thring acted as secretary.<br />
<br />
The chairman expressed the hope that the<br />
English Nobel Committee would not be dis-<br />
couraged if the prize of £8,250 should this year<br />
be awarded to a foreign poet or poets, since we<br />
have the assurance of the director of the Swedish<br />
Academy that any “idealistic” writer strongly<br />
supported by the authors of England “ has every<br />
prospect of gaining the Nobel prize for litera-<br />
ture at some future time.” Mr. Austin Dobson<br />
suggested that unanimity and persistence were of<br />
the greatest importance, and that the committee<br />
should not be impatient if the prize were not<br />
immediately given to the English candidate. <At<br />
the suggestion of Mr. Gosse it was agreed that the<br />
committee should take the same steps as were<br />
taken last year to collect the votes of all qualified<br />
British voters.<br />
<br />
————Cc—>—o——_<br />
<br />
SOME CANADIAN WRITERS.<br />
<br />
a te<br />
No. 1.—PortTry.<br />
<br />
HE Editor of The Author has asked me to<br />
write something about Canadian literature,<br />
with which a residence of seventeen years<br />
<br />
in the Dominion may be supposed to have made<br />
me acquainted. I comply with his request with<br />
some diffidence, knowing the “invidious bar”<br />
that stands in the way of him who would treat of<br />
living artists, whether of the pen or brush, and<br />
knowing also the difficulty of escaping, in such an<br />
article as the editor wants, from a certain simi-<br />
larity to a mere list of names, that might remind<br />
one of a directory or of the genealogical chapters<br />
of the Book of Chronicles.<br />
<br />
It is not possible to speak of everybody, and it<br />
must be said that this article does not touch the<br />
French-Canadian branch of the subject.<br />
<br />
I will speak first of poets. In the preface to his<br />
valuable and laborious “ Bibliography of Canadian<br />
Poetry,” published in 1899, Mr. O. C. James says<br />
that it is “based on a collection of about four<br />
hundred volumes and pamphlets brought together<br />
by the author during the last ten years, and now<br />
in the library of Victoria University, Toronto.”<br />
<br />
The earliest book of poetry in Mr. James’s list<br />
is “The New Gentle Shepherd,” by Lieutenant<br />
Adam Allan, which was published in 1798. ‘Two<br />
<br />
<br />
86<br />
<br />
volumes of Canadian poetry were published in 1815<br />
and one in 1816, after which came a hiatus of<br />
seven lean years in which no poet ventured into<br />
the open. Perhaps the fate of those three earlier<br />
works showed that the air of Canada in that day<br />
was a little too frigid for poets.<br />
<br />
From 1824 to 1850, however, there was no year<br />
without the appearance of some modest book of<br />
Canadian verse, and in 1846 no fewer than six saw<br />
the light. It is touching to look at some of these<br />
yolumes, which bear the marks of rural printing<br />
presses, well-worn type, and home-made binding.<br />
‘After 1850 the number of singers began to grow<br />
larger, so that in the following decade forty-five<br />
poets ventured before the public, and in the next<br />
sixty-six. From 1870 to the end of the century<br />
the poetical output of the publishers steadily<br />
increased, till it culminated in its last decade with<br />
no fewer than one hundred and forty-one volumes,<br />
which, for a population of five millions, containing<br />
no leisured class, is a little remarkable.<br />
<br />
In 1864, Rev. Dr. Dewart published a work<br />
entitled ‘Selections from Canadian Poets.” In<br />
that book forty-seven authors are noticed, and one<br />
hundred and seventy-two poems. In 1889, Mr.<br />
W. D. Lighthall, of Montreal, issued his collection<br />
entitled “Songs of the Great Dominion,” in which<br />
we find fifty-six authors and one hundred and sixty-<br />
three poems. In 1900, Dr. Theodore H. Rand<br />
gave us his “ Treasury of Canadian Verse,” which<br />
quotes three hundred and forty-four poems from<br />
cone hundred and thirty-five authors. From these<br />
interesting books one may derive much informa-<br />
tion as to Canadian poetry, and a comparison of<br />
them enables us somewhat clearly to judge as to<br />
the respective places of Canadign poets according<br />
to the opinion of competent judges. Among those<br />
who have passed away, the most prominent names<br />
‘are those of Charles Heavysege, Charles Sangster,<br />
D’Arcy McGee, Alex. McLachlan, Isabella<br />
Valancy Crawford, and Archibald Lampman. To<br />
read the lives of these writers is to feel through<br />
what difficulties poetic genius has, in this country,<br />
‘struggled to its goal.<br />
<br />
Of Heavysege’s great poem, ‘“ Saul,” published<br />
anonymously in Montreal in 1857, the North<br />
British Review for August, 1858, says : “ We have<br />
before us perhaps the only copy that has crossed<br />
the Atlantic. At all events we have heard of no<br />
other, as it is probable we should have done,<br />
through some public or private notice, seeing that<br />
the work is indubitably one of the most remarkable<br />
English poems ever written out of Great Britain.”<br />
<br />
Dr. Dewart assigns to Charles Sangster the first<br />
place among Canadian poets. While I do not<br />
agree with this verdict, I am willing to concede<br />
him a high place as one of the most representative<br />
.of our Canadian bards.<br />
<br />
THE AUTHOR.<br />
<br />
He was born in Canada, his themes are Canadian,<br />
he lived in an atmosphere of Canadian sentiment,<br />
and everything he wrote is permeated with the<br />
spirit of the scenery of his country. He may be<br />
said to be the pioneer of what has developed into<br />
that distinctively Canadian school of verse which has<br />
been inspired by the grandeur of our mountains<br />
and forests, and the impressiveness of our lakes,<br />
rivers, waterfalls, and boundless prairies.<br />
<br />
Thomas D’Arcy McGee, M.P., was born in<br />
Treland in 1825, and came to Canada in 1857.<br />
He was a Canadian statesman of high repute, and<br />
was assassinated in the vicinity of the parliament<br />
buildings in Ottawa, in 1868. He was the author<br />
of “Canadian Ballads and Occasional Verses,” and<br />
his poem entitled, “ Our Ladye of the Snow,” is as<br />
good as any of Sir Walter Scott’s.<br />
<br />
Alexander McLachlan has been called the Burns<br />
of Canada, and that is, perhaps, a convenient way<br />
of indicating his status to the over-seas reader.<br />
Like Burns, he was a farmer. In his work, as in<br />
that of D’Arcy McGee, the divine Celtic fire is<br />
visible. The following verses are from his poem<br />
entitled “ The Scot.”<br />
<br />
“ Dour as a door-nail he’s indeed ;<br />
To change an item of his creed<br />
Is tearing hair oot o’ his heid,<br />
<br />
He winna budge,<br />
Nor will he either drive or lead,<br />
But just ery ‘Fudge !’<br />
<br />
“ And in his bonnet apt is he<br />
To hae some great big bumming bee,<br />
Sic as his Stuart loyalty,<br />
When hope is past ;<br />
Despite their stupid tyranny,<br />
True to the last.<br />
<br />
“A man o’ passionate convictions,<br />
A mixture queer o’ contradictions,<br />
Big, liberal, but wi’ stern restrictions ;<br />
Yet at the core,<br />
To a’ mankind wi’ benedictions,<br />
His heart rins o’er.”’<br />
<br />
To the memory of Isabella Valancy Crawford,<br />
who came to Canada from Ireland in 1856, and<br />
died in Toronto in 1887, at the age of 36, an<br />
increasing number of tributes is yearly offered.<br />
As the appreciation of what is truly worthy in<br />
Canadian poetry becomes more cultured and<br />
critical, her fame is bound to increase, though she<br />
produced very little, and died disappointed at the<br />
lack of recognition which was the fate of her<br />
publications.<br />
<br />
The name of Archibald Lampman seems to bring<br />
us suddenly down to the present, since he died in<br />
Ottawa but six short years ago ; so young—he was<br />
only thirty-eight—that one almost feels he ought<br />
to be living now. Living he is, still, in the hearts<br />
of all who knew him, for he was not only a poet,<br />
<br />
but the most lovable of Nature’s gentlemen. His<br />
<br />
<br />
<br />
<br />
<br />
1<br />
r<br />
i<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 87<br />
<br />
complete poems in a volume of four hundred and<br />
seventy-two pages, edited by his friend and fellow<br />
poet, Duncan Campbell Scott, with a memoir which<br />
is one of the most beautiful examples of biographical<br />
literature in the language, were published in 1900.<br />
<br />
As heat is measured by the quantity of ice it<br />
will melt, a poet’s ability may be roughly judged<br />
by his skill in attacking a prosaic subject. I will<br />
quote Lampman’s sonnet entitled “ The Railway<br />
Station” :—<br />
<br />
“The darkness brings no quiet here, the light<br />
No waking : ever on my blinded brain<br />
The flare of lights, the rush, and cry, and strain,<br />
The engines’ scream, the hiss and thunder smite ;<br />
I see the hurrying crowds, the clasp, the flight,<br />
Faces that touch, eyes that are dim with pain ;<br />
I see the hoarse wheels turn, and the great train<br />
Move labouring out into the bournless night.<br />
<br />
“So many souls within its dim recesses,<br />
So many bright, so many mournful eyes :<br />
Mine eyes that watch grow fixed with dreams and<br />
guesses ;<br />
What threads of life, what hidden histories,<br />
What sweet or passionate dreams and dark distresses,<br />
What unknown thoughts, what various agonies! ”<br />
<br />
Writing of Lampman in the Canadian Magazine<br />
some years ago, Mr. Arthur J. Stringer, himself a<br />
Canadian poet and critic of no mean ability, says :<br />
“Of the group of Canadian poets who have<br />
obtained a recognised standing—Roberts, Lamp-<br />
man, Carman, Campbell and Scott—probably<br />
Lampman is the most thoroughly Canadian, and<br />
in Canada the most popular. He is not as<br />
scholarly as Roberts; he has not the strong<br />
imaginative power of Campbell ; he may not have<br />
the mysterious melody of language peculiar<br />
to Carman, nor the pleasing daintiness and<br />
occasional felicitousness of Scott; but he is the<br />
strongest and broadest poet of the group,<br />
possessing the most of what Landor has called<br />
‘substantiality.” He has an artist's eye for<br />
colour, and the quiet thoughtfulness of a student<br />
for scenery—the true nature poet.”<br />
<br />
This quotation is not only valuable for what it<br />
says about Lampman, but it suitably introduces<br />
our other chief poets, Charles G. D. Roberts, Bliss<br />
Carman, William Wilfred Campbell, and Duncan<br />
Campbell Scott, to whom I will add R. H.<br />
Kernighan, Frederick George Scott, Ethelwyn<br />
Wetherald, and W. H. Drummond, as the best<br />
selection I can make for this poetical guest-table.<br />
<br />
Charles G. D. Roberts has done so much in the<br />
forty-five years of his life, not only in poetry, but<br />
in other departments of writing, that he necessarily<br />
takes a chief place in any comparative view of our<br />
literature. He had a good start, for he comes of a<br />
cultured family, and he received an adequate and<br />
comprehensive education, The variety of his aims<br />
<br />
may have hindered in some degree the production of<br />
the monumental ; but he has written four or five<br />
volumes of noble poetry, a most readable and useful<br />
History of Canada, several picturesque Canadian<br />
stories, a few charmingly-handled _ historical<br />
romances, the best “animal stories’? that have<br />
been written on the continent, and of late a<br />
quantity of flesh-coloured verse that rivals Swin-<br />
burne and hints at Rossetti. If thereis a touch of<br />
the chameleon in his genius, the genius is there ;<br />
and if he had lived and written in England instead<br />
of in Canada his fame would by this time be<br />
world-wide, since he is, on the whole, in advance of<br />
most of his English contemporaries in poetry. I<br />
have only room for a few lines from Roberts—this<br />
whole magazine might well be taken up by quota-<br />
tions from his verse :<br />
<br />
<br />
<br />
“THE FALLING LEAVES.<br />
<br />
“ Lightly He blows, and at His breath they fall,<br />
The perishing kindreds of the leaves ; they drift,<br />
Spent flames of scarlet, gold aérial,<br />
<br />
Across the hollow year, noiseless and swift.<br />
Lightly He blows, and countless as the falling<br />
Of snow by night upon a solemn sea,<br />
<br />
The ages circle down beyond recalling,<br />
<br />
To strew the hollows of Eternity.<br />
<br />
He sees them drifting through the spaces dim,<br />
And leaves and ages are as one to Him.”<br />
<br />
Bliss Carman, a cousin of the foregoing, is an<br />
unmistakable poet. He is another of the young<br />
men, who having celebrated their native country in<br />
serious, and no doubt sincere poetry, have, like<br />
Roberts, been carried by the torrential stream of<br />
life to the accelerated atmosphere of American<br />
cities, where life goes with a greater rush than in<br />
London because the air is more stimulating, and<br />
there is more money per capita to spend ; where,<br />
also, the English poise and phlegm are absent.<br />
The circumstances and conditions of Carman’s<br />
education were the same as those of Roberts, except<br />
that he took post-graduate courses at Harvard and<br />
Edinburgh. He also, like his kinsman, indulged<br />
somewhat in editorial work, but ultimately forsook<br />
the chair for the freer road of independent literary<br />
endeavour. That this road léd him far afield, the<br />
titles of two of his books, “Songs from Vagabon-<br />
dia” and ‘More Songs from Vagabondia,” seem<br />
to indicate. He had already, however, shown his<br />
distinctive poetic genius, in his books “ Low Tide<br />
on Grand Pré,” “ Behind the Arras—a book of the<br />
Unseen,” and “ Ballads of Lost Haven.” He writes<br />
splendidly of the sea—no poet better ; living or<br />
dead.<br />
<br />
“QO, the shambling sea is a sexton old,<br />
And well his work is done.<br />
<br />
With an equal grave for lord and knave<br />
He buries them every one.<br />
<br />
<br />
THE<br />
<br />
<br />
<br />
“Then hoy and rip, with a rolling hip,<br />
He makes for the nearest shore ;<br />
<br />
And God, who sent him a thousand ship,<br />
Will send him a thousand more.<br />
<br />
“ But some he'll save for a bleaching grave,<br />
And shoulder them in to shore—<br />
Shoulder them in, shoulder them in,<br />
Shoulder them in to shore.”<br />
<br />
But Carman can write other poems besides those<br />
which somehow remind us of the volume, the<br />
strength, and the irresistible impetuosity of a<br />
brass band. He has the poet’s subtle insight, and<br />
he understands the delicate flavour of word and<br />
phrase. Withal he has originality and a com-<br />
prehensive grasp of life that are rare in modern<br />
<br />
oets.<br />
<br />
William Wilfred Campbell was born in Western<br />
Ontario in 1861, studied at Toronto University,<br />
and has been in the Canadian civil service for<br />
some years. His poetry has frequently appeared<br />
in the best magazines on both sides of the Atlantic,<br />
and he is a writer of great originality and power.<br />
It was with respect to a poem of his that a com-<br />
petent reviewer wrote: “The nearest approach to<br />
a great poem that has cropped out in_ current<br />
literature for many a long day is ‘The Mother.’ ”<br />
This poem first appeared in an American magazine<br />
in 1891 and at once stamped its author as a man<br />
of conspicuous and virile originality and force of<br />
imagination. He has published “ Lake Lyrics and<br />
other Poems,” “The Dread Voyage,” ‘“ Mordred<br />
and Hildebrand ” and “ Over the Hills of Dream.”<br />
These four books of verse place him in a high<br />
position in contemporary verse. He has written<br />
also a very beautiful elegy on his fellow-poet<br />
Lampman, which begins :— ,<br />
<br />
“ Soft fall the February snows, and soft<br />
<br />
Falls on my heart the snow of wintry pain ;<br />
For never more, by wood or field or croft,<br />
Will he we knew walk with his loved again ;<br />
No more with eyes adream and scul aloft,<br />
<br />
In those high moods where love and beauty reign<br />
Greet his familiar fields, his skies without a stain.”<br />
<br />
And he has written several other pieces of occa-<br />
sional or national interest. His is no vagrant<br />
muse, though he knows his Hastern Canada, and<br />
his eye for the larger aspects of nature is un-<br />
doubtedly keen.<br />
<br />
Duncan Campbell Scott, besides being a most<br />
artistic and genuine poet, is a very competent<br />
member of the civil service of Canada, where he<br />
holds a highly responsible position in the Depart-<br />
ment of Indian Affairs.<br />
<br />
For the sweetness of his song, and its dainty .<br />
perfection of form, Scott stands to a great extent<br />
alone. There is a delicate reticence, and a high-<br />
bred refinement about his poetry which marks it as<br />
the work of a masterly literary craftsman. He is<br />
a devotee of music, and there is music in all his<br />
<br />
AUTHOR.<br />
<br />
lines. Besides this there is a condensed force in<br />
some of his utterances that marks them as the<br />
sublimed essence of a strong and subtle mind. He<br />
has produced less than some Canadian poets,<br />
having issued but two books, “ The Magic House”<br />
in 1893, and “ Labour and the Angel” in 1898,<br />
but of the high quality of his output there is no<br />
question.<br />
<br />
In R. H. Kernighan, who has written much<br />
verse, more or less fugitive, under the nom de<br />
plume of “The Khan,” and has published a very<br />
popular volume of poems entitled “The Khan’s<br />
Canticles,”” we have an example of genuine native<br />
genius, essentially Canadian, imitative of nobody,<br />
full of vigour, and giving evidence everywhere of<br />
being that of a poet born and not made. He is a<br />
farmer, and has had no advantages of higher edu-<br />
cation, but where any of the poets before mentioned<br />
has an audience of a hundred, Kernighan has a<br />
thousand. The others appeal chiefly or solely to<br />
the “fit audience though few.” Kernighan<br />
appeals to everybody.<br />
<br />
Another poet who has a similarly wide circle of<br />
readers is Dr. W. H. Drummond, medical practi-<br />
tioner, hunter, camper, and sympachetic interpreter<br />
of the French Canadian habitant to his fellow<br />
Canadians who speak English, and to people of all<br />
English-speaking countries. Dr. Drummond may<br />
be said to have discovered the habitant just as<br />
Mr. Kipling discovered Tommy Atkins. He is<br />
the only Canadian poet who has had the pleasure<br />
of seeing his works run into many and large<br />
editions. The medium of expression he adopts<br />
is the habitants broken English, so that all his<br />
poems have a certain dramatic force. It is the<br />
peasant of Quebec who speaks and says :—<br />
<br />
“ Venez ici, mon cher ami, an’ sit down by me—so,<br />
An’ I will tole you story of ole tam long ago—<br />
W’en ev'ryting is happy—w’en all de bird is sing,<br />
An’ me !—I’m young and strong lak moose an’ not afraid<br />
no ting” ;<br />
<br />
and who tells us on the occasion of the late<br />
Queen’s jubilee :—<br />
<br />
“ Yaas, dat is de way Victoriaw fin’ us dis jubilee,<br />
Sometam’ we mak fuss about not’ing, but it’s all on de<br />
familee,<br />
An’ wenever dere’s danger roun’ her, no matter on sea<br />
or lan’,<br />
She'll find that les Canayens can<br />
Englishman.”<br />
<br />
fight de sam as bes’<br />
<br />
Miss Ethelwyn Wetherald is not only an in-<br />
dustrious contributor of prose articles to the<br />
magazines, but she is distinguished as a poet whose<br />
work has received much appreciation during the<br />
last decade. That she is a genuine lover of Nature<br />
and a skilful interpreter of Nature’s moods is shown<br />
in the three books of verse she has published :<br />
“The House of the Trees,” “Tangled in Stars,”<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
and “The Radiant Road.” Much of her work<br />
has a piquant lightness of touch and originality<br />
that give it a distinctive character. I have only<br />
= room for a small quotation :—<br />
<br />
<br />
<br />
“THE SCHOOL OF PAIN.<br />
<br />
“This is the hard school kept by Pain,<br />
With pupils sad and white ;<br />
While some shed tears like falling rain<br />
From dreary morn till night ;<br />
‘Some knit the brow and clench the fist,<br />
And fill the heart with hate :<br />
And some cross languid wrist on wrist<br />
And say Pain is their fate.<br />
<br />
* But those that study very hard,<br />
<br />
And learn that Pain can bless,<br />
Are sent out in a leafy yard<br />
To play with Happiness.”<br />
<br />
Though Frederick George Scott is the last name<br />
to be mentioned in this division of the subject, he<br />
is by no means our least poet. On the contrary,<br />
he works on a high plane of excellence ; very little<br />
of his published poetry can be reckoned as mediocre,<br />
and occasionally he reaches the sublime. Indeed<br />
it is impossible to rise from a perusal of such a<br />
poem, for instance, as his “ Samson,” or some of<br />
his sonnets, without feeling that he takes a very<br />
high place in contemporary poetic literature,<br />
whether of this continent or of England. He has<br />
published three books of verse: ‘The Soul’s<br />
Quest,” “My Lattice,’ and “The Un-named<br />
Lake ;” and he has also written several stories of<br />
considerable interest and merit. There is perhaps<br />
less of a distinctively Canadian flavour about his<br />
verse than in that of his confréres, and there is<br />
not so much celebration of the aspects of Nature.<br />
<br />
BernarD McEvoy.<br />
(To be continued.)<br />
<br />
—_———_o—>—_+__—_<br />
<br />
“LITERATURE” IN ADVERTISEMENTS.<br />
<br />
—<br />
<br />
HAT is “literature”? and what is the<br />
scope of its applicability to written com-<br />
position? very century upsets the<br />
<br />
standards of its forerunner, or literature might be<br />
pronounced comprehensively the work of men of<br />
letters, that is to say, of the esoteric devotees of<br />
grammar, syntax, style and expression. But here,<br />
come to me within the last few days from an<br />
American agency for the “ placing” of “ copy,” are<br />
a letter and a bulky package of circulars and<br />
pamphlets. The latter include a booklet of written<br />
testimonials to the firm ; another, treating of its<br />
school for journalism, with fecs, diplomas, certi-<br />
ficates and all the rest of it, very praiseworthy and<br />
profitable ; various leaflets containing urgent<br />
entreaties and calls upon man and womankind<br />
<br />
<br />
<br />
<br />
<br />
89<br />
<br />
generally to make or augment their incomes by an<br />
investment of their waste faculties in the gold<br />
mines of fiction (of which “there is not half<br />
enough to go around”); and, finally, forms to fill<br />
in, would I become one of that industrial army<br />
of “writers for profit.” Well, we have no right<br />
of quarrel with all this. If fiction has become the<br />
very bread of life, there must arise A. B. O.’s to<br />
meet a demand for which the humble bakery 1s<br />
inadequate. But why refer to such a budget of<br />
business self-puffery as “literature”? That is my<br />
anxious difficulty. ‘‘ After you have carefully read<br />
our literature,” says the Agency’s paternal letter,<br />
referring to the voluminous package. I have read<br />
it, or some of it. It is good plain advertising<br />
stuff, but it will not compare, say, with ‘‘ The<br />
Critic,’ or Autolycus’ crying of his wares in<br />
Bohemia. To call it literature seems to me to<br />
smack of those verbal appropriations to contorted<br />
uses by the free and independent, which dispossess<br />
the old without dignifying the new. Perhaps if<br />
American letters basked in the light of their own<br />
stately antiquity, Americans would be more jealous<br />
of the term. Perhaps if—this, that or the other<br />
had happened differently !<br />
<br />
What an utterly idle speculation! and yet how<br />
the kingdom of romance is builded on such. “ Of<br />
all sad words of tongue or pen, the saddest are<br />
these, ‘It might have been.’” America, for<br />
instance, might have had at this day a very damask<br />
of historical dyes to paint into her literature, had<br />
not that confederacy of States limited her drafts<br />
upon romance to a beggarly couple of wars. There<br />
were the original thirteen, each sovereign and<br />
independent, and at the outset intending to<br />
remain so : thirteen embryo principalities, duchies,<br />
counties—or twelve, or eleven, perhaps, with a<br />
virulent republic interposed here and_ there.<br />
Think of it! Washington’s struggle for the<br />
suzerainty, his hard-wrung success, and the piece-<br />
meal lopping of its limbs by his rival survivors,<br />
the rise of the Salt Lake popes, instead of a Zion<br />
whopping creation ; anarchy, militarism, chaos,<br />
reason, in turn and intermingling ; a constellation<br />
of despotisms ; falling stars and fountains running<br />
blood ; the tocsin ; slaughter and frenzy in the<br />
streets; State marching on State, the clashing<br />
cymbals of discordance ; sack, pillage, the roar of<br />
musketry and babbled prayers of girls. Then, the<br />
sense of design emerging—wild theories of order,<br />
and patterns of art and government ; fervid<br />
apostolicism and a Christ-like vision of beauty ;<br />
mutinies of wickedness bubbling here and there,<br />
and complicating the design in their suppression—<br />
at the end, Roosevelt crowned King, at Washington,<br />
of the United States.<br />
<br />
Dismal, dismal! a lurid thing to picture ; and,<br />
instead, the gods of progress be praised ! we have<br />
<br />
<br />
90<br />
<br />
‘‘ literature” in business circulars, art in advertise-<br />
ments, and a religion—not common, or Catholic,<br />
but of commonness. Romance’s potentialities<br />
have ended in electric cars, and heaven and earth<br />
run upon parallel lines.<br />
<br />
Still, it is not yet illegal, though it is out of<br />
date, for a dreamer to dream. Whittier’s postulate<br />
turns, after all, upon a question of dollars, the<br />
republican cachet of distinction. Suppose the<br />
inroad of enterprisers bringing steel instead of<br />
finance to the internecine problem; suppose<br />
adventure running free, nor brought up blank<br />
against that impenetrable keep of Wall Street.<br />
We should not have had Bartholdi’s gigantic<br />
statue of Liberty, it is true; nor, on the other<br />
hand, should we have had business advertisement<br />
expressing itself in the following terms of elegance :<br />
“First thing you know, a good, snappy, zero day<br />
will catch you outside of an ulster.” We should<br />
have had, perhaps, at this day, a multiplex tradi-<br />
tion of conflicts in the matter of all that makes<br />
for picturesqueness—war, art and love—the ruins<br />
of a Doges’ palace at New York, of a causeway in<br />
Colorado built entirely of silver bricks by some<br />
self-exalted hidalgo of New Mexico. With such a<br />
continent, such enterprise, such a vigorous hybrid<br />
race, a century would have sufficed for the weaving<br />
of a very tapestry of history ; and, instead, we<br />
have America—it is her boast—leading the<br />
commonsense of creation.<br />
<br />
Art—it is a lamentable fact—abhors a mild and<br />
sagacious order. She derives of the gods, before<br />
reason was. Tyranny and passion are her right<br />
provocatives; dirt and decay a necessary part<br />
of her kaleidoscopic scheme. She withers in the<br />
breath of municipalities, fears ostentation, shrinks<br />
from the very term progressiveness. In statuary,<br />
in architecture, she knows her place subordinate to<br />
the mountains. She will not dwart her trees, nor,<br />
as literature, allow her appropriation to a circular.<br />
At least, that is the creed of her acolytes of the<br />
Old World, but our transatlantic Agency thinks<br />
otherwise.<br />
<br />
———_—__$_-——<br />
<br />
A CANDID FRIEND.<br />
<br />
++<br />
<br />
““F you think,” said Desmond, reloading the<br />
pipe, which had gone out during his ener-<br />
getic denunciation of my craft, “if you<br />
<br />
think of the hundreds of abortive novels -<br />
<br />
<br />
<br />
“ Well,’ I answered, “ then for consolation you<br />
must remind yourself of the thousands of acorns<br />
that make food for pigs to every one that grows<br />
into an oak.”<br />
<br />
“Do you mean to suggest that the more trash is<br />
published, the more literature we may expect?”<br />
<br />
THE AUTHOR.<br />
<br />
demanded Desmond, striking a match and letting<br />
it go out before he used it.<br />
<br />
“Perhaps,” I suggested, “ we ought to find a<br />
fresh name for it.”<br />
<br />
“Certainly, nobody in his senses,” he cried,<br />
“would describe its manufacturers as Men of<br />
Letters.”<br />
<br />
“Yet what ought we to be called ? We are not<br />
precisely journalists, although the work of a man<br />
who puts forth two or three novels and goodness<br />
knows how many short stories a year, seems to<br />
resemble journalism. After all,” I said, “a story-<br />
teller is an inoffensive person "<br />
<br />
“’m, sometimes. It depends on the story.”<br />
<br />
“ You were kind enough to say you would point<br />
out some of our most glaring faults,’ I reminded<br />
him—a little unnecessarily.<br />
<br />
Desmond crossed his legs and scowled as he<br />
struck a third match :<br />
<br />
“A rather large order,” he muttered. “ But<br />
what strikes me first is your egregious confusion<br />
of thought. You are utterly unable to discriminate<br />
between love—which seems to be the proper sub-<br />
ject for a novelist, and the—improper subject,<br />
which also begins with an ‘L.’ In fact the con-<br />
temporary novel may be defined as a study of bad<br />
manners.”<br />
<br />
“Would you wish all novels to be society<br />
novels ?” I asked.<br />
<br />
“My dear fellow,” he answered, with the air of<br />
a man who was scoring a point, ‘‘ those are pre-<br />
cisely what I had in my mind. Uncultivated<br />
manners are no more bad manners than humble<br />
life is bad life. Then,” he continued, ‘‘ your tales<br />
are far too long.”<br />
<br />
“They are shorter than they used to be and we<br />
are constantly being told that we are incapable of<br />
a sustained effort.”<br />
<br />
“Ttisvery often because athree andsixpenny book<br />
naturally brings in less than a six shilling one,”<br />
said Desmond, with a rather unpleasant laugh.<br />
“ However,” he added, “there may be something<br />
to be thankful for if what you say is right. But<br />
was any English novel ever written which wouldn’t<br />
be improved by curtailment? That is where the<br />
press notices often mislead one. Your reviewer is<br />
a practised and judicious skipper—otherwise he<br />
couldn’t keep on. He digs out the plot which I<br />
suppose is generally hidden away somewhere in<br />
the three hundred and fifty pages and it sounds<br />
interesting enough in his summary, but when one<br />
comes to the book one is lost in the maze of<br />
twaddle.”’<br />
<br />
“Yet I constantly read that our stories are too<br />
‘thin’—that our younger writers keep too closely<br />
to the fable, and you must admit that some quite<br />
unnecessary characters are amongst the best that<br />
have ever been drawn.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 91<br />
<br />
“ Oh dear yes,” said Desmond. “Tam prepared<br />
to forgive you almost anything provided you draw<br />
me a character.”<br />
<br />
“Then what on earth are you growling about ?”<br />
I asked, pushing across the whiskey.<br />
<br />
“You insist on relating your incidents twice<br />
over,” he answered. “ First in dialogue, again in<br />
what you would call the analysis. You may de-<br />
scribe your scene either dramatically or in narrative,<br />
but why do both? Read the conversations in an<br />
average novel and you can usually gather all you<br />
wish to know, but as if the author distrusted him-<br />
self, he almost invariably goes on to explain them<br />
as well.”<br />
<br />
“ Still,’ I urged, “an explanation may be<br />
illuminating. Mayn’t there be an advantage in<br />
judicious repetition. You become more saturated<br />
with the subject.”<br />
<br />
“How often is it worth while ?” he demanded.<br />
“ Give your readers credit for a little imagination if<br />
you possess none yourself. Now explain this,” he<br />
continued, still appearing to find a difficulty in<br />
making his pipe draw. ‘‘ Leaving on one side the<br />
relative literary merits of plays and novels, why do<br />
people insist more and more on being amused.<br />
when they go to the theatre, but less and less<br />
when they read fiction ?”<br />
<br />
« Now you are accusing us of a lack of humour,”<br />
I suggested.<br />
<br />
“Humour” he exclaimed, throwing his arms<br />
above his head. “Humour! That is a great<br />
thing to ask for. Humour, let me tell you, is one<br />
of the rarest qualities in the world. Of course the<br />
word is generally used when one means merely a<br />
sense of the ridiculous.”<br />
<br />
“ What is the difference ? ”<br />
<br />
“Oh well, I take it that humour implies a touch<br />
of emotion combined with an idea of incongruity.<br />
Humour surely lies betwixt tears and smiles, closely<br />
akin to both. We mustn’t expect to find it very<br />
often. I stipulate for something far more com-<br />
onan simply for a little—well, for a little<br />
<br />
un.”<br />
<br />
«A funny novel would be as depressing as a<br />
fonny man,” I returned.<br />
<br />
“7 don’t wish for a funny novel, but for a novel<br />
with some fun init . . . quiteanother thing. On<br />
the stage we have a good deal of what is at least<br />
intended for fun. In novels with one or two<br />
exceptions we have remarkably little. Now, how<br />
do you account for that ?” he asked, leaning back<br />
in his chair as if he were content to wait in vain<br />
for a reply.<br />
<br />
“(Can it be,’ I ventured, “because a larger<br />
proportion of men go to the theatre than to the<br />
<br />
circulating libraries ? The bulk of novel readers<br />
are women and one naturally tries to suit one’s<br />
public.”<br />
<br />
Desmond glared at me over his spectacles, so<br />
that I began to feel more than ever like a guilty<br />
thing :<br />
<br />
“You justify that kind of truckling?” he<br />
exclaimed.<br />
<br />
« A man who tells you a story that you don’t<br />
wish to hear, is just a bore, you know.”<br />
<br />
“ Besides,” said Desmond, “ you must be forget-<br />
ting that the moralists warn us that the craving<br />
for amusement on the part of women is one of the<br />
serious evils of the day.”<br />
<br />
“What they crave is entertainment,” I returned.<br />
“They require their attention to be held. Now<br />
‘amusement’ seems to signify entertainment with<br />
agreeable objects.”<br />
<br />
“The fact of the matter is,” cried Desmond,<br />
“that novel writing is ceasing to be an art.”<br />
<br />
«“T was under the impression,” I said very<br />
humbly, “that in spite of all our faults, we<br />
were credited with a certain improvement in<br />
technique.”<br />
<br />
« Well, that may be so,” he admitted grudgingly.<br />
“A good many of you are clever, but few are wise.<br />
No doubt many write fairly well, but what you<br />
have to say is not often concerned with the<br />
beautiful.”<br />
<br />
“You forget that for the most part we have to<br />
deal with modern life !”<br />
<br />
“My dear chap, you shouldn’t try to be cynical<br />
off duty,” was the answer. “If you are worth your<br />
salt, you ought to have enough insight to see<br />
through the trappings that modern life is as<br />
beautiful and as ugly—neither more nor less—as<br />
life has ever been. You simply put beauty on the<br />
shelf—or at least,’ he added, with a laugh,<br />
“you don’t. Look through the contents of any<br />
circulating library—I see girls doing it every<br />
week.”<br />
<br />
“Oh come,” I cried, “you are not going to drag<br />
the young person into it again.”<br />
<br />
“Well, I certainly don’t like her books,” he<br />
confessed. “And yet, you prohibit certain<br />
undesirable advertisements on street hoardings.<br />
The circulating library shelves are almost as<br />
accessible. Still, we will leave the young person<br />
out of it, and think only of those others who still<br />
possess a sense of decency. If you are not careful<br />
you will have a censor of novels as well as of<br />
plays.”<br />
<br />
“ Poor wretch !<br />
sinecure !”<br />
<br />
«J was going to say when you interrupted me,”<br />
Desmond continued, “that if you look through the<br />
shelves of any circulating library, it is absolutely<br />
appalling to open one book after another full<br />
of sheer hideousness. I suppose, though, it<br />
is rather old-fashioned to believe that vice is<br />
hideous.”<br />
<br />
His berth wouldn’t be a<br />
<br />
<br />
92<br />
<br />
«You ought to define your terms,” I hinted.<br />
<br />
But Desmond shook his head :<br />
<br />
“ Tt’s too close to midnight,” he said.<br />
<br />
“Anyhow, you must admit that a great deal<br />
depends on the treatment,” I persisted.<br />
<br />
“A great deal, I grant. But then the open<br />
air treatment is ousting every other. The windows<br />
are thrown up, the blinds are absent, very nearly<br />
everything is done out of doors. Surely there are<br />
human functions which it is undesirable to witness,<br />
to talk about, even to write about.”<br />
<br />
“In fact, you would discourage any attempt to<br />
deal seriously with life !”<br />
<br />
“ With life! Good Lord,” cried Desmond, “ isn’t<br />
it possible to deal seriously with life and yet not to<br />
be everlastingly trafficking with the seventh<br />
commandment.”<br />
<br />
“ You would prefer a story with a moral !”<br />
<br />
“ ] should hate it,” he answered, furiously. “It<br />
may be as unmoral as you please, but for goodness’<br />
sake let me have something as a change from<br />
immorality. Don’t you understand that ugliness<br />
in art should be used only as a foil to beauty ! But<br />
you make the hideous an end in itself. You are sel-<br />
dom tragic, but instead of making me shudder, you<br />
make me sick, and you compel me to hold my<br />
nostrils instead of my sides.”<br />
<br />
“Well,” I suggested, “let me give you some<br />
more whiskey.”<br />
<br />
“No, thank you, no more to-night,” said<br />
Desmond and the following day I learned that he<br />
was keeping his bed with influenza. Of course, he<br />
must have been sickening the previous night ; no<br />
doubt the poor fellow’s temperature had already<br />
risen above the normal, thus accounting for his<br />
extremely crude and sweeping assertions. 3<br />
<br />
——____+—~»—_ —__<_<br />
<br />
COMMENTS ON COMMENTS.<br />
<br />
1<br />
<br />
CANNOT allow the “ Comments on Thack-<br />
<br />
eray’s ‘Essay on Pope,” which appeared<br />
<br />
in the November issue of Zhe Author, to pass<br />
without one or two words of protest.<br />
<br />
The contemptuous estimate of Pope’s character by<br />
the writer of the article will be rather galling to those<br />
to whom his personal good qualities far outweigh<br />
his disagreeable ones. It must never be forgotten,<br />
<br />
in thinking over what he accomplished, that he<br />
was deformed, and from a child of a sickly nature.<br />
And yet a weak body must have contained a strong<br />
and attractive mind, to allure to itself as staunch<br />
and life-long friends the author of the “ Beggar’s<br />
Opera,” John Gay; he of the “ Seasons,” James<br />
Thomson ; and last, but perhaps the greatest of<br />
<br />
THE AUTHOR.<br />
<br />
the trio, Dean Swift. Nor must I omit “ My St.<br />
John,” the brilliant and versatile politician, Lord<br />
Bolingbroke :— :<br />
<br />
“ Awake, my St. John ! leave all meaner things<br />
To low ambition and the pride of kings.<br />
Let us (since life can little more supply<br />
Than just to look about us and to die)<br />
Expatiate free o’er all this scene of man.<br />
<br />
. * * + -<br />
<br />
Laugh where we must, be candid where we can ;<br />
But vindicate the ways of God to man.”<br />
<br />
This keynote is struck by one of whom, accord-<br />
ing to the essayist in The Author, “it is a little<br />
difficult to think generously.”<br />
<br />
That Pope’s heart was in the right place is<br />
evidenced, I think, by the modest and truly<br />
unselfish wish that his might be the task to<br />
“rock the cradle of reposing age .. . and keep<br />
awhile one parent from the sky.” The most<br />
virulent critics do not deny that he was a good<br />
son to father and mother. That he was capable of<br />
deeper feelings than he is given credit for in the<br />
article under review is proved by the mournful<br />
lines commencing :—<br />
<br />
“ How loved, how honoured once,” etc.<br />
<br />
These are worthy of being placed side by side<br />
with the solemn, the sad, the true reflection on<br />
human existence as “rounded by a sleep,” which<br />
is one of the gems in Shakespeare’s “ Tempest.”<br />
<br />
This man, whose “ philosophy of life is just one<br />
bitter satire,” so the comments run; this mis-<br />
shapen, small and delicate creature, how reads a<br />
portion of his literary record? This is what<br />
Professor Henry Morley says :—‘‘ Under Queen<br />
Anne he was anoriginal poet . . . under George I.<br />
he was a translator and made much money . . . he<br />
also edited Shakespeare, but with little profit to<br />
himself, for Shakespeare was but a Philistine in the<br />
eyes of the French classical critics.” This man,<br />
then, of sarcasm, more or less venomous, more or<br />
less cruel, could so admire the ‘ unvalued book :<br />
(so spoken of by Milton in his day) that at little<br />
profit to himself, but with much labour, he edited<br />
Shakespeare’s plays; he tried to turn men’s<br />
attention “from the culture of the snuff-box and<br />
the fan” to the problems and pathos of humanity,<br />
as discussed and displayed in undying glory of wit<br />
and wisdom and individuality of character—those<br />
plays whose words of matchless diction irradiate<br />
with beauty and truth.<br />
<br />
One more quotation from the comments ere I<br />
bring my remarks to a close :— There is hardly a<br />
page in all Pope’s poetry which does not hold a<br />
satire.” Well, I find many pages quite otherwise.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 93<br />
<br />
4 As, for instance, I find on one page this glorious<br />
og poetry, as fine as anything ever written :—<br />
<br />
<br />
<br />
fe<br />
<br />
4<br />
<br />
HT<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“What blessings Thy free bounty gives,<br />
Let me not cast away ;<br />
For God is paid when man receives,<br />
To enjoy is to obey.<br />
<br />
“Tf Tam right, Thy grace impart<br />
Still in the right to stay ;<br />
If I am wrong, oh, teach my heart<br />
To find that better way.<br />
<br />
“ Teach me to feel another’s woe,<br />
To hide the fault I see ;<br />
That mercy I to others show,<br />
That mercy show to me.<br />
<br />
“This day be bread and peace my lot :<br />
All else beneath the sun<br />
Thou know’st if best bestowed or not ;<br />
And let Thy will be done.”<br />
<br />
There are many whoare proud of being English-<br />
men ; there are not a few who are just as proud of<br />
the heritage left to them by the “little crooked<br />
thing” in their land’s language. Filmy fancies,<br />
charming conceits, and the ‘solid pudding” of<br />
sound common sense are offered to all with a wealth<br />
of graceful poetic illustration. It is as a com-<br />
panion Pope excels. He ranges ‘from grave to<br />
gay, from lively to severe”; he is a persuasive<br />
teacher of worldly prudence, of good morals, of<br />
healthy hopes, and this without the jargon of the<br />
schools and, above all, without cant.<br />
<br />
J. Harris BRIGHOUSE.<br />
<br />
——_+—<—_+___—__-<br />
<br />
THE TWENTY-SEVENTH CONGRESS OF<br />
THE INTERNATIONAL LITERARY AND<br />
ARTISTIC ASSOCIATION.<br />
<br />
——>—<br />
<br />
(Liége, Brussels, Antwerp ; 18-24 September,<br />
1905.)<br />
<br />
HIS congress, brightened by a greater diver-<br />
<br />
sity than usual of féfes and excursions of<br />
<br />
: a very interesting character, consisted of<br />
six séances. Three were held at lLiége, one at<br />
Brussels, and one at Antwerp. Of these, four<br />
were devoted to strictly copyright questions ; the<br />
subjects under discussion in the first and last<br />
were connected with the important problem of<br />
the further extension of the Berne Convention.<br />
Several of the debates were occupied with the<br />
consideration of questions that are only of secon-<br />
dary interest to authors, such as ‘The Industrial<br />
Applications of Art,” “The Public Performance<br />
of Musical Works,” ‘Gratuitous Performances,”<br />
* Protection of Public Sites and Ancient<br />
<br />
Monuments,” and “The Protection of Objects in<br />
Museums.” A mention of these may suffice. The<br />
purely literary questions were, however, of very<br />
great interest, and will demand fuller attention.<br />
<br />
Foremost amongst the literary questions must<br />
be placed the duration of copyright, which was<br />
discussed at some length. This is a matter of<br />
the highest interest to all authors, and of particular<br />
interest to British authors, who may be well dis-<br />
contented with having a duration of rights shorter<br />
than that accorded by many insignificant States<br />
possessing but a poor literature, and that dura-<br />
tion of rights placed upon a confused and highly<br />
unsatisfactory basis. We call the basis unsatis-<br />
factory because it is liable in certain cases to be<br />
calculated from the date of the first publication<br />
of the work protected. That date is often, even<br />
in the case of well-known authors, extremely<br />
difficult to discover. The date of the author's<br />
death, on the other hand, can be always easily<br />
ascertained. And for that reason alone pro-<br />
tection for life, anda definite period afterwards,<br />
is infinitely to be preferred to any arrangement<br />
based upon the moment of the publication of<br />
a work. The congress was, of course, entirely<br />
opposed to quaint anomalies of any kind.<br />
<br />
In fact, they found a constant source of grave<br />
inconveniences even in the diversities of the dura-<br />
tions of copyright in the different countries of<br />
the union. When legal action is taken in accor-<br />
dance with the provisions of the Convention, the<br />
judges find themselves in every case obliged to<br />
take into consideration the durations of copyright<br />
in the country of origin, and in the country of<br />
reproduction ; and where a difference of duration<br />
exists, difficulties of various kinds invariably<br />
arise, whilst in any case only the shorter period<br />
can be legally dealt with. The result of this<br />
is an amount of confusion that has much assisted<br />
to generate a cynical scepticism concerning the<br />
actual utility of the Berne Convention. This is<br />
to be deplored. But all these difficulties will<br />
immediately vanish as soon as a general radical<br />
reform shall have made the duration of copyright<br />
equal in all States. ‘The advantages of such a<br />
reform would be so great that anything to be<br />
urged against it may be justly held to be of<br />
minimal importance. A comparison of the various<br />
durations of copyright led the congress to believe<br />
that the period of “life and fifty years afterwards ”<br />
seemed to have the best chance of universal accept-<br />
ance. The congress was unanimous on this im-<br />
portant point. At the same time it was disposed<br />
to consider of no small moment the fact that the<br />
term of protection in Spain is life and eighty years<br />
afterwards. For which reason the congress opined<br />
that life and fifty years should be regarded as a<br />
minimum.<br />
<br />
<br />
94<br />
<br />
A more complicated question is that of formali-<br />
ties, and this question occupies a larger space than<br />
any other in the report of the congress. The<br />
congress was of opinion that in international<br />
relations formalities have no right to exist. They<br />
are the source of nothing but nuisances, and con-<br />
stantly impede successful legal proceedings. It<br />
was contended that the mere fact of having pub-<br />
lished a book should entitle the author to all<br />
rights accorded him by the Convention. (This<br />
amounts to the suppression of the second clause<br />
of Article 2.) It appears that at present the<br />
formalities of deposition or registration, or of<br />
both, are necessary only in Haiti, Spain, and<br />
Italy. Italy and Spain allow the author some<br />
time during which to comply with the requirements<br />
—but at the risk of piracy, against which he can-<br />
not proceed during the interval. In Great Britain,<br />
France, and Japan, deposition and registration are<br />
necessary only before taking legal action. The<br />
various speakers on the subject were theoretically<br />
in favour of the complete suppression of formall-<br />
ties, and regarded this as the certain ultimate<br />
solution of the various difficulties. But it was<br />
admitted that, at least at present, it was highly<br />
doubtful whether this was possible. Meanwhile,<br />
the proposition that the neglect of formalities should<br />
have no international importance involved the in-<br />
consistency that, in this case, it would be possible<br />
for an author who had no rights in the country of<br />
origin, to have in other States larger rights than<br />
its own citizens legally enjoyed. On the question<br />
being put to the vote, a fundamental proposition in<br />
favour of the abolition of formalities was carried.<br />
<br />
A suggestion that a new form should be given<br />
to Article 14 of the Convention, which deals with<br />
retroactivity, led to a discussion of a somewhat<br />
confused character. The danger of trespass<br />
beyond the legitimate province of international<br />
relations appeared to be involved, and the con-<br />
ference contented itself with a modified resolution,<br />
which will be found below. :<br />
<br />
The fourth article of the Convention was also<br />
subjected to criticism, as wanting in “system.” A<br />
new text was proposed, but as it was not discussed,<br />
nor indeed regarded as final, it may suffice to say<br />
that it offers a somewhat fuller and more orderly<br />
definition of what should be understood by<br />
“literary and artistic works.” Scenic decorations<br />
in theatres, photographs, architectural designs,<br />
engineers’ designs, and lectures would be included.<br />
The report mentions also that a hope was enter-<br />
tained that the duration of secondary rights (trans-<br />
lations, &c.) would ultimately be made commen-<br />
gurate with the duration of the copyright itself.<br />
<br />
In the discussion of the Extension of the Union,<br />
three States only of those which are outside it<br />
came into consideration—the United States of<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
America, Holland, and Roumania. A full dis-<br />
cussion of the relations of the unionist countries<br />
with the United States was not possible; and the<br />
congress contented itself with acquiescing in<br />
M. Osterrieth’s conclusions, which recommended<br />
that, on the one hand, the unionist countries —<br />
should make common cause in seriously pressing<br />
the United States to accord strangers a more<br />
satisfactory protection; and that, on the other ©<br />
hand, within the United States themselves authors<br />
<br />
and publishers should take a saner view of the © ij<br />
advantages that would accrue to themselves from "2<br />
this protection, in the shape of a higher develop-<br />
ment of the national literature. :<br />
<br />
Holland was described as “The Holy Land of ©<br />
Pirates” : a country where ‘‘ a coalition of mercan-<br />
tile interests, ingeniously disguised as protective<br />
of national labour, and yet more ingeniously as a<br />
means of popular diffusion of the highest forms<br />
of literature,” supported a system that paid no~<br />
regard to rights of any kind. It was further<br />
hinted that, even at the present date, literature<br />
is not considered a profession in Holland. All §<br />
authors are mere dilettanti who amuse themselves _<br />
with writing in their spare moments, and any man<br />
who considers his pen a source of income is<br />
beneath contempt. Some hopes of more en-<br />
lightened views are, however, entertained since<br />
the foundation of the Dutch Society of Authors<br />
(Vereeniging van Letterkundigen), which has on<br />
its roll of members the names of 120 of the best<br />
known writers in Holland.<br />
<br />
The Roumanian Government, on the other<br />
hand, was officially represented. The delegate<br />
was not able to announce the adhesion of Roumania<br />
to the Berne Convention—an adhesion mistakenly<br />
reported in some journals. But he informed the<br />
congress that his government was engaged in<br />
drafting a new copyright law, which will supersede<br />
the imperfect one of 1862. The passing of this<br />
new statute will greatly facilitate Roumania’s<br />
adhesion to the Berne Convention. And in the<br />
name of his government he invited the association<br />
to hold their next congress at Bucharest, an<br />
invitation that was immediately accepted.<br />
<br />
The following resolutions, with some others of<br />
minor interest, were passed by the congress.<br />
<br />
<br />
<br />
The congress again approves the project of the<br />
revision of the Berne Convention adopted at the -<br />
congresses of Weimar and Marseilles, and it desires<br />
that the provisions affirming the following principles<br />
should be inserted in the project :-—<br />
<br />
I<br />
The enjoyment of the rights recognised by the ye<br />
Convention ought not to be conditional upon Hite<br />
compliance with any formality.<br />
<br />
<br />
AMigogon T<br />
<br />
tte<br />
<br />
(a Ode<br />
<br />
<br />
<br />
yt ge<br />
Og<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
7) dramatic talent—‘ The Pioneers.”<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
LT,<br />
<br />
The duration of copyright shall be a minimum<br />
of the life of the author and fifty years afterwards.<br />
<br />
Il.<br />
<br />
The stipulationsrespecting retroactivity (Art. 14)<br />
should apply to all new rights recognised by the<br />
Conferences of Revision.<br />
<br />
—_—_————_+—_—___——__<br />
<br />
CORRESPONDENCE.<br />
<br />
os<br />
Pornts oF VIEW.<br />
Str,—May I offer a few words in reply to<br />
<br />
1 Mr. Ascher’s interesting article in the November<br />
_ Author ?<br />
<br />
I do not think my point of view actually diverged<br />
from that expressed in Mr. Begbie’s sensible advice<br />
to journalists. He dealt frankly with the com-<br />
mercial side of our profession: I dealt with the<br />
artistic, and the two sides have little to do with<br />
each other.<br />
<br />
The fact I wished to emphasise was, that while<br />
there is a mighty number of magazines for a<br />
certain class of reader, another class, and not a<br />
small one, goes lacking. Also, that there is no<br />
opening in our English magazines for original<br />
work of a high order.<br />
<br />
He who writes to make a living and he who<br />
writes because he can’t help it need not interfere<br />
with each other. The best advice to the former<br />
is: “Strive to please the ordinary public.” The<br />
best advice to the latter is: “Strive to satisfy<br />
your own artistic conscience and the most fastidious<br />
taste.” Some day or other the best must come to<br />
the top, but the process is a slow one at present—<br />
much slower than in the days of George Eliot and<br />
Jane Austen—and I would see it gently assisted by<br />
the great English magazines, whose readers are<br />
waiting impatiently for it—those readers who want<br />
literature, not journalism.<br />
<br />
Thanking Mr. Ascher for the kind things he<br />
says of my work.<br />
<br />
T am, yours truly,<br />
<br />
Mary L. PENDERED.<br />
—_-—<—+—<br />
<br />
Matters DRAMATIC.<br />
<br />
Dear Sir,—As no one, so far, has called<br />
attention in Ze Author to what is, in my opinion,<br />
one of the most interesting literary events of the<br />
passing year, may I be permitted todoso. I refer<br />
to the formation of a new society, whose primary<br />
object is the discovery and exploitation of native<br />
Under the<br />
<br />
<br />
<br />
95<br />
<br />
management of a strong executive council, of<br />
which Mr. Arthur Bourchier is chairman, the<br />
society proposes not “ to bewail the decadence of<br />
the British drama,” but to give a hitherto non-<br />
existent chance to the as-yet-unacted British<br />
dramatists, who may, it is hoped, revive it. Plays<br />
can be sent in by the aspiring playwright, whether<br />
a member of the society or not, with the certainty<br />
of their consideration by the council. From<br />
amongst the number submitted the most suitable<br />
for theatrical representation will be chosen, and<br />
duly presented to an audience which should be<br />
ideal from a dramatic author’s point of view, for it<br />
will consist of theatrical managers, actors, authors,<br />
brother-playwrights, and others whose first interest<br />
is in the play as a play ; and not as a vehicle for an<br />
hour or two’s amusement. The inaugural per-<br />
formance is to take place at the Scala Theatre on<br />
December 17th next, and has already aroused<br />
widespread interest. The welcome accorded to<br />
the new society can only be described as enthu-<br />
siastic, but an increase of membership is very<br />
desirable. The subscription is one guinea for the<br />
year, and carries with it the right to two tickets<br />
for every performance given by the society. Any<br />
enquiries addressed to the hon. sec., 1, Trafalgar<br />
Buildings, Northumberland Avenue, W.C., will,<br />
I am sure, be readily answered, and | would<br />
suggest that all who have the interests of the<br />
British drama at heart should put themselves in<br />
communication with him forthwith.<br />
<br />
SretitaA M. Dirine.<br />
<br />
rt<br />
<br />
THE JATERATURE OF AUSTRALIA.<br />
<br />
i<br />
<br />
Duar Srr,—Noticing an interesting account of<br />
Australian writers in your last issue, | was some-<br />
what surprised—considering its fullness—that no<br />
mention was made of that best known of all<br />
colonial novelists, Ethel Turner, whose stories for<br />
children have been so well received in England.<br />
In Australia, as I happen to have heard from<br />
friends in that country, she is, without exaggera-<br />
tion, a household name, far above many your<br />
writer has mentioned, and equal to any that he<br />
has. I have also read and noticed reviewed this<br />
year a novel by * Constance Clyde,” which gives a<br />
new and vivid description of Sydney city life, she,<br />
I read from one of the reviews, being a well-<br />
known writer on one or two of the best papers in<br />
Australia. oe a<br />
<br />
Hoping you will pardon this slight criticism of<br />
your correspondent’s article.<br />
<br />
Yours obediently,<br />
<br />
E. BROADFIELD.<br />
<br />
<br />
96<br />
Il.<br />
<br />
Srr,—I am very sorry for the omission of Miss<br />
Ethel Turner’s name from my article on “« Aus-<br />
tralian Literature,” and do not know how I came<br />
to forget so well known an author. I am glad<br />
that the error will be corrected by the publication<br />
of your correspondent’s letter on the subject.<br />
<br />
Indeed, I fear that owing to my not having been<br />
lately in the colonies, there may be yet other<br />
omissions, but I trust this may not be the case<br />
with authors of note. My idea was rather to give<br />
the general trend of Australian literature from its<br />
beginning than to enumerate contemporary writers,<br />
and I confess that I do not know the author,<br />
“Constance Clyde,” of whom your correspondent<br />
speaks.<br />
<br />
I am, yours sincerely,<br />
<br />
R. M. PRAED.<br />
<br />
CHAPTER HEADLINES.<br />
<br />
Dear Srr,—A novel reader recently asked me<br />
why many books are now published without chapter<br />
headings. Can any novelist answer ? Is it art,<br />
or simply idleness, or just a vogue ?<br />
<br />
If the chapters of a novel have no title or head-<br />
line, why not abolish the table of contents also ?<br />
Such information as “Ch. V. p. 50” is of no use<br />
to anyone. It would be much better to put the<br />
number of each chapter either as a headline, or a<br />
“Sig.” on each odd page.<br />
<br />
Then, what is the use of repeating the title of a<br />
novel as its headline on every page. “Old Brown”<br />
may be all right on the cover, but as he probably<br />
is the subject of every one of three hundred pages<br />
it is quite unnecessary to have the title paraded in<br />
large caps three hundred times or more. When<br />
the title is no indication to the contents of the<br />
volume its vain repetition is but the constant<br />
reiteration of an unwarrantable impertinence.<br />
<br />
In a recently-issued American novel the story is<br />
divided into more than half-a-dozen titled “books,”<br />
and each book consists of from six to twelve un-<br />
titled chapters—but there is no table of contents !<br />
There appears to be no rule, and the practice<br />
varies.<br />
<br />
Any story which is not intended to be read<br />
through at a single sitting should consist of<br />
sections; and, as a convenience to the reader,<br />
these sections or chapters should be named rather<br />
than numbered only. his is my opinion and<br />
that of novel readers I have consulted. What do<br />
the novelists say ?<br />
<br />
WILL. GREENER.<br />
<br />
THE AUTHOR.<br />
<br />
Unit oF AN EbITION,<br />
<br />
Srr,—With reference to what is mentioned in<br />
the November issue of Zhe Author, under the<br />
heading of ‘‘ Committee Notes,” about the unit of<br />
an edition, I would like to suggest (what, doubtless,<br />
has already been proposed) that the society agree<br />
with the Publishers’ Association that the word<br />
“sedition” mean all the copies of a work in which the<br />
wording is the same, and the word “ issue” all those<br />
copies of an edition which are published at one<br />
time. To say that a work is in its second or any<br />
other edition would then show how many times it<br />
has undergone alteration. These words are, I<br />
think, used in this sense by Messrs. Macmillan, but<br />
I do not know whether by any other firm of<br />
publishers.<br />
<br />
There does not seem to me much real need to<br />
define how many copies constitute either an issue<br />
or an edition, for the number must depend so much<br />
upon the nature of the work ; but what people do<br />
most urgently want to know is that they are buy-<br />
ing really a copy of the latest revised issue of any<br />
work, and the use of the word edition in the<br />
above-suggested sense, with the date, would always<br />
give them that information.<br />
<br />
Husert Hass.<br />
<br />
A Muissine VOLUME.<br />
<br />
Sir,—Permit me to rectify two slight slips<br />
which crept into my communication under this<br />
head in last month’s organ.<br />
<br />
The name of the supposed authoress of “ Rebecca,<br />
or the Victim of Duplicity,” is Mrs. Holebrook of<br />
Sandon, Derbyshire, and the precise style of the<br />
present resting-place of the two volumes, the<br />
Library of the University of Paris, Bibliotheque<br />
de la Sorbonne. I may add that the third volume<br />
we are so anxious to find has not, as yet, been<br />
traced.<br />
<br />
Crcil CLARKE.<br />
<br />
——<br />
<br />
REFERENCE BOOKS.<br />
<br />
Srr,—In reply<br />
Littérateur ” on page 64 of the November number,<br />
he should certainly obtain a copy of F. Howard<br />
Collins’s ‘Author and Printer,”<br />
revised, in which he will find on p. xiv. the books<br />
constituting ‘a useful library of reference,” from<br />
which a selection for travelling could be made.<br />
<br />
A MEMBER.<br />
<br />
to the question of “A Struggling —<br />
<br />
second edition — | https://historysoa.com/files/original/5/511/1905-12-01-The-Author-16-3.pdf | publications, The Author |
512 | https://historysoa.com/items/show/512 | The Author, Vol. 16 Issue 04 (January 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+04+%28January+1906%29"><em>The Author</em>, Vol. 16 Issue 04 (January 1906)</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> | 1906-01-01-The-Author-16-4 | | | | | 97–128 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-01-01">1906-01-01</a> | | | | | | | 4 | | | 19060101 | be Author.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XVI.—No. 4.<br />
<br />
JANUARY I1sT, 1906.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
<br />
AUTORIDAD, LONDON.<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 />
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 />
—_1+——+—<br />
<br />
List of Members.<br />
<br />
Tux List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
—1 <9<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tur Trustees of the Pension Fund met at the<br />
Society’s Offices in April, 1905, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. ‘They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
<br />
Vou, XVI.<br />
<br />
><br />
<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
This is a statement of the actual stock; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Consols. 24%. £1000<br />
Tioeal WOdNse ea. 500<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............-.-<br />
War loan...<br />
London and North Western 3 % Deben-<br />
ture StOCKk 25.9 ee<br />
Egyptian Government Irrigation<br />
Trust 4 % Certificates .............++<br />
<br />
291<br />
201<br />
<br />
250<br />
<br />
200 0 0<br />
<br />
otal. eee £2443 9 2<br />
<br />
Subscriptions, 1905. £8. ds<br />
<br />
July 13, Dunsany, the Right Hon, the<br />
Lord ; : : : : :<br />
Oct. 12, Halford, F. M.<br />
| » suorban, WM.<br />
Nov. 9, “ Francis Daveen”’<br />
» >», Adair, Joseph<br />
21, Thurston, Mrs.<br />
<br />
ae<br />
<br />
Dec. 18, Browne, F. M.<br />
<br />
Donations, 1905.<br />
<br />
July 28, Potter, the Rev. J. Hasluck<br />
Oct. 12, Allen, W. Bird :<br />
Oct. 17, A. O. N. ; : :<br />
Oct. 17, Hawtrey, Miss Valentina<br />
Oct. 31, Williamson, C. N.<br />
<br />
Oct. 31, Williamson, Mrs. .<br />
Nov. 6, Reynolds, Mrs. Fred.<br />
Nov. 9, Wingfield, H.<br />
<br />
Noy. 17, Nash, T. A. .<br />
<br />
Dec. 1, Gibbs, F. L. A.<br />
<br />
Dec. 6, Finch, Madame<br />
<br />
Dec. 15, Egbert, Henry<br />
<br />
Dec. 15, Muir, Ward ;<br />
Dec. 15, Sherwood, Mrs. A. .<br />
<br />
Dec. 18, Sheppard, A. T.<br />
<br />
Dee. 18, 8. I. G. ‘<br />
<br />
CRKH eH acon<br />
<br />
KOR OROCORrRrFOFRCSO<br />
— —_<br />
awe<br />
<br />
_<br />
<br />
_—<br />
S<br />
omoooanoaonoocooorcoe<br />
<br />
fot<br />
o<br />
<br />
<br />
98<br />
COMMITTEE NOTES.<br />
<br />
><br />
<br />
MEETING of the committee was held on<br />
Monday, November 27th, at 39, Old Queen<br />
Street, Storey’s Gate, S.W.<br />
<br />
After the minutes of the previous meeting had<br />
been read and signed, the election of members took<br />
place. The names of those elected will be found<br />
in another column. The committee are pleased to<br />
report that the election of members is still well<br />
maintained, and that the peculiarly large election<br />
of last year of 233 members has been surpassed<br />
during the present year, when 238 members have<br />
been elected. : :<br />
<br />
Certain questions relative to Imperial copyright<br />
and United States copyright were discussed, and<br />
the question of Egypt and the Berne Convention<br />
was considered. The secretary read a letter he had<br />
received from the Foreign Office, and the committee<br />
decided to write for further details with regard to<br />
the jurisdiction of the Mixed Tribunals in Egypt in<br />
cases of copyright.<br />
<br />
The remainder of the sitting was devoted to<br />
<br />
general business.<br />
—_——>+—_<br />
<br />
Cases.<br />
<br />
Eight cases have been in the secretary’s hands<br />
during the past month. Three were for the pay-<br />
ment of money. In one of these the amount has<br />
been paid and forwarded ; the two others are still<br />
in the course of settlement. There has been one<br />
case for accounts and one for money and accounts.<br />
The one for accounts has been settled and the one<br />
for money and accounts is still awaiting the<br />
publisher’s answer. The return of stock and the<br />
cancellation of an agreement between an author<br />
and publisher was another matter that required<br />
adjustment. Although on many occasions the<br />
society has negotiated this kind of settlement<br />
to the satisfaction of both parties, in this special<br />
case the publisher refused to deal with the society.<br />
We quite understand his motive for adopting this<br />
attitude, but are sorry for the member’s sake that<br />
the society has not been able to complete the matter<br />
satisfactorily. No doubt the author will be able to<br />
carry through the negotiations with the publisher<br />
himself. One case which has occurred for infringe-<br />
ment of copyright will not be settled for some time,<br />
owing to the fact that the infringer lives outside<br />
England. The question of the loss of a MS. by<br />
a publisher—always difficult from the legal point of<br />
view, is in the hands of the society’s solicitors for<br />
their opinion. We are pleased to report that the<br />
society’s action in Norway has now been settled,<br />
and the amount for infringement of copyright has<br />
been paid. The other questions in the hands of<br />
<br />
THE AUTHOR.<br />
<br />
tere<br />
<br />
the society’s solicitors have not as yet been settled,<br />
but, with the exception of one case, all the matters<br />
in the secretary’s hands prior to the beginning of<br />
last month have been finished. ‘The one unfinished<br />
is rather a complicated question of accounts, but ja.<br />
the secretary has already obtained the statement |<br />
from the publisher.<br />
<br />
ee oe eee<br />
<br />
<br />
<br />
December Elections.<br />
<br />
Abbott, J. H. M. . 4, Ilchester Gardens, W.<br />
Brook, Miss Lottie<br />
<br />
1, Waverley Place, St. 2:<br />
John’s Wood, N.W.<br />
<br />
Cooper, T. G. 11, Quay Street, Haver- -<br />
fordwest.<br />
<br />
Crane, Walter 13, Holland Street, Ken- <<.<br />
sington.<br />
<br />
Fry, 0. B. . Westend, Hants.<br />
<br />
Gibbs, F. L. A. The Hall, Bushey, ¥9!<br />
Herts. ;<br />
<br />
Leach, Henry 26, Romola Road, Herne 61:5<br />
Hill, S.E.<br />
<br />
Logan, J., F.R.G.S. Ormond School, Dublin. .i/i!<br />
<br />
Meynell, Mrs. 4, Granville Place Man- -a:¥!<br />
sions, Portman fF.<br />
Square, W.<br />
<br />
Morgan, Miss F.L. . 24, King Street, Car- -in)<br />
marthen. ;<br />
<br />
Nisbet, John Villa Bella Vista, Boule- -3/'<br />
<br />
vard de Cimiez, Nice, 2<br />
<br />
France; and Royal sy<br />
Societies Club, 63, .%<br />
St. James’ Street, 10).<br />
S.W. :<br />
Sheppard, A. T. 54, Huron Road, Upper “0<br />
<br />
Tooting, S.W.<br />
<br />
ee<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
1<br />
<br />
(in the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may f<br />
serve to explain the scope and purpose of the work. |@<br />
Members are requested to forward information which will ~<br />
enable the Editor to supply particulars. )<br />
<br />
ARCH AOLOGY.<br />
<br />
THE ARTOF ATTACK. By H.S.COWPER,F.S.A. 83 x 5}.<br />
312 pp. Weverston. Holmes. 10s. n.<br />
<br />
ART.<br />
<br />
How To JDENTIFY OLD CHINESE PORCELAIN. By<br />
Mr. 8. W. Hopa@son. With 40 Illustrations. 8} x 5%.<br />
178 pp. Methuen. 6s.<br />
<br />
PRE-RAPHAELITISM AND THE PRE-RAPHAELITE BRo-<br />
THERHOOD. 2 Vols. By W. HouMAN Hunt. 8} X 53.<br />
512 + 493 pp. Macmillan. 42s. n.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
_ OSWALD BASTABLE AND OTHERS.<br />
<br />
BRITISH PORTRAIT PAINTERS AND ENGRAVERS OF THE<br />
<br />
EIGHTEENTH CENTURY. Kneller to Reynolds. With<br />
<br />
an Introductory Essay and Biographical Notes. By<br />
<br />
EpmMuND Gossy. 154 x 12}. 100 Full page Ilus-<br />
<br />
trations. Goupil. £8 8s. n. and £20 n.<br />
<br />
THE ART OF PORTRAIT PAINTING. By. the Hon. JOHN<br />
Conner. 114 x 8%. 108 pp. Cassell. 10s. 6d. n.<br />
How To DRAW IN PEN AND INK. By HARry FURNISS.<br />
With numerous Illustrations. 10 x 64. 115 pp. Chap-<br />
<br />
man and Hall. 3s. 6d. n.<br />
<br />
Axe Herman Haiac AND His Work. By E. A.<br />
ARMSTRONG. £1 ls. n. (Edition strictly limited to<br />
1,500.) (EDITION DE LUXE at £3 3s. sold out.) Fine Art<br />
Society.<br />
<br />
IDEALS IN ART. By WALTER CRANE.<br />
Bell. 10s. 6d. n.<br />
<br />
93 x 6. 287 pp.<br />
<br />
BIOGRAPHY.<br />
<br />
Being some Recollections of<br />
9 x 6. 499 pp.<br />
<br />
TWENTY YEARS IN PARIS.<br />
a Literary Life. By R. H. SHERARD.<br />
Hutchinson. 16s. n.<br />
<br />
PETER PAUL REUBENS.<br />
in Painting and Sculpture.<br />
5s. n.<br />
<br />
AUBREY BEARDSLEY.<br />
Edition. Revised and Enlarged.<br />
9} x 7h. 103 pp. Dent. 6s. n.<br />
<br />
THE LETTERS OF WARREN Hastings To His WIFE.<br />
Transcribed in full from the Originals in the British<br />
Museum. Introduced and annotated by SYDNEY C.<br />
GRIER. 9 x 53. 484 pp. Blackwoods. 15s. n.<br />
<br />
Sir Henry Irving. By HALDANE MCFALL. 7} x 5.<br />
128 pp. Foulis. 2s. n.<br />
<br />
THE Story OF THE PRINCESS DES URSINS IN SPAIN.<br />
By Constance Hin. 7% x 5}. 256 pp. Lane.<br />
5s. n.<br />
<br />
Great Masters<br />
<br />
By Hope REA.<br />
138 pp. Bell.<br />
<br />
Ts xX 8.<br />
<br />
By ARTHUR Symons. New<br />
29 Reproductions.<br />
<br />
BOOKS FOR THE YOUNG.<br />
By E.NEsBIT. 8} x<br />
Wells Gardner. 6s.<br />
<br />
5§. 369 pp.<br />
By KATHERINE TYNAN.<br />
<br />
THe LUCK OF THE FAIRFAXES.<br />
8 x 53. 397pp. Collins.<br />
A LirrLe Princess. Being the Whole Story of Sara<br />
Crewe, now told for the first time. By Francis H.<br />
<br />
BURNETT. 8% x 53. 302 pp. Warne. 6s.<br />
<br />
THe Happy Curist. By HAROLD BEGBIE. 6% x 44.<br />
ll7pp. Skeffington. 2s.<br />
<br />
FRIENDS WitHour Facrs. A Fairy’s Rebuke to<br />
Vanity. Written and [llustrated by H. Furniss.<br />
9% x 74. 62pp. S.P.C.K.<br />
<br />
Fun at THE Zoo. Pictures (coloured) by Louis<br />
WAIN. Verses by C. BINGHAM. 5} x 73. Collins.<br />
CLaws AND Paws. By Louis WAIN. 12} x 10}.<br />
<br />
23 pp. Collins.<br />
<br />
A Flower WEDDING.<br />
Decorated by WALTER CRANE.<br />
Cassell. 6s.<br />
<br />
104 x 74. 40 pp.<br />
<br />
BOOKS OF REFERENCE.<br />
Dictionary oF INDIAN BioGRAPHY. By C. E. BuckK-<br />
<br />
LAND. 8 x 5}. 494 pp. Sonnenschein. 7s. 6d.<br />
COOKERY.<br />
<br />
THE AMATEUR Cook. By KATHERINE BURRILL and<br />
Anniz M. Boorse. 73 x 53. 296 pp. Chambers.<br />
38. 6d. n.<br />
<br />
DRAMA.<br />
<br />
A Tragic Play of Church and Stage.<br />
7% x 53. 196 pp. Grant<br />
<br />
THE THEATROCRAT.<br />
<br />
By JoHN DAvIpson.<br />
Richards.<br />
<br />
5s. n.<br />
<br />
Described by two Wallflowers. |<br />
<br />
THE AUTHOR. 99<br />
<br />
EDUCATIONAL.<br />
<br />
ENGLISH COMPOSITION SIMPLIFIED.<br />
Murby. Is. 6d.<br />
<br />
ARITHMETICAL WRINKLES. By J. LOGAN. Sonnenschein.<br />
Is.<br />
<br />
HISTORICAL AND MODERN ATLAS OF THE BRITISH<br />
<br />
By J, LoaGan.<br />
<br />
Empire. By C. G. ROBERTSON and J. G. BaR-<br />
THOLOMEW. 114 x 8%. 64 pp. Methuen. 4s. 6d.n.<br />
Let YoutH BuT Know. A Plea for Reason in Education.<br />
By Kappa. 73 x 5. 256 pp. Methuen. 3s. 6d. n.<br />
<br />
BLACKIE’s LITTLE GERMAN CLASSICS. GRIMM’S DIE<br />
ZWEI BRUDER. 40 pp. SCHMID’s DIE OSTEREIER.<br />
40 pp. Edited by A. R. HoPE MoncRIEFF, 6} X 41.<br />
Blackie. 6d. each.<br />
<br />
BLACKIE’s LATIN TEXTS. Edited by W. H. D. Rovuss.<br />
VirGIL. AINEID VI. 30 pp. Blackie. 6d. n. each.<br />
<br />
FICTION.<br />
<br />
THE WEAVERS SHUTTLE. By C. G. HARTLEY (MRs. W.<br />
GALLICHAN). 74 x 4%. 319 pp. Greening. 6s.<br />
<br />
THE CRUISE OF THE “ CONQUISTADOR.” Being the Further<br />
Adventures of the Motor Pirate. By G.S. PATERNOSTER.<br />
7i x 43. 312 pp. The Car Illustrated. 3s. 6d.<br />
<br />
THE ARMY OF A DREAM. By RuDYARD KIPLING.<br />
7i x 5. 62 pp. Macmillan. 6d. n.<br />
<br />
THE WINNING OF WINIFRED. By LOUIS<br />
72 x 5. 310 pp. White. 6s.<br />
<br />
VENDETTA IN VANITY Farr.<br />
7% x 54. 278 pp.<br />
<br />
TRACY.<br />
<br />
By ESTHER MILLER.<br />
Heinemann. 6s.<br />
<br />
THry. By RupyarD KIpLine. 84 x 54. 80 pp.<br />
Macmillan. 6s,<br />
<br />
THE Kine’s REVOKE. By MArGARET L. Woops.<br />
72 x 5. 334 pp. Smith Elder. 6s.<br />
<br />
A PRETENDER. By ANNIE THOMAS. 73 x 5. 318 pp.<br />
<br />
Digby Long. 6s.<br />
HISTORY.<br />
<br />
FLORENTINE PALACES AND THEIR STORIES.<br />
toss. 81 x 5}. 411 pp. Dent. 6s. n.<br />
SOMERSET HOUSE—PAST AND PRESENT. By R. NEED-<br />
HAM and A, WEBSTER. 9 xX 6. 340 pp. Unwin.<br />
<br />
21s. n.<br />
<br />
GLEANINGS FROM VENETIAN History. By FRANCIS<br />
MARION CRAWFORD. 2 Vols. 8 x 54. With 225 Illus-<br />
trations by Joseph Pennell. 517 -+ 441 pp. Macmillan.<br />
21s. n.<br />
<br />
A History oF OUR OWN TIMES. By JUSTIN<br />
McCartHy. 3 Vols. Fine Paper Edition. From the<br />
Accession of Queen Victoria to the Diamond Jubilee,<br />
1897. 61 x 4, 549 + 582 + 596 pp. Chatto & Windus.<br />
<br />
6s. n.<br />
<br />
By JANET<br />
<br />
<br />
<br />
LAW.<br />
<br />
STATUTES OF PRACTICAL UTILITY PASSED IN 1905, IN<br />
CONTINUATION OF CHITTY’S STATUTES. With Notes<br />
and selected Statutory Rules. By J. M. Lely. 10 x 6}.<br />
Pp. 557—787. Sweet & Maxwell and Stevens & Sons.<br />
7s. 6d.<br />
<br />
A Digest oF ENGLIsH Civin Law. By EDWARD<br />
<br />
JENKS. Book I. General. 10 x 64. 101 pp. Butter-<br />
worth.<br />
LITERARY.<br />
<br />
STUDIES IN POETRY AND CRITICISM. By JOHN<br />
SHURTON CoLLIns. 83} x 5. 309 pp. Bell. 6s. n.<br />
MISCELLANEOUS.<br />
<br />
Tom BROWNE'S Comic ANNUAL. Christmas, 1905.<br />
<br />
84x 53. Drane. 6d.<br />
WHat Wr TALKED ABOUT.<br />
CAMPBELL. Jarrold & Sons.<br />
<br />
By M. MonTGgoMERY<br />
Is. 6d.<br />
FLEET STREET FROM WITHIN. The Romance and<br />
History of the Daily Paper. By Henry LEACH.<br />
64 x 4}. 192 pp- Arrowsmith and Simpkin, Marshall.<br />
is.<br />
<br />
NATURAL HISTORY.<br />
<br />
Nores oN THE LIFE History OF BRITISH FLOWERING<br />
prants. By the Right Honourable LoRD AVEBURY,<br />
P.c. 9 x 53. 450 pp. Macmillan, 15s. n.<br />
<br />
A Book oF Mortats. Being a record of the good<br />
deeds and good qualities of what humanity is pleased<br />
<br />
to call the lower animals. By F. A. STEEL. 103 x 74.<br />
141 pp. Heinemann. 10s. 6d. n.<br />
PHILOSOPHY.<br />
<br />
A Criticism of Professor Heeckel’s<br />
By Sir OLIvER LODGE.<br />
2s. 6d. n.<br />
<br />
LIFE AND MATTER.<br />
“Riddle of the -Universe.”<br />
74 x 5. 200 pp. Williams and Norgate.<br />
<br />
POETRY.<br />
<br />
Tye PASTOR OF WyDON FELL. A Ballad of the North<br />
<br />
Country. By A. M. Buckron. 72 X 6}. 20 pp.<br />
Elkin Mathews. Ils. n.<br />
<br />
New CoLLECTED RHYMES. By ANDREW LANG.<br />
7x 5. 101 pp. Longmans. 4s. 6d. n.<br />
<br />
THE Two ARCADIAS, PLAYS AND Porms. By ROSALINE<br />
TRAVERS. With an Introduction by Richard Garnett,<br />
C.B., LL.D. 7% x 54. 142 pp. Brimley Johnson.<br />
<br />
Love’s FICKLED AND OTHER PoEMs. By W. BirD<br />
ALLEN. 6 x 44. 57 pp. Clark.<br />
<br />
Toe IRISH SQUIREENS, AND OTHER<br />
RANDALL MCDONNELL. 7 x 43. 45 pp.<br />
Sealy.<br />
<br />
<br />
<br />
<br />
<br />
VERSES. By<br />
Dublin.<br />
<br />
POLITICAL.<br />
<br />
IMPERIALISM. A Study. By J. A. Hopson. Revised<br />
Edition. 74 x 43. 3831 pp. Constable. 2s. 6d. n.<br />
ELECTION ANECDOTES FoR ALL Parties. By J. H.<br />
<br />
SETTLE. 7 x 4%. 140 pp. Skeffington. 1s. n.<br />
<br />
REPRINTS.<br />
<br />
Tur PLAYS AND PoEMS oF ROBERT GREENE. 2 Vols.<br />
Edited with Introduction and Notes. By J. CHURTON<br />
Commins. 9 x 53. 319 pp. and 415 pp. Clarendon<br />
Press. 18s. n.<br />
<br />
THE PoEMS OF WILLIAM COWPER.<br />
Introduction and Notes by J. C. BatLEy. With 27<br />
Illustrations. 83 x 53. 741 pp. Methuen. 10s. 6d. n.<br />
<br />
THe Fancy. By JoHN HamiInTon Reynoups. With a<br />
Prefatory Memoir and Notes by John Masefield ; and<br />
Thirteen Illustrations by J. B. Yeats. 7 x 43. 88 pp.<br />
Elkin Mathews. ls. 6d. n.<br />
<br />
A CoLLOTYPE FACSIMILE OF SHAKESPEARE’S POEMS<br />
AND PERICLES. Withan Introduction. By SIDNEY LEE.<br />
104 x 81. Oxford University Press. London: Frowde.<br />
In sets of five volumes. £3 10s.n. and £65s.n. Ina<br />
single volume £3 3s.n. and £4 4s.n.<br />
<br />
PROVERBS IN PORCELAIN, to which is added “AU<br />
Revorr.” A Dramatic Vignette. By AUSTIN DOBSON.<br />
63 x 44. 118 pp. Kegan Paul, 2s 6d. n.<br />
<br />
Edited with an<br />
<br />
SOCIOLOGY.<br />
<br />
THe CANKER AT THE HEART. Being studies from the<br />
Life of the Poor in the Year of Grace, 1905. By L. CoPE<br />
CoRNFORD. 72% x 53. 236 pp. E, Grant Richards.<br />
3s. 6d. n.<br />
<br />
THEOLOGY.<br />
THE APOSTLE’S CREED. Six Lectures given in Westminster<br />
<br />
Abbey. By H. C. Beecuine, M.A. (Canon of West-<br />
minster). 7% x 5. 100 pp. Murray. 2s, 6d. n.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Av THE MASTER’s SIDE: STUDIES IN DISCIPLESHIP.<br />
3v the Rev. ANTHONY DEANE, 64 x 44. 99 pp.<br />
<br />
Wells Gardner. Is. 6d.<br />
<br />
Tue LIFE ELYSIAN. Being more leaves from the Auto-<br />
biography of a Soul in Paradise. Recorded for the<br />
Author by R. J, Lens. 73 x 49. 349 pp. Long. 6s.<br />
<br />
Vrrus IN CRETE, OR ‘‘ THINGS WHICH BECOME SOUND<br />
DocrRINe.” By F. BouRDILLON. 7% x 5. 131 pp.<br />
Thynne. 1s. 6d. n.<br />
<br />
TRAVEL.<br />
<br />
RounD ABouUT My PEKIN GARDEN.<br />
BALD LITTLE. Illustrated. 9 x 5}.<br />
15s. n.<br />
<br />
THE SOURCE OF THE BLUE NILE. By A. J. HAYES.<br />
Andan Entomological Appendix by E. B. Poulton, F.R.S.<br />
(Hope Professor of Zoology in the University of Oxford).<br />
84 x 53. 315 pp. Smith Elder. 10s. 6d. n.<br />
<br />
By Mrs. ARCHI-<br />
284 pp. Unwin:<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES. |<br />
<br />
<br />
<br />
<br />
<br />
R. MARION CRAWFORD’S book on a)<br />
Venice was published by Messrs. Mac- © |<br />
<br />
millan & Co. early last month, under the 9:<br />
title, “Gleanings from Venetian History.” The<br />
volume is illustrated with over 200 pictures from =m<br />
drawings by Mr. Joseph Pennell. .<br />
<br />
With the publication of two volumes of lectures<br />
and essays, Canon Beeching completes his task of<br />
arranging the literary remains of the late Canon<br />
Ainger. The subjects of the lectures and essays<br />
are almost entirely of literary interest. Messrs.<br />
Macmillan & Co. are the publishers.<br />
<br />
The same publishers announce a new edition of<br />
Tennyson’s “ In Memoriam,” with the author’s own<br />
notes, It is anticipated that the publication will<br />
excite some interest among students of the poet,<br />
and will give the curious in these matters an<br />
opportunity of comparing many published inter<br />
pretations of the allusive passages with the poet’s<br />
own explanations.<br />
<br />
Mr. Kipling’s story, “ They,” which appeared<br />
last year in “ Traffics and Discoveries,” has just<br />
been issued by Messrs. Macmillan in a volume<br />
accompanied by fifteen coloured illustrations by<br />
Mr. T. H. Townsend.<br />
<br />
Dr. Charles Reinhardt has written, and_ the<br />
London Publicity Company, of 379, Strand, W.C.,<br />
have published, a pamphlet dealing with the con-<br />
sumptive poor of England, in which he traces, in<br />
simple language, the evolution of the disease, and<br />
suggests, as the remedy, the erection and main-<br />
tenance of open-air sanatoria. The price of the<br />
pamphlet is 6d.<br />
<br />
We are requested to state that Mr. Henry R.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
AtATT<br />
<br />
<br />
<br />
saunas<br />
<br />
TAB<br />
<br />
has kindly consented to take the place of<br />
the late Mr. F. R. Daldy as honorary secretary of<br />
the Copyright Association. All future communica-<br />
tions should be addressed to him at 1, Berners<br />
Street, W.<br />
<br />
In the preface to his new work, “Notes on the<br />
Life-History of British Flowering Plants,’ pub-<br />
lished by Messrs. Macmillan & Co., Lord Avebury<br />
states that his aim has been to describe points of<br />
interest in the life-history of our British plants ; to<br />
explain as far as possible the reasons for the<br />
structure, form and colour; and to suggest some<br />
of the innumerable problems which still remain for<br />
solution. In addition to 328 illustrations, the book<br />
contains a glossary of scientific terms.<br />
<br />
Vol. IV. of Dr. Beattie Crozier’s “ History of<br />
Intellectual Development ” is nearly complete, and<br />
will be published early in this year. Its sub-title<br />
will be “The Wheel of Wealth,” being a recon-<br />
struction of the science and art of political<br />
economy.<br />
<br />
Dr. Stopford Brooke’s new volume of criticism,<br />
which he is preparing, will probably be entitled<br />
«The Poetic Movement in Ireland.” The book<br />
will be published by Sir Isaac Pitman’s Sons,<br />
and will contain appreciations of Matthew Arnold,<br />
Dante Gabriel Rosetti, Clough, and William<br />
Morris.<br />
<br />
“The Dream and the Business” is the title of<br />
John Oliver Hobbes’ new novel, the publication of<br />
which may be looked for in the early part of this<br />
year.<br />
<br />
Mr. Frederic Harrison has completed a drama on<br />
which he has been engaged since the publication<br />
of his Byzantine romance, “ Theophano.” It is<br />
not a dramatised version of that tale, but it is a<br />
tragedy founded on the same incidents. The play<br />
will not be published until it has appeared on the<br />
stage.<br />
<br />
Geo. Paston’s new work, “ Social Caricatures of<br />
<br />
Clayton<br />
<br />
_ the Eighteenth Century,” has been published by<br />
Messrs. Methuen & Co.<br />
representative view of the<br />
<br />
The book gives a general<br />
social caricatures,<br />
including emblematical, satirical, personal, and<br />
humorous prints of the eighteenth century, and<br />
contains over 200 illustrations. Its price before<br />
publication, £2 2s. nett, has now been increased to<br />
£2 12s. 6d. nett.<br />
<br />
“A History of English Philanthropy,” by Mr.<br />
<br />
B. Kirkman Gray, is an attempt to deal with a<br />
<br />
familiar subject from a new standpoint. The<br />
<br />
interest centres in the resolve to bring the origin<br />
and growth of an institution into relation with the<br />
general sociological problems of the period. The<br />
Volume falls into three divisions: 1. The construc-<br />
<br />
tion of the apparatus of elementary relief following<br />
_ the dissolution of the monasteries, and an attempt<br />
to bring them into touch with the Elizabethan<br />
<br />
AUTHOR.<br />
<br />
101<br />
<br />
poor law. 2. In the Puritan ascendency, the loss<br />
of the insight thus gained. 3. The rise of the<br />
voluntary subscriber at the end of the seventeenth<br />
century, and his growing importance in the<br />
eighteenth century. This account of the evolu-<br />
tion of voluntary associations for philanthropic<br />
action, drawn from the reports of numerous insti-<br />
tutions, opens out many lines of inquiry as to the<br />
social importance of charitable work. The work,<br />
as a whole, should serve as an introduction to the<br />
study of one of the pressing problems of the<br />
present day—What is the meaning and worth of<br />
philanthropy?<br />
<br />
“ How to Identify Old Chinese Porcelain,” by<br />
Mr. S. Willoughby Hodgson, is a book put forth<br />
primarily to help the amateur to make a beginning<br />
in a difficult study. It contains a history of the<br />
art, and explains the difference between English<br />
and Chinese porcelain decorated in blue under the<br />
glaze. The work, published by Messrs. Methuen<br />
& Co., contains many illustrations, taken from both<br />
national and private collections.<br />
<br />
The volume of the “ Poems of Shakespeare,”<br />
which the Oxford University Press have published,<br />
contains five separate introductions by Mr. Sidney<br />
Lee. In these new material is given confirming<br />
Mr. Lee’s theory of the dependence of the “Sonnets”<br />
on foreign models.<br />
<br />
Messrs. Methuen & Oo. have puolished “'The<br />
Student’s Modern Atlas of the British Empire,”<br />
by C. Grant Robertson and F. G. Bartholomew.<br />
The atlas illustrates the historical development<br />
of the British Empire from the earliest times<br />
to the present day, It contains sixty-four maps<br />
with numerous insets, historical tables and notes,<br />
an introduction, an historical gazetteer, a biography<br />
and an index.<br />
<br />
Mr. H. A. Vachell, author of “The Hill” and<br />
“Brothers,” has written a new novel entitled<br />
«A Face of Clay,” which will run as a serial<br />
through the Monthly Review, prior to its<br />
publication in book form by Mr. John Murray.<br />
<br />
Miss Valentina Hawtrey’s translation of “The<br />
Life of St. Mary Magdalen,” from the Italian of<br />
an unknown writer, was published in the early part<br />
of last month by Mr. John Lane.<br />
<br />
Mr. Dent is publishing a new and enlarged<br />
edition of Mr. Arthur Symons’ critical apprecia-<br />
tion of Aubrey Beardsley, which first appeared<br />
some years ago. It has been greatly enlarged,<br />
both in its text and pictures. The price of the<br />
ordinary edition is 6s. nett. There is a large<br />
paper edition, with a hitherto unpublished drawing<br />
by Beardsley.<br />
<br />
Mr. Brimley Johnson published, in the early<br />
part of last month, a volume of verse from the pen<br />
of Miss Rosaline Travers. The book opens with<br />
a drama in blank verse, entitled “ Arcady in Peril.”<br />
102<br />
<br />
The title of the whole work, to which Dr. Richard<br />
Garnett contributes an introduction, is “The Two<br />
Arcadias.” :<br />
<br />
The December issue of the “ Transactions of the<br />
St. Albans and Herts Archeological Society ”<br />
contains an article by Mrs. Knight dealing with<br />
“ Humphrey, Duke of Gloucester.” :<br />
<br />
Mr. Henry James’ “ Impressions of America,”<br />
on which he is now engaged, will probably be<br />
published in the spring of 1906.<br />
<br />
The “Lyceum Annual,” published by the Lyceum<br />
Club, is the first-fruit of its literary members, and<br />
is published as a venture in international<br />
periodicals, The international character of the<br />
work may be gathered from the fact that it<br />
contains contributions from writers in America,<br />
Australia, France, Germany, Holland, Italy, New<br />
Zealand and Roumania, in addition to stories and<br />
articles from a dozen British writers. The price of<br />
the volume is 2s. 6d. nett.<br />
<br />
Among Mr. Eveleigh Nash’s announcements are<br />
a new volume of “Sea Stories” by Mr. Morley<br />
Roberts, and a new novel by Mr. Charles<br />
Marriott, the title of which is “The Lapse of<br />
Vivien Kady.”<br />
<br />
We have been requested to correct an error<br />
which crept into Miss Mary lL. Pendered’s letter<br />
in the December issue of Zhe Author. Miss<br />
Pendered did not write ‘The best must come to<br />
the top, and I would see it gently assisted by the<br />
great English Magazines,” but “The best must<br />
come to the top, and I would see it gently assisted<br />
by the Great English Magazine.”<br />
<br />
‘We understand from “ Rita’’ (Mrs. Desmond<br />
Humphreys) that her book ‘‘ The Seventh Heaven,”<br />
lately issued, is a new edition called for by many<br />
inquiries, as the book has long been out of print.<br />
It has been persistently reviewed as a new and late<br />
work from her pen, whereas it was originally<br />
published some fifteen years ago.<br />
<br />
Miss Marris, whose life of Mr. Joseph<br />
Chamberlain was published by Messrs. Hutchin-<br />
son & OCo., in 1900, has written an abridged<br />
biography of that statesman, which Messrs.<br />
Routledge are hurrying through the press in view<br />
of the coming elections. A large number of<br />
extracts from Mr. Chamberlain’s speeches, defend-<br />
ing his political position, are appended to the<br />
work,<br />
<br />
Mrs. Penny has recently re-written “ Caste and<br />
Creed,” which was originally published as a three-<br />
volume novel. Messrs. Chatto and Windus will<br />
publish the work in one-volume form. The<br />
heroine is a girl who is one half East and one<br />
half West, for as a child in India she has been<br />
brought up under Hindu influence, and as a girl in<br />
England under Christian influence.<br />
<br />
Mr. Watts Dunton hopes to see his new novel<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
out early this year. The title “Carniola” is the<br />
name of the heroine, and the story itself is laid<br />
partly in England, partly in Venice, and partly in<br />
Hungary. Although, like “ Aylwin,” it is a love<br />
story, it is more various in its pictures of life than<br />
that work. We understand that Mr. Watts Dunton<br />
has a further novel in hand.<br />
<br />
We are informed that Mr. Charles P. Sisley, who<br />
is resigning the editorship of the London Magazine<br />
and other Harmsworth publications, has purchased §<br />
a controlling interest in the Library Press, of 9, © 4<br />
Duke Street, Charing Cross, publishers of the well- [sy<br />
known “Cameo Classics,” ‘“ Children’s Classics,” “2 3<br />
&c., and we understand that in future the business ‘za, ;<br />
will be known as Sisley’s, Limited. as<br />
<br />
“The Might of a Wrong-doer,’ by Shirley sf?”<br />
Brice, published by John Long, tells of a murder i9h0*<br />
which for many years passed as a “‘ death from mis- in’.<br />
adventure,” but which at last is traced to its =: #’<br />
author. It is the life tragedy of a lad with high (3i:0"<br />
ideals, who, yielding as a boy to selfish motives, has “ed +<br />
committed a crime, the shadow of which falls list’ ‘<br />
upon his after life, bringing about his rnin, when, 199i<br />
by an act of unselfish honesty, he has angered bow!<br />
the unscrupulous acquaintance who knows his 7 #<br />
secret.<br />
<br />
Mr. A. C. Fifield has just published a new survey (97 "8<br />
of the World’s History, under the title of “ A Bird’s 71%!<br />
Eye View of History,” by “Sursum Corda.” The of). «<br />
author expresses the hope that the work, which is 4 s)i<br />
described as a concise but graphic sequence of 10 #1»<br />
History from the earliest times to the Fall of Con- to.<br />
stantinople before the Turks in 1453, may be of 19 9),,<br />
assistance to those who desire to follow the course 9#iiiy,<br />
of Modern History and politics, a proper under- =%b.<br />
standing of which, in his opinion, can only be «d<br />
obtained by a knowledge of the events of more 90:<br />
remote times. The book is published at the price %F<br />
of 1s. 6d. nett. a<br />
<br />
Messrs. Black announce the publication of a & |<br />
bock on the Italian lakes, by Richard Bagot. io:<br />
The volume is in no sense intended as a guide sbi:<br />
book, but aims merely at furnishing the reader ‘bry:<br />
with some impressions of the scenic beauties and His _<br />
of the historic and artistic traditions of the region | 4<br />
described. The work, illustrated by Mrs. Ella<br />
Du Cane, is published at 20s. net.<br />
<br />
Messrs. Warne & Co. will shortly publish a new<br />
child’s book by Mrs. Hodgson Burnett, based on @<br />
her play “A Little Princess,” which has been<br />
running in America. The book will be illustrated<br />
by Mr. Harold Piffard. ‘<br />
<br />
Mrs. Archibald Little’s new book “ Round<br />
about My Pekin Garden,” which Mr. Fisher<br />
Unwin published recently, is described by its —<br />
author as “a tribute to a time of dalliance in one<br />
of China’s many pleasant places.” It contains<br />
descriptions of walks and excursions in and round<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
the Chinese capital, and is illustrated with a<br />
coloured frontispiece and about ninety illustra-<br />
tions, mostly from photographs by the author.<br />
Messrs. Newnes have added to their sixpenny<br />
4 editions “At Sunwich Port,” by W. W. Jacobs ;<br />
~<@ and Mrs. Humphry Ward’s novel “ Eleanor.”<br />
Messrs. Methuen & Co. have published a new<br />
fi edition of “The Poems of William Cowper,”<br />
““@ which Mr. J. C. Bailey has edited. In the<br />
a preparation of his critical introduction and notes,<br />
the editor has been able to consult a large number<br />
of new letters of the poet and his friends. The<br />
“9 work contains more than twenty unpublished<br />
“cf letters, in addition to one entirely new poem.<br />
4 Mr. Rider Haggard has revised the text of his<br />
¥4 “King Solomon’s Mines,” for an illustrated edition<br />
4 which Messrs. Cassell are issuing. The illustra-<br />
¥ tions, which are from drawings by Mr. Russell<br />
Flint, are said to elucidate the text very well.<br />
a Mr. Andrew Lang’s “New Collected Rhymes,”<br />
‘M® which Messrs. Longmans have published, contain<br />
+ aseries of loyal lyrics, cricket rhymes, and poems<br />
“i? “critical of life, art, and literature.” Following<br />
af these are “jubilee poems,” one or two “ folk<br />
* gongs,” and finally a bouquet of ballads.<br />
In “Major Barbara,” produced at the Court<br />
“4? Theatre on November 28th, Mr. Bernard Shaw<br />
takes for his main theme the enthusiasm of a girl<br />
for the work of the Salvation Army, and shows<br />
how it disappears on account of the army’s accept-<br />
ance of a donation of £5,000 from her father, whose<br />
wealth has been amassed by methods which she<br />
+i rightly disapproves. The caste includes Mr. Louis<br />
Granville<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
«@ alvert, Miss Annie Russell and Mr.<br />
«Barker.<br />
————"__o—_+—__——_<br />
PARIS NOTES.<br />
’<br />
<br />
<br />
<br />
— 1<br />
<br />
<br />
<br />
a E Bel Avenir,” by M. René Boylesve, is<br />
another novel by the author of “L’Enfant<br />
<br />
4 la Balustrade.” It is extremely realistic<br />
<br />
and admirably written. Each personage lives and<br />
stands out in relief. One feels that it is a book<br />
which is the result of shrewd and careful observa-<br />
_ tion, and that it has been thought out line by line.<br />
_ The theme of the story is the education of three<br />
young men, and the chief interest centres in them<br />
and in their respective mothers. The most sym-<br />
pathetic family is that of Alex, who is living with<br />
his widowed mother and grandfather near Poitiers.<br />
All goes well until the time comes to decide on the<br />
future career of the young man, who is intelligent<br />
and a general favourite, but without any special<br />
aptitudes. The grandfather had been a magistrate,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<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 />
103<br />
<br />
and it is finally decided that Alex shall go to Paris<br />
to study law. His mother writes to one of her<br />
friends who is living there, all the necessary<br />
arrangements are made, and the young man com-<br />
mences his student life in the capital. His<br />
mother’s friend has a son Paul, who seems to be<br />
farther advanced in his studies than Alex, but not<br />
so attractive personally, hence there is jealousy<br />
between the two mothers. Money matters soon<br />
become a serious question, for Alex is a spend-<br />
thrift, and means are limited at home. One of<br />
the farms belonging to the family estate has to be<br />
sold, and when the young man fails in his examina-<br />
tion, his mother and grandfather decide to let the<br />
old home and take up their abode with Alex in<br />
Paris. There is a great charm about the descrip-<br />
tion of the simple family life led by the trio in the<br />
neighbourhood of Saint Sulpice, almost in the<br />
heart of the Latin quarter. There is the sublime<br />
devotion and abnegation of the mother, the<br />
philosophy of the old grandfather, and then, by<br />
the side of this, the life of Alex outside his home,<br />
the life led probably by hundreds of his fellow-<br />
students.<br />
<br />
Just as interesting, though far less sympathetic,<br />
is the study of Paul, his family, and his career.<br />
A third psychological study in the book is that<br />
uf a shrewd woman of the lower class named<br />
Lepoiroux. Her husband died just as her child<br />
was born, and the mother of Alex took pity on her,<br />
provided for her, and later on made arrangements<br />
for her son to be educated by the Jesuits. This<br />
boy, Hilaire, makes the best of his opportunities,<br />
studies hard, surpasses Alex and Paul, and, after<br />
obtaining his education from the priests, with the<br />
understanding that he shall later on become one<br />
of them, refuses to take holy orders. The three<br />
young men then pursue their career in Paris.<br />
There are several extremely realistic episodes in<br />
the book, and among others a very touching story<br />
of one of the last of the genuine grisettes. The<br />
author shows very clearly the ugly side of a student’s<br />
life, and his picture is all the more effective as he<br />
merely lays it before us without any comment.<br />
The whole novel is well worth reading. Many of<br />
the personages are not sympathetic, their circle is<br />
a narrow one, their horizon limited, and they care<br />
little what goes on in the world outside, but such<br />
as they are, their portraits are drawn for us by<br />
a true and faithful delineator, and in these days<br />
when books are so plentiful and well-written books<br />
comparatively so rare, the latter are doubly<br />
welcome.<br />
<br />
“Constance,” by Th. Bentzon, is a new edition<br />
of a novel which gained the Montyon prize some<br />
years ago. It has been published now with an<br />
admirable preface by M. Brunetiére. The subject<br />
<br />
of this book is extremely apropos just now, when<br />
<br />
<br />
104<br />
<br />
the question of divorce is being discussed so<br />
warmly in France. The story is told by an able<br />
psychologist, and the principles involved are clearly<br />
set forth, whilst the characters all live and the<br />
interest is well sustained from the first chapter to<br />
the last.<br />
<br />
“De |’Histoire” is the title of another posthu-<br />
mous volume by Barbey d’Aurevilly. It is a<br />
series of critical essays on books by various authors<br />
on widely different subjects. Some of these books<br />
were written quite a long time ago, and yet most of<br />
them are of current interest. The chapter entitled<br />
“Léon XIII. et le Vatican’? seems now to have<br />
been prophetic. ‘“ L’Eglise libre dans |’Htat libre,”<br />
writes the author, “ c’est-a dire l’Eglise morte dans<br />
un Etat délivré delle. . . 2” Speaking of monar-<br />
chies, he says: “Jl y a encore des monarchies<br />
debout, mais elles tremblent sur leurs bases et elles<br />
sont capables de se précipiter demain dans le<br />
gouffre fascinateur des républiques. . . .”<br />
<br />
Two more interesting chapters are those on “ La<br />
Révolution d’Angleterre” and “La Révolution<br />
francaise.” Another essay isa criticism of Macau-<br />
lay’s “History of England from the time of<br />
James IJ.” ‘There are twenty-two essays in all,<br />
among which are “La Gréce Antique,’ “Les<br />
Césars,” ‘Histoire des Pyrénées,’ “ Napoléon,”<br />
“La Révocation de l’Edit de Nantes,” ‘“ La paix<br />
et la tréve de Dieu,’’ “ Rome et la Judée,” ‘ Gus-<br />
tave III.,” and “ Le Comte de Fersen et la cour de<br />
France.”<br />
<br />
“La Russie Libre,” by M. Georges Bourdon, is<br />
profitable reading for all those who care to know<br />
much of contemporary Russian history.<br />
<br />
“La Guerre contre |’ Allemagne,” by the General<br />
Baron Faverot de Kerbrech, is a volume written<br />
from notes taken down by the author during the<br />
campaign of 1870. It is a very graphic picture of<br />
the times, with anecdotes of many men whose<br />
names are honsehold words.<br />
<br />
“ Maxime Gorki” is a little book, published at<br />
one franc, by M. de Vogiié, on the works of the<br />
Russian novelist, who is just at present more read,<br />
perhaps, than any other.<br />
<br />
“Marie Caroline, duchesse de Berry,” by M. de<br />
Reiset, is an illustrated volume dealing rather with<br />
the private life of the unfortunate princess than<br />
with the romantic adventures of the Vendean<br />
struggles.<br />
<br />
Other recent historical works are “La Fortune<br />
des Orléans,” by M. Ad. Lanne ; “ Quinze ans<br />
Ga’histoire,’ by M. Jehan de Witte ; “ L’Amiral<br />
Nelson,’ by M. Armand Dubarry ; ‘ Les Derniers<br />
Républicains,’” by M. Guillaumin.<br />
<br />
* Lamartine de 1816 4 1830, Elvire et les Médi-<br />
tations,” by M. Léon Séché, tells us much that is<br />
interesting about “the exceptional woman who in<br />
life and death was the good genius of Lamartine.”<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
“George Sand et sa fille” is a volume by M<br />
Rocheblane judging mother and daughter by their<br />
correspondence.<br />
<br />
Among the new books are “ Le Sphinx rouge,”<br />
by Han Ryner ; “Le Précurseur,” by M. Jacques<br />
Fréhel ; ‘‘Aimons,” by M. Francois Gillette;<br />
“EKeyptiens et Anglais,” by Moustafa Kamel<br />
Pacha, with a preface by Mme. Adam.<br />
<br />
The latest translations from the English are<br />
« Quand le dormeur s’eveillera,’ by H. G. Wells;<br />
“ Une jeune anglaise a Paris,” by Constance Maud,<br />
translated by Gausseron.<br />
<br />
Among the authors who received prizes at the<br />
recent distribution by the French Academy are the<br />
following :—M. Charles Leconte, M. Paul Adam,<br />
Madame Daniel Lesueur, M. Paléologue, M. Guil-<br />
laumin, Mlle. A. de Bovet, M. Jaray for “ La poli-<br />
tique franco-anglaise et l’arbitrage international,”<br />
M. Biorés for “Warren Hastings,” M. Ernest<br />
<br />
Daudet for “Histoire de Emigration pendant |<br />
<br />
la Révolution francaise,’ M. Doumergue for<br />
“ Calvin.”<br />
<br />
La Vie Heuwreuse, a woman’s magazine pub- ©<br />
lished by Messrs. Hachette, has awarded its annual ib<br />
prize of five thousand francs for the best novel of 4%<br />
<br />
the year to M. Romain Rolland for the volume<br />
« Jean-Christophe.” The jury is composed of<br />
twenty well-known women writers, so that it was<br />
scarcely surprising this year that a proposal should<br />
be made to award the prize to a man instead of to<br />
a woman.<br />
<br />
The annual prize of the Goncourt Academy has<br />
been awarded to M. Claude Farrére for his book<br />
“Tes Civilisés.” This author, like Pierre Loti,<br />
is more at home on sea than on land, and it is<br />
thanks to his long voyages in the Far East that he<br />
has been able to give such graphic descriptions of<br />
Oriental countries. He has only written one other<br />
book, entitled “Fumée d@’opium.” Unlike the<br />
jury of the Vie Hewreuse the Goncourt Academy<br />
would refrain from giving their annual prize<br />
rather than award it to an authoress.<br />
<br />
<br />
<br />
4 O18<br />
OM<br />
#0 |<br />
a By<br />
<br />
Bina.<br />
ae<br />
<br />
BBL.<br />
Bou {<br />
ilo 4<br />
BE.<br />
eu.<br />
10”<br />
mo?<br />
au)<br />
qa<br />
OS|<br />
<br />
In a recent number of the Revue des Deux ae<br />
<br />
Mondes M. Auguste Filon writes on “ Bernard Shaw<br />
et son théatre.”” He points out that, although an<br />
<br />
Englishman, Bernard Shaw’s plays have more ><br />
<br />
success in Germany and America than in his own 97<br />
country. This critic considers that though rich in 4°<br />
<br />
character, the plays are poor as regards dramatie<br />
situation. In the same number of this review<br />
is an article by Maurice Barres on “Un<br />
voyage A Sparte.” ,<br />
an interesting article by Madame Arvéde Barine<br />
on acurious historical episode of 1707. The letters<br />
from Flaubert to his niece are continued in this<br />
number.<br />
<br />
An extremely interesting series of articles is now<br />
appearing in La Revue, entitled “ La Morale sans<br />
<br />
In the Revue de Paris there is 4:<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a<br />
ca<br />
a<br />
<br />
te<br />
<br />
Dieu.” They are written by MM. Berthelot,<br />
Brunetidre, Claretie, Faguet, Anatole France, Jules<br />
Lemaitre, Octave Mirbeau, Max Nordau, Charles<br />
Richet, Sully Prudhomme, and other well-known<br />
authors. In the December number of La Revue<br />
there is also an article by Madame Juliette Adam<br />
on Moustafa Kamel Pacha, the head of the<br />
nationalist party in Egypt, and various articles on<br />
questions of the moment, “ Les Types littéraires<br />
de la Crise russe,” ‘La Presse turque,”’ “La<br />
Diplomatie allemande,” &c.<br />
<br />
At the Comédie-Frangaise the event of the<br />
month is the new piece by M. Paul Hervieu,<br />
entitled “Le Réveil.” M. Claretie has just<br />
received a comedy in two acts by M. Daniel Riche,<br />
the title of which is “Le Prétexte.” “Claire<br />
Fresneau,” a piece in three acts by MM. Paul<br />
and Victor Margueritte, has also been received for<br />
the Comédie Francaise. At the Odéon “ Jeunesse ”<br />
has been produced. :<br />
<br />
The adaptation of Balzac’s “ La Cousine Bette,”<br />
by Pierre Decourcelle, is having great success at the<br />
Vaudeville, and at the Gaité M. Bazin’s novel<br />
“T/Oberlé,” adapted for the stage by M. Harau-<br />
court, is still running.<br />
<br />
At the Nouvelle Comédie (formerly the Bodiniére)<br />
a one-act play entitled “La Nuit Rouge,” by<br />
MM. Charles Foley and A. de Lorde, has had, and<br />
is still having, immense success. It is, like “ Heard<br />
at the Telephone,” adapted from one of M. Foley's<br />
stories, and the scene takes place in the signal-box<br />
of a railway station. The pointsman is compelled<br />
by duty to remain at his post, while from the win-<br />
dow of his signal-box he sees his fiancée overtaken<br />
at midnight by assassins. The moral strugele<br />
between the two duties makes the play a stronger<br />
one than “ Heard at the Telephone,” which is now<br />
running again at the Antoine Theatre.<br />
<br />
Anys HALLARD.<br />
<br />
—___—_+—_<>_0—__—__<br />
<br />
SPANISH NOTES.<br />
<br />
+<br />
<br />
. Spanish literary world has been mainly<br />
<br />
marked by striking scientific and dramatic<br />
<br />
works during the last month. The most<br />
notable one of the former class is that by Joaquin<br />
Castellarnau, entitled ‘Estudio del systema<br />
lefioso de las especies forestales”’ (a study of the<br />
timber class of the forest species). The author<br />
has long been well known for his scientific reports<br />
on such subjects as firs, the unity of the generative<br />
plan in the vegetable kingdom, the ornithology<br />
<br />
_ of the royal seat of San Ildefonso, etc., which have<br />
<br />
appeared in the annals of the Spanish Society of<br />
Natural History, and have given him a high rank<br />
<br />
THE AUTHOR.<br />
<br />
105<br />
<br />
among natural scientists. This last work is an<br />
erudite explanation of the nutrition and the<br />
internal structure of the vegetable class, and it is<br />
so scientifically supported by the microscopic<br />
investigation brought to bear upon it that the<br />
gradual transformation of chemical substances<br />
into the organic material of living things is seen<br />
to be a natural sequence of facts. The great<br />
naturalist’s laboratory in Segovia has promised also<br />
to be the scene of. the microscopical discoveries of<br />
the chemical changes induced by the want of<br />
water, and the constant action of air and dampness<br />
upon the vegetable system.<br />
<br />
In his play called “ Love and Science,” which is<br />
now being performed at one of the chief theatres<br />
of Madrid, Galdos portrays a clever physician,<br />
who tries to train his children in his own intel-<br />
lectual lines of thought. Some of the situations<br />
are strong presentations of psychological truths,<br />
but the dénowement rather falsifies the hopes which<br />
the commencement of the work promised. The<br />
well-known dramatist, Ignacio Inglesias, has cer-<br />
tainly struck a good blow for his country by his<br />
play entitled ‘‘ Urracas” (Magpies), for it is a<br />
powerful exposé of the evils attending the wide-<br />
spread lottery system of the South. A simple,<br />
happy household is nearly wrecked by the unbridled<br />
avarice and cruelty evoked by the craving for the<br />
unearned wealth. At the distribution of tickets<br />
the room of a quiet, respectable citizen is changed<br />
into a pandemonium, and Peregrin, the hero, find-<br />
ing himself robbed of all he possessed and a victim<br />
of the evil passions around him, awakes to the<br />
realisation of the value of love and work, which<br />
had been temporarily submerged by the fever of<br />
chance. The alternate sway of terror and joy,<br />
disgust and content, is well rendered by such actors<br />
as Llano, Rosario, Pino, and Enrique Borras.<br />
<br />
The Spanish Press reports with pride that //<br />
Giornale d@ Italia says that no modern French<br />
dramatist can compare with Jacinto Benavente,<br />
and certainly “ Los Malhechores del Bien” (well-<br />
meaning malefactors) shows that he is a playwright<br />
of a high order, for he sustains the interest of the<br />
audience in the evolution of the story, show-<br />
ing how all the laws of suitability, which only can<br />
be the base of a happy marriage, can be upset by<br />
the well-intentioned, but short-sighted wishes of<br />
people only concerned with outward prosperity.<br />
To Heliodoro, the original thinker, such a union<br />
appeared a crime, and he is fortunately able to<br />
prevent his sister, the Marquise, pursuing the<br />
matrimonial plan for her protégée, which would<br />
have been her moral death. “You would give<br />
<br />
the girl luxury and wealth, but I have secured<br />
for her the love and liberty, which are of far higher<br />
worth,”<br />
<br />
‘The expression of such a sentiment on the<br />
<br />
<br />
106<br />
<br />
Spanish stage shows that strides are being made<br />
jn woman’s education ; and those interested in<br />
the question are pleased to see that the institution<br />
of the college for middle-class girls by the ladies’<br />
committee, under the presidency of the Marquise<br />
de Ayerbe, in conjunction with the Ibero- American<br />
Society, will take place early in January. This event<br />
will mark a new era for Spain, and Her Majesty<br />
Queen Maria Christina has expressed her sympathy<br />
with it, for hitherto the education of girls has been<br />
chiefy vested in the hands of governesses at home ;<br />
and such books as “El Intruso” (The Intruder),<br />
by Blasco Ibaiiez, show how fatal to the happiness<br />
of home life is the present want of the education<br />
of women.<br />
<br />
Last week the Spanish Press rang with the plea<br />
of Montero Rios for the unity of the integral<br />
elements of the Government. ‘It is the want of<br />
this union,” said this orator, who has so recently<br />
resigned his post of Prime Minister, “‘ which made<br />
the course of the last cabinets so brief and diffi-<br />
cult, and which will make that of the present or<br />
any subsequent cabinet unbearably arduous and<br />
painfully uncertain.”<br />
<br />
The words of the ex-Premier have an especial<br />
import as the cabinet now appointed, under the<br />
premiership of the distinguished Moret, who con-<br />
descended to discourse to me so eloquently when I<br />
was in Madrid on the necessity of the improved<br />
education of women, is the fifth in office in the<br />
course of one year, and one can understand the<br />
consequent standstill of legislation on matters<br />
which concern the vital interests of the country.<br />
In despair at the want and misery caused by the<br />
crippled industries, Boada, in the province of<br />
Salamanca, recently sent an official request to<br />
Buenos Aires to be allowed to emigrate thither,<br />
“ with all their labourers, artisans, blacksmiths, and<br />
officials,” for, as they pathetically said, “ the love<br />
of their country could not give them bread to live<br />
in it.”<br />
<br />
This projected departure of hundreds of capable<br />
people seems likely to show the necessity of the<br />
unity of Government for which Montero Rios<br />
pleads so eloquently, and which can only be<br />
obtained by the parliamentary deputies being<br />
elected by the votes of the public, instead of the<br />
voice of the ministry ; and Ramiro Maeztu is now<br />
reporting to his country the English system of<br />
parliamentary elections, which gives the people a<br />
voice inthe government. Such patriots as Figue-<br />
rola Ferretti, who sacrificed himself to voicing<br />
the plea for this reform, may thus still live to see<br />
their countrymen recording their votes at the polls<br />
as monarchists, and forming a steady Govern-<br />
ment for the legislation of a land which is, as<br />
Maeztu says, “fitted by nature to sustain more<br />
than fifty millions of inhabitants.”<br />
<br />
THE AUTHOR.<br />
<br />
Free from the continual chaos of changes of<br />
ministry, the country will have time to settle the<br />
laws respecting the Customs reform, the com-<br />
mercial treaties, and the wine tariff ; and to these<br />
courses the Spaniards are naturally stimulated by<br />
the recent report from their special correspondent<br />
in Berlin, which shows that the trade between<br />
Germany and Spain is steadily increasing, and<br />
the satisfaction of the demands of the German<br />
commissioners in the Peninsula will add much<br />
to the prosperity of the land. Moreover, as there<br />
is now a large market for Spanish wines in Italy,<br />
it will remain for the country to sustain its<br />
reputation in that line at the forthcoming exhibi-<br />
tion at Milan, instead of only following the sug-<br />
gestion of Seor Villanueva to send some specimens<br />
of Spanish shipbuilding.<br />
<br />
This call to action about the Commission of<br />
Treaties is published in the Spanish Press, and<br />
supported by the appeal of José Juan Cadenos for<br />
a legislation which will set the seal to the present<br />
advantageous trend of commerce. Spain is cer-<br />
tainly favourably inclined to foreign influences, and<br />
it may be mentioned that the first public sign of<br />
preference for the royal alliance with England which<br />
is now so much discussed, was manifested by the<br />
overwhelming majority of votes accorded to the<br />
Princess Ena of Battenberg, when a competition<br />
was opened some months ago in the pages of the<br />
illustrated Spanish paper, 4.B.C., whereby the<br />
lady readers were severally invited to give their<br />
mark of approval to the particular princess among<br />
the number of whose portraits were published as<br />
eligible for the crown of Spain.<br />
<br />
Percy Hotspur.<br />
<br />
<br />
<br />
MISLEADING TITLES.<br />
<br />
—<br />
<br />
HE book trade is peculiar in this, that no two<br />
books are in the slightest degree alike.<br />
Hence it is impossible to estimate with<br />
<br />
accuracy the value of a book until it has been read<br />
through from beginning to end. When that pro-<br />
cess has been completed the value is, in a few<br />
cases, increased, but in the majority either<br />
<br />
<br />
<br />
cane<br />
<br />
bit<br />
tee<br />
agit<br />
gps<br />
63<br />
<br />
‘01!<br />
pail<br />
<br />
oar<br />
AIO<br />
Om<br />
Gh<br />
<br />
destroyed altogether or reduced enormously. More- 9 c<br />
<br />
over there cannot be any standard value in a oe a<br />
The<br />
<br />
value of a mutton chop is to most persons some<br />
<br />
for each buyer has a totally different taste.<br />
<br />
thing between sixpence and a shilling, but the<br />
<br />
value of a book may be to some few appreciators ©<br />
<br />
very great, and to the rest of mankind nothing<br />
at all.<br />
In these peculiar conditions it is, perhaps, not<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
our knowledge in money and in time.<br />
Us were taken in by “An Englishwoman’s Love<br />
_ Letters,” which had not the look of a work of<br />
<br />
surprising that the purveyors of books should have<br />
given up all idea of suiting individual requirements.<br />
They have deliberately done their utmost to dis-<br />
courage independence of mind. Competition<br />
in the trade has been competition in fashion-<br />
making ; with the natural result that the book-<br />
buying public has been narrowed to those<br />
comparatively few persons who do not care much<br />
what the contents of a book may be, but can be<br />
herded together, and forced to accept any book that<br />
they believe others are discussing and buying.<br />
<br />
It has recently been discovered that there is<br />
another public—that there are many who would<br />
enter the market if they were assisted in the task<br />
of estimating the quality and value of the articles<br />
offered. Hitherto, men who can easily afford to<br />
buy hundreds of books every year have been chary<br />
about risking their money over a single specimen,<br />
not knowing what they were likely to find in their<br />
hands. The trade has supposed this reluctance to<br />
buy books was due to want of literary taste. It<br />
was, in fact, due to excess of literary taste in pro-<br />
portion to the opportunities offered for indulging<br />
that taste.<br />
<br />
Authors might do well to consider whether they<br />
also have not sometimes been to blame. Are the<br />
titles they give to their books always so carefully<br />
chosen as to leave no room for doubt as to the<br />
general nature and aim of the work? There is<br />
some ground for thinking that, since the value of<br />
a “catchy” headline has come to be realised,<br />
authors, in their turn, have been trying, by means<br />
of deceptive titles, to palm off upon a guileless<br />
public books which are not what they seem to be.<br />
Any habitual reader of novels would know that<br />
“Cometh up as a Flower ” is not a work on botany,<br />
and that ‘‘ The Seven Streams ” is not a treatise on<br />
physical geography. Buta botanist or physicist who<br />
does not happen to be acquainted with the modern<br />
affected fashion in titles for fiction might easily<br />
be deceived by these names: and before we laugh<br />
at such simplicity we should consider whether even<br />
the most experienced are not sometimes deceived.<br />
<br />
_ Weall know now that a book called “ All about My<br />
<br />
Garden” may be poetry, or fiction, or cookery<br />
‘Tecipes, or wise sayings, but we have had to buy<br />
Many of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
fiction. Who could tell that “ The Life of John<br />
William Walshe, F.S.A.,” is not a biography ?”<br />
It never was easy to distinguish between geo-<br />
graphy, topography, and travel; many books are<br />
‘difficult to place in their correct sub-heading.<br />
<br />
_ But, until late years, the two elementary classes of<br />
: ™ Fiction’ and “ Not Fiction” were easily recog-<br />
<br />
Nised. Now, however, the most expert reader<br />
Must be continually at fault in dividing books into<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
107<br />
<br />
their two great branches, by the title alone. Here<br />
are some examples, gathered in a few minutes from<br />
the catalogue of a circulating library. Many<br />
specimens far more perplexing could doubtless be<br />
found without difficulty :—<br />
<br />
Britain’s Greatness Foretold.<br />
<br />
Britons at Bay.<br />
<br />
Enchanted Woods.<br />
<br />
The Wise Woods.<br />
<br />
The Mystic Rose.<br />
<br />
The Rose Garden.<br />
<br />
Roses.<br />
<br />
The Vision Splendid.<br />
<br />
The Money Market.<br />
<br />
Lady Anne’s Waik.<br />
<br />
An Appeal to Rome.<br />
<br />
The Magic of Rome.<br />
<br />
The Heart of Rome.<br />
<br />
The Spirit of Rome.<br />
<br />
The Purple Cloud.<br />
<br />
The Long White Cloud.<br />
<br />
The World’s Desire.<br />
<br />
The World’s Desires.<br />
<br />
It is curious to observe that, while serious books<br />
are given a skittish appearance, writers of fiction<br />
prefer a solemn aspect. In some cases the author<br />
soothes his conscience with a sub-title : but what,<br />
then, is the aim and object of the title? Here is<br />
a typical example of the wrong principle : “The<br />
Art of Creation: Essays on the Seif and its<br />
Powers.” The chief title, which is all that most<br />
catalogues print, is obscure, and should be elimi-<br />
nated in favour of the sub-titles. ‘Those who are<br />
attracted by the title might be the very persons<br />
who do not desire a book of that kind ; while<br />
others who want just such a book as that described<br />
by the sub-title are unable to find it. It may be<br />
that most authors would prefer to seil their<br />
books to disappointed, perhaps enraged, pur-<br />
chasers, rather than fail to sell at all. But it must<br />
often be the case that the book would scll better<br />
if the title left no room for doubt as to the con-<br />
tents. If some are caught, others are repelled by<br />
the vague and mysterious.<br />
<br />
In some instances the title is so misleading that<br />
one wonders whether the law would not come to<br />
the rescue of a deluded purchaser. I had sent to<br />
me the other day three large volumes purporting<br />
to be a “History,” which were something quite<br />
different, not answering to the title in the smallest<br />
degree. Surely I ought to be compensated for the<br />
loss I have sustained, and the responsible person<br />
punished for the deceit practised upon me. How-<br />
ever that may be, and apart from the morality of<br />
the thing, it is worth remembering that a character<br />
for honesty may be of value to authors as much as<br />
to any other traders. Authors can assist the dis-<br />
tributors in establishing good relations with the<br />
<br />
<br />
108<br />
<br />
Misleading titles, whether accidental or<br />
intentional, work in the opposite direction. They<br />
put books into the wrong hands, and thus tend to<br />
keep away the best clients. They are a misfortune<br />
for all concerned, for authors as well as distributors<br />
<br />
and readers.<br />
<br />
public.<br />
<br />
Norwoop YOuNG.<br />
<br />
—_———_+—>_+—___<br />
<br />
RE GRANT RICHARDS’ ESTATE.<br />
<br />
oe<br />
<br />
E F. T. GRANT RICHARDS, of 2, Park<br />
Crescent, Portland Place, carrying on busi-<br />
ness at 48, Leicester Square, and 8, Smart’s<br />
<br />
<br />
<br />
<br />
<br />
Buildings, Drury Lane, all in the County of London,<br />
Publisher. Under Receiving Order dated the<br />
Dr.<br />
Estimated<br />
to produce per p,<br />
Debtors RECEIPTS.<br />
Statement.<br />
To Total Receipts from Date £3. di. £ sd,<br />
of Receiving Order, viz. : :<br />
Stock-in-Trade ... we 18711 20.0<br />
Copyrights and Publish-<br />
ing Rights ... ... 12,514 4 6<br />
4,991 16<br />
Lease of No. 8, Smart’s<br />
Buildings 700 0 O ae<br />
Office Furniture... oe 150 0 0 42 5 6<br />
“World of Billiards”<br />
Shares ... Se ae 200 0 0 ---<br />
Surplus from Securities<br />
in the hands of Credi-<br />
tors fully secured 8,920 10 8 342 0 1<br />
Receipts ver ‘Trading Q :<br />
Account is Ae 4,513 6 9<br />
Other Receipts ... > =<br />
Total... ... £41,195 15 2 9,889 9 0<br />
Less—<br />
Deposit returned to<br />
Petitioner... AG ---<br />
Payments to redee<br />
Securities... : 454 6 6<br />
Costs of execution ... —<br />
Payments per Trad-<br />
ing Account .» 2,448 16 0<br />
2,898 2 6<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Net Realisations £6,991 6 6<br />
<br />
eee<br />
<br />
THE AUTHOR.<br />
<br />
| By Board of Trade and Court Fees (including<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
17th day of January, 1905. Statement showing<br />
position of Estate at date of declaring a First<br />
Dividend is printed below.<br />
<br />
The assets not yet realised are estimated to pro-<br />
duce £4,000. Creditors can obtain any further<br />
information by inquiry at the office of the Trustee,<br />
<br />
Dated this 6th day of December, 1905.<br />
H. A. MONCRIEFF,<br />
Trustee,<br />
<br />
It. will afford a subject of serious consideration<br />
to the creditors to note the difference between the<br />
debtor’s estimate and the net realisations ; but it<br />
is an unfortunate fact that no property depreciates<br />
more quickly than literary property if the flow of<br />
the circulation of a book is suddenly stopped.<br />
<br />
G. H<br />
<br />
Cr.<br />
<br />
<br />
<br />
<br />
<br />
PAYMENTS,<br />
<br />
£ 82<br />
<br />
Stamp of £5 on Petition) ao a 78 6 2<br />
<br />
Bard:<br />
<br />
Law Costs of Petition under<br />
taxation, estimated<br />
<br />
Law Costs ... bee hee<br />
<br />
Other Law Costs,some under<br />
taxation, estimated<br />
<br />
60 0 0<br />
216.04<br />
800 0 0<br />
<br />
1,075<br />
Trustee’s remuneration, as<br />
fixed by the Committee<br />
of Inspection, viz.: 5 per<br />
cent. on £6,991 6s. 6d.<br />
assets realized : ie<br />
<br />
5 per cent. on £4,280 2s. 6d.<br />
<br />
assets distributed in divi-<br />
dend<br />
<br />
349 11 4<br />
<br />
214 0 1<br />
<br />
<br />
<br />
Special Manager’s charges ee ene<br />
Person appointed to assist Debtor under<br />
s. 70 of Bankruptcy Act, 1883 ...<br />
Auctioneers’ charges as taxed<br />
Other taxed costs<br />
Costs of possession ... : os ees<br />
Cost of Notices in “Gazette” and local<br />
papers... os s : oes<br />
Incidental outlay<br />
<br />
Total cost of realization<br />
Allowance to Debtor<br />
<br />
Creditors, Viz. — S$ a.<br />
6 Preferential 341 11 6<br />
812 Unsecured. First<br />
<br />
Dividend now declared<br />
of 2s. in the £ on<br />
£42,802 lbs. 8d. 4,280 2 6<br />
<br />
<br />
<br />
<br />
<br />
The Debtor's estimate of amount expected to<br />
rank for dividend was £44,551 0s. 8d.<br />
Balance ... o i<br />
<br />
<br />
<br />
£6,991 6 6<br />
<br />
<br />
f<br />
i<br />
=<br />
i<br />
<br />
MACMILLAN v. DENT.<br />
<br />
——-——<br />
<br />
(Reprinted with the kind permission of the Editor from<br />
the Law Journal, December 9th, 1905).<br />
<br />
HIS was a witness action to determine the<br />
<br />
" right of publication of sixteen letters written<br />
<br />
between 1798 and 1840 by Charles Lamb,<br />
<br />
the famous essayist, to his friend Robert Lloyd,<br />
<br />
which had been found in an old box in the posses-<br />
<br />
sion of Mr. and Mrs. Steeds, descendants of the<br />
Lloyd family.<br />
<br />
On May 5th, 1895, the plaintiffs Smith, Elder<br />
& Co., publishers, bought from the Steeds for<br />
£250 all copyright which they possessed and the<br />
exclusive right of publishing the letters, the<br />
originals of which were returned to the Steeds<br />
after making copies, which were subsequently used<br />
in a book entitled “Lamb and the Lloyds,”<br />
published in 1898.<br />
<br />
In 1899 the plaintiffs Smith, Elder & Co. granted<br />
a licence to the plaintiffs Macmillan (Lim.) to use<br />
the letters for another edition of Lamb’s letters.<br />
<br />
In 1902 the defendants, J. M. Dent & Co., also<br />
publishers, being aware of the previous transac-<br />
tion, bought for £250 from the Steeds, the original<br />
autograph letters with other literary papers, and<br />
also “ any right which they might still have in the<br />
letters.”<br />
<br />
In 1903 the defendants published the letters in<br />
an edition of Lamb’s letters, and the plaintiffs in<br />
April, 1904, commenced this action for infringe-<br />
ment of their registered copyright.<br />
<br />
In January, 1905, administration de bonis non<br />
to Charles Lamb’s estate was granted to one Moxon,<br />
the only son of the residuary legatee under Charles<br />
Lamb’s will, who subsequently assigned all his<br />
rights, if any, to the defendants.<br />
<br />
T. B. Scrutton, K.C., and R. A. Wright, for the<br />
plaintiffs, contended that the plaintiffs had ‘ the<br />
property of the proprietor of the author’s manu-<br />
script” at the time of the publication by them and<br />
were therefore entitled to sue for infringement.<br />
<br />
W. O. Danckwerts, K.C., and L. B. Sebastian,<br />
for the defendants, argued that the defendants,<br />
having the original letters and the rights of<br />
Charles Lamb’s representatives, had such an<br />
interest in the private letters as to disentitle the<br />
plaintiffs to obtain any registered copyright or<br />
even to publish them—Pope v. Curl (1741), 2<br />
Atk. 342 ; Gee v. Pritchard (1818), 2 Swanst. 402 ;<br />
Thompson v. Stanhope (1774), Amb. 737 5 Queens-<br />
berry (Duke of) v. Shebbeare (1758), 2 Eden, 329 ;<br />
Oliver v. Oliver (1861), 31 Law J. Rep. Chane. 4 ;<br />
11 C. B. (ws.) 139; Lytton (Harl of) v. Deevey<br />
(1884), 54 Law J. Rep. Chance. 293 ; Labouchere<br />
v. Hess (1898), 77 L. T. 559 ; and Caird v. Sime<br />
<br />
1887), 57 Law J Rep. P.C. 2; L. R. 12 App.<br />
<br />
as. 326,<br />
<br />
THE AUTHOR.<br />
<br />
109<br />
<br />
Kekewich, J., said it was an extremely difficult<br />
question, but he thought that the defendants’ title<br />
through the Steeds was obviously defective, as the<br />
Steeds had assigned to the plaintiffs ; while it was<br />
difficult to see how, at such a distance of time, the<br />
administrator of Charles Lamb could have any<br />
right in them at the date of his death. The com-<br />
mon law was perfectly clear up to a certain point<br />
that the writer of letters has a right to prevent<br />
their publication, but on the true construction of<br />
sect. 3 of the Copyright Act, 1842, he thought<br />
that the plaintiffs were entitled to succeed. He<br />
accordingly declared that the right of publishing<br />
these particular letters vested in the plaintiffs<br />
Smith, Elder & Co., and ordered the defendants to<br />
render an account of profits and to pay the costs.<br />
<br />
—_____e—o—_+—____.<br />
<br />
SERIAL RIGHTS.<br />
<br />
—+—+—<br />
<br />
IR,—The following experience, through which<br />
I have just passed, may afford a useful<br />
warning to my fellow-writers.<br />
<br />
I offered the serial rights of astory [ was writing<br />
to an important provincial firm, who, when I had<br />
sent them the first half to read, replied that the<br />
story had already been offered to them by my<br />
agent.<br />
<br />
As the story was in the hands of no agent, I<br />
knew that the serial rights in question could have<br />
been offered by no one but a well-known publisher,<br />
who had asked me for a novel, and to whom T had<br />
in reply offered the volume rights of this same<br />
story.<br />
<br />
Inquiry proved that this publisher, whose name<br />
I will give to any writer who would like to know<br />
it, had been offering the serial rights of my novel,<br />
although he possessed no rights whatever in the<br />
story, and although the serial rights were not on<br />
offer to him.<br />
<br />
I also discovered that the provincial firm I have<br />
mentioned had been going from publisher to pub-<br />
lisher on the look-out for a strong serial story,<br />
surely a backstairs method of obtaining what they<br />
wanted, and little more to their credit than the<br />
action of the publisher himself was to his.<br />
<br />
Yours faithfully,<br />
FLORENCE WARDEN.<br />
<br />
The letter which is printed above has been<br />
received at the society’s office.<br />
<br />
The subject is one which concerns all those<br />
members who are engaged in writing fiction, Serial<br />
rights, if properly managed, can be a source of very<br />
considerable income to members of the society,<br />
and in placing serial rights, the agent is perhaps<br />
of more use than in the disposal of any other kind<br />
<br />
<br />
110<br />
<br />
of literary property. To place these rights in<br />
both Great Britain and the United States effec-<br />
tually and simultaneously is a matter very often of<br />
considerable difficulty even for a writer whose<br />
name is well-known. It is needless to repeat that<br />
the agent’s charge for placing these rights is, as a<br />
general rule, 10 per cent. for England and some-<br />
times 15 per cent. for the United States. Such<br />
remuneration, in the case of some authors, brings<br />
in a large return to the agent, and in these<br />
instances no doubt it would be as well to make a<br />
special contract with the agent on the matter, but<br />
though the agent charges 10 per cent., the pub-<br />
lisher charges from 25 to 50 per cent. on the nett<br />
returns if these rights are left to his disposition,<br />
and out of the hundreds of agreements that have<br />
come before the secretary he has never seen a lower<br />
charge in a publisher’s agreement for the placing<br />
of serial rights than 20 per cent. This is not the<br />
only difficulty that may arise by the author leaving<br />
these rights in the publisher’s hands. First, the<br />
author, in carelessly settling an agreement, often<br />
passes over this clause thinking it is merely formal,<br />
and that he is dealing with the publisher merely<br />
for the book publication. He finds the publication<br />
<br />
of his book delayed for twelve months and more<br />
owing to the publisher’s endeavour to obtain his<br />
50 per cent. of the profits of the serialisation, and<br />
<br />
he thereby loses a valuable market. It may be of<br />
great importance that his book should appear at a<br />
fixed time. Secondly, publishers have not the<br />
facilities for placing serial rights that an agent has.<br />
If he is a good publisher, his time is too much<br />
taken up with his own business to attend to the<br />
sale of serial work, and vice versd if he is attending<br />
to the sale of serial work he is not attending to his<br />
proper business. Thirdly, it not infrequently<br />
happens that the author obtains an offer for the<br />
serial rights himself, and in these circumstances it<br />
is a great trial to be bound to pay the publisher<br />
50 per cent. for doing nothing; but when the<br />
publisher acts as his own “ drummer ”—if we may<br />
use an expression borrowed from the United States<br />
—he is playing the game very low. This special<br />
feature, although it has been a cause of complaint<br />
against the agent, has never, hitherto, been a cause<br />
of complaint against the publisher. Agents not<br />
infrequently go round to publishers and editors and<br />
endeavour to obtain offers for authors who may, or<br />
may not, be their clients, and, if successful, place<br />
the offer before the author. This method of doing<br />
business may be of great advantage for authors who<br />
are their clients, but for authors who are not<br />
their clients it is very often a source of difficulty<br />
and danger. It is not necessary again to point<br />
out the disadvantage of dealing with agents in<br />
these circumstances. We desire to confine our-<br />
selves to publishers as agents, and to repeat that<br />
<br />
THE AUTHOR.<br />
<br />
authors cannot be too strongly advised not to<br />
leave the placing of their minor rights, 7.¢., serial<br />
rights, translation, and Continental rights, in the<br />
hands of the publisher.<br />
<br />
ee<br />
<br />
REGARDING SIMILAR NAMES.<br />
<br />
+<br />
<br />
I HAVE read with very great interest the paper<br />
<br />
“Property in-a Mom de Plume,” and am<br />
<br />
wishful to venture upon a suggestion or<br />
two, if you can but spare me a little space.<br />
<br />
It seems to me, that whether “Rita” (Mrs.<br />
Humphreys) will be able to make good her claim<br />
to the exclusive use of her nom de plume or not,<br />
there is still something that must prove very un-<br />
satisfactory to the author in the present method of<br />
identifying himself with his books, merely by<br />
attaching thereto his name.<br />
<br />
I believe I am right in assuming that, should<br />
the writer of the “children’s pages” in some un-<br />
known publication prove that her surname is<br />
“ Rita,” no power could prevent her, should she<br />
so choose, from attaching that name to any work<br />
from her pen; and, even though she should be<br />
forced to prefix it by her initials, there would<br />
be always a large number of readers who would<br />
think merely that “ Rita” had taken to using the<br />
first letters of her christian names, so as to have<br />
her name distinguishable from the “ other” Rita.<br />
Then would rise among the members of the public<br />
another form of confusion. The question would<br />
be asked: “ Which is che ‘Rita’?” And some<br />
would answer: “The one without any initials.”<br />
But others, again, would reply, ‘“ ‘lhe one with the<br />
initials.” And the deuce himself would be<br />
bothered in the end to say which was which. Of<br />
course, I am aware that it is ridiculously im-<br />
probable that the new ‘ Rita” should prove to<br />
have made use of her own name, and I have but<br />
pre-supposed this to make clear my point.<br />
<br />
Leaving now the case of Mrs. Humphreys, all<br />
readers will be able to call to mind the confusion<br />
ot identity ensuing upon two writers, possessing<br />
the same name, making their appearance. ‘True,<br />
their initials may be different ; but to discriminate<br />
by means of initials is a work requiring some<br />
effort of memory, more than it is wise for an<br />
author to expect from the “big” public. Re-<br />
calling a few instances of authors possessing names<br />
alike, we have books from the pens of J. L. Allen<br />
—G. Allen; A. Barr—R. Barr; E. Castle—G.<br />
Castle; R. N. Carey—W. Carey; F. J. Fraser—<br />
Mrs. Fraser; A. K. Green—J. R. Green; J.<br />
Hocking—S. Hocking; A. Hope—G. Hope; F.<br />
Norris—W. E. Norris; ©. Russell—W. Russell—<br />
G. H. Russell ; H. G. Wells, and another Wells.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
I might go on and fill a page, but these are suffi-<br />
cient to show how confusing to the “big” public<br />
must be such similarity in names. Therefore, it<br />
seems to me that now, whilst this case of Mrs.<br />
Humphreys is before the Society, it might be a<br />
sensible thing to consider seriously some means<br />
that shall secure to authors a certainty of no one<br />
coming into the field in future and selling “ stuff”<br />
under, and often to the detriment of, some more<br />
renowned name.<br />
<br />
The expedient I have to suggest may seem some-<br />
what primitive, and some will cry out against the<br />
odour of trade which, at first, it will appear to<br />
carry; but, at least, let me put forth my idea.<br />
It is that each author, in addition to his name,<br />
have some distinguishing totem or mark, Thus,<br />
Kipling might print his name always with, say,<br />
a “camuel” or an elephant’s head alongside of it ;<br />
this last, indeed, being practically what Messrs.<br />
Macmillan are doing at the present time on the<br />
covers of his books. Bullen might distinguish<br />
himself—as he has done already in type—by means<br />
of a whale ; Mason by four feathers; H. G. Wells<br />
by means of a star; Cutcliffe Hyne by means of a<br />
kettle; and so forth. I imagine that each of<br />
these designs could be registered in the same<br />
way as a trade mark, and, therefore, confer upon<br />
<br />
their owners the right to take proceedings against<br />
<br />
any who should copy them. I would suggest that<br />
such totem or signation be printed not only on the<br />
covers of books, and at the heads of magazine<br />
stories and articles, but also at the heading of<br />
every chapter throughout a book, and in such<br />
wise the reader would become familiar with it,<br />
and associate it always with the author whom it<br />
identified. Further, that in all advertisements of<br />
a book or literary work, the totem be in evidence<br />
beside the author’s name.<br />
<br />
One thought more : editors of magazines might<br />
object to the trouble of preparing special blocks<br />
of the author’s totem—especially in the case of<br />
anunknown man. To obviate this, the author could<br />
have one or two made—they would cost very little<br />
—and send one to the editor of any periodical ac-<br />
cepting any of his stuff: of course, asking for its<br />
return.<br />
<br />
Such an expedient as I have suggested should<br />
prevent confusion, though a thousand Smiths,<br />
Browns, and Robinsons chose each of them to<br />
court immortality by that most fallible of methods<br />
—a book: One could go to the bookstall :<br />
<br />
“J want Smith’s latest book, please. Er—I’m<br />
afraid I’ve forgotten the title.”<br />
<br />
“Yes, sir—certainly. Perhaps you can re-<br />
member which Smith it is, sir?”<br />
<br />
““Q yes; the Smith who always has a pair of<br />
tongs printed on the covers of his book.”<br />
<br />
“Very good, sir.”<br />
<br />
111<br />
<br />
Then to small boy :<br />
<br />
“Tom, fetch down the last thing<br />
Smith’s.”<br />
<br />
And there you are.<br />
<br />
WinuraAm Hopr Hopason.<br />
<br />
of Tongs<br />
<br />
Nn aE EERIE<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
+<br />
<br />
BOOKMAN.<br />
<br />
Antonio in “The Merchant of Venice ”<br />
<br />
A Character Study. By Jane T. Stoddart.<br />
<br />
Classics of the Nursery: or the Development of Books<br />
for Boys and Girls. By Thomas Seccombe.<br />
<br />
Book MONTHLY.<br />
<br />
Ghosts of Yesterday, and Why They Are No More in<br />
<br />
Current English Fiction. By Hubert Bland.<br />
CHAMBERS’ JOURNAT..<br />
Rejected by the Publishers.<br />
<br />
CORNHILL.<br />
An Examination in English Literature.<br />
Canon Beeching.<br />
The Christmas Book.<br />
<br />
By the Rev.<br />
By Joseph Shaylor,<br />
<br />
CONTEMPORARY REVIEW.<br />
<br />
By G. G. Coulton.<br />
By Emma Marie<br />
<br />
Catholic Truth and Historical Truth.<br />
The Relation of ‘Theology to Religion.<br />
Caillard.<br />
<br />
FORTNIGHTLY REVIEW.<br />
<br />
René Bazin. By André Turquet.<br />
<br />
Jos¢—Maria de Heredia. By Thomas Seccombe and<br />
L. M. Brandin.<br />
<br />
Mr. Mallock on Knowledge and Belief.<br />
Lodge, LL.D.<br />
<br />
Three Scandinavian Schools of Composers.<br />
Keeton.<br />
<br />
By Sir Oliver<br />
By A. E.<br />
<br />
MACMILLAN’S MAGAZINE.<br />
<br />
The Catalogues of the Library of the British Museum.<br />
By Rudolf de Cordova.<br />
MONTH.<br />
By J.H Pallen.<br />
By the<br />
<br />
Edmund Campion’s History of Ireland.<br />
The Great Antiphons: Heralds of Christmas.<br />
Rey. Herbert Thurston.<br />
<br />
MONTHLY REVIEW.<br />
<br />
Public School Education. By A. C. Benson.<br />
Italian Painting in the Prado Gallery.<br />
Hutton.<br />
<br />
By Edward<br />
<br />
NATIONAL REVIEW.<br />
Modern Biblical Criticism and the Pulpit.<br />
Rey. R. J. Campbell.<br />
NINETEENTH CENTURY.<br />
<br />
Some Aspects of the Stage. By Adolphus Vane Tempest.<br />
The Deans and the Athanasian Creed. By the Rey. W.<br />
Crouch.<br />
<br />
By the<br />
<br />
PALL MALL MAGAZINE.<br />
<br />
British Musical Progress. By Frederick Norman.<br />
Modern Ceramic Art.<br />
<br />
(There are no articles dealing with Literary, Dramatic,<br />
or Musical Subjects in Blackwood’s Magazine or Temple<br />
Bar.)<br />
<br />
<br />
112<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
eo<br />
<br />
ERE are a few standing rules to be observed in an<br />
<br />
| | agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
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 />
Allother 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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
—_+——_e__——__<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—— oe —<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 />
THR 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. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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 United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
—__————_e—>—_e__—_<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
——<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical —<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
<br />
<br />
+-—<—__+—___—__<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—_1—~<>—+ —<br />
<br />
ve VERY member has a right toask for and to receive<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. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion. All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are*fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them, (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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 endeayour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 4s. per<br />
annum, or £10 10s for life membership.<br />
<br />
THE AUTHOR. 113<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
—_-———_<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
ee<br />
<br />
THE READING BRANCH.<br />
<br />
—-+>+<br />
<br />
MEMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. ‘Their MSS. can be read and<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
—___—_-—_@—+_____-<br />
<br />
NOTICES.<br />
<br />
—_+—+—_<br />
<br />
YT | Editor of Zhe Author begs to remind members of<br />
<br />
<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 />
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 />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, §.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
soe<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 />
—_——_____—_>_o—___—_<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—1—~—+—<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
<br />
<br />
114 THE AUTHOR.<br />
<br />
AUTHORITIES.<br />
<br />
oe<br />
<br />
E regret to hear that Mr. George Meredith,<br />
the President of the Society, was unable<br />
to attend the King’s Investiture at Buck-<br />
<br />
ingham Palace, owing to the fact that he had not<br />
sufficiently recovered from the accident which<br />
occurred to him some little time ago. It is with<br />
much pleasure, however, that we see the Order of<br />
Merit, with the insignia and the warrant, was, by<br />
the command of his Majesty, officially conveyed to<br />
Mr. Meredith at Box Hill, Dorking.<br />
<br />
We see that Mr. E. Marston has been writing<br />
to the Times concerning the book trade in the<br />
Australian market. ‘<br />
<br />
It is common property that the Australians have<br />
drafted, and are pushing forward, a Copyright<br />
Bill; but it would not only be inexpedient, but<br />
impossible, to discuss it at the present time. The<br />
question Mr. Marston raises, however, is really one<br />
of contract between the American and Australian<br />
booksellers. It would be quite possible for an<br />
American publisher to publish simultaneously in<br />
America and Australia, thus securing the British<br />
copyright, and then sell a licence to publish for<br />
the Australian colonies, and retain a further licence<br />
for England, Canada, and other portions of the<br />
world should he think fit. Mr. Marston says:<br />
“ According to the present law there is absolutely<br />
nothing to prevent an American publisher or<br />
author selling his copyright to an Australian<br />
publisher in Sydney, and, by publishing there<br />
first, secure for himself copyright throughout the<br />
British dominions ; but then, of course, he cannot<br />
sell to an English publisher as well—that would<br />
be selling his copyright twice over.”<br />
<br />
Mr. Marston seems to have forgotten the fact<br />
that once the American publisher or author has<br />
secured the copyright, it is not essential that he<br />
should sell his whole copyright to the Australian<br />
publisher, but, as we have suggested, he may<br />
merely sell a limited licence to publish. In the<br />
same way, it is not an uncommon thing for an<br />
English author, when he has once secured his<br />
copyright, to make separate contracts for Canada,<br />
for the United States, and sometimes, even, for<br />
Australia and India.<br />
<br />
It is possible that the whole copyright question<br />
may be before the public at no distant date, when<br />
Mr. Marston will have ample opportunity of dis-<br />
cussing the points to which he refers.<br />
<br />
For many years past we have had our eye on<br />
the third section of the Copyright Act of 1842,<br />
<br />
which, referring to works published after the death<br />
of their author, runs as follows :—<br />
<br />
‘And the copyright of every book which shall be pub-<br />
lished after the death of its author shall endure for the term<br />
of forty-two years from the publication thereof, and shall<br />
be the property of the proprietor of the author’s manuscript<br />
from which such book shall be first published, and his<br />
assigns.”<br />
<br />
Often has it been the custom for the personal<br />
representatives, trusting to the common law right<br />
of an author, and therefore, after his decease of<br />
his personal representatives, to control the right<br />
to publish unpublished work, to insist upon<br />
the right of sanctioning, or withholding their<br />
sanction, from the publication of letters. It was<br />
not long ago that a case came before the secretary<br />
of the society in which one of its members held<br />
the MS. of a deceased author, and his right to<br />
publish the same was disputed, on the ground<br />
that the right of publication was vested in the<br />
personal representatives. This case referred to a<br />
completed MS., and not to letters. The secretary<br />
of the society, advised that the right of publication<br />
rested with the member under section 3, the<br />
statutory right overruling the common law right.<br />
But as no judgment existed on the point, it was<br />
decided to take counsel’s opinion, and counsel’s<br />
opinion supported the view of the secretary. This<br />
interpretation of the Act has now been confirmed.<br />
Mr. Justice Kekewich appears by his decision to<br />
hold that section 3 embraces not only MSS., but<br />
also letters.<br />
<br />
It would be satisfactory, however, if the matter<br />
were carried to a higher court, as there is no<br />
doubt that the decision will upset the view of the<br />
law which many have adopted.<br />
<br />
We see that the Daily Mail for December 7th<br />
states : “‘ Mr. Macgillivray lays it down, copyright<br />
is personal property, and descends on the death of<br />
the owner to his personal representatives. That<br />
view had been generally held and acted upon.”<br />
<br />
The writer in the Datiy Mail has mistaken the<br />
position. The decision given in Mr. Justice<br />
Kekewich’s court does not alter Mr. Macgillivray’s<br />
statement in the least. The question is, whether<br />
the right to sanction the publication of MSS.<br />
unpublished at the author’s death lies with the<br />
personal representatives or with the owner of the<br />
MSS. This is not copyright—copyright being<br />
entirely a creature of statute. It has now been<br />
decided that the common law right which was<br />
supposed to exist in the personal representatives,<br />
enabling them to sanction or to withhold their<br />
sanction for publication, is overriden in the par-<br />
ticular case, Macmillan v. Dent, by section 8 of the<br />
statute of 1842, quoted above. Mr. Macgillivray’s<br />
statement still holds good, for since the property<br />
becomes copyright under the statute by the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
publication of the letters or MS. in the possession of<br />
a person after the decease of the author, the property<br />
will descend to his personal representatives as<br />
personal property. By the kindness of the Editor<br />
of the Law Journal we are printing a report of the<br />
case ; but we hope to print in a later issue the full<br />
judgment, of which we have been unable to obtain<br />
a copy for this issue.<br />
<br />
We thought that the half-profit agreement had<br />
died a natural death many years ago, but, like the<br />
hardy annual, it seems to come up again and<br />
again.<br />
<br />
One publishing house in particular, by no means<br />
the least of the publishing houses of England in<br />
its own and the public’s reputation, is continually<br />
putting forward this method of publication, and<br />
from the number of half-profit agreements that<br />
have come recently before the secretary, seems<br />
to publish an increasing number of books on<br />
this basis. The publishers state that they<br />
advise this form of agreement, and that it is a<br />
satisfactory form for the author. The usual<br />
consequence follows : the result is unsatisfactory<br />
to the author. It cannot be repeated too often<br />
that the difference in the profits of an author<br />
publishing under the half-profit agreement, and<br />
those of an author publishing under the royalty<br />
agreement, is extraordinary, though both forms of<br />
agreement seem to pay the publisher equally well.<br />
In addition the accounts are complicated and<br />
difficult to understand, and cannot fail to give rise<br />
to an uneasy feeling in the author’s mind. For<br />
the author is absolutely ignorant of the cost of<br />
production and methods of advertisement, and<br />
those items which should be settled to the minutest<br />
detail before the contract is signed, in order to<br />
assist the author in calculating his possible returns,<br />
are generally left in the hands of the publisher,<br />
and come as ashock to the author’s system only<br />
when the first accounts are rendered. We regret<br />
having to publish this warning against the half-<br />
profit agreement once more, as we had hoped that<br />
publishers anxious for their own reputation, and<br />
the Publishers’ Association, would have finally<br />
discarded it.<br />
<br />
—_ +4 —<br />
<br />
THE PENSION FUND COMMITTEE.<br />
<br />
1<br />
<br />
i 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,<br />
<br />
it has been thought advisable to place in The Author<br />
<br />
a complete statement of the method of election<br />
<br />
under the scheme for administration of the Pension<br />
<br />
Fund. Under that scheme the committee is com-<br />
<br />
THE AUTHOR. 115<br />
<br />
posed of three members elected by the committee<br />
of the society, three members elected by the society<br />
at the general meeting, and the chairman of the<br />
society for the time being, ez-officio. The three<br />
members elected at the general meeting when the<br />
fund was started were Mr. Morley Roberts, Mr.<br />
M. H. Spielmann, and Mrs. Alec Tweedie. These<br />
have in turn during the past three years resigned,<br />
and, submitting their names for re-election, have<br />
been unanimously re-elected. This year Mr.<br />
Morley Roberts again, under the rules of the<br />
scheme, tenders his resignation and submits his<br />
name for re-election. The members have power to<br />
put forward other names under clause 9, which<br />
runs as follows :—<br />
<br />
Any candidate for election to the Pension Fund Com-<br />
mittee by the members of the society (not being a retiring<br />
member of such committee) shall be nominated in writing<br />
to the secretary at least three weeks prior to the general<br />
meeting at which such candidate is to be proposed, and the<br />
nomination of each such candidate shall be subscribed by<br />
at least three members of the society. A list of the names<br />
of the candidates so nominated shall be sent to the members<br />
of the society, with the annual report of the Managing<br />
Committee, and those candidates obtaining the most votes<br />
at the general meeting shall be elected to serve on the<br />
Pension Fund Committee.<br />
<br />
In case any member should desire to refer to the<br />
list of members, a copy, with the exception of<br />
those members referred to in the note at the<br />
beginning, can be obtained at the society’s office.<br />
This list, dated 1902, owing to the small demand,<br />
has not been re-edited, and is, therefore, not<br />
absolutely accurate. A further list of the elections<br />
for 1903 was published in separate form, and all<br />
further elections have been duly notified in 7he<br />
Author. They can easily be referred to, as all<br />
members receive a copy every month.<br />
<br />
Tt would be as well, therefore, should any of the<br />
members desire to put forward a candidate, to take<br />
the matter within their immediate consideration.<br />
The general meeting of the society has usually<br />
been held towards the end of February or the<br />
beginning of March. It is essential that all nomi-<br />
nations should be in the hands of the secretary<br />
before the 31st of January, 1906.<br />
<br />
—+—~<+ —<br />
<br />
SIR RICHARD JEBB.<br />
<br />
———~<br />
<br />
IR RICHARD JEBB was not, I am told, a<br />
member of our Society; but our Society,<br />
none the less, owes, and will pay, its tribute<br />
<br />
to the memory of an author who was, unquestion-<br />
ably, the greatest classical scholar of his generation,<br />
not in England only, but in the world.<br />
<br />
The justest appreciation of Jebb’s work will<br />
116<br />
<br />
perhaps be to say that it combined what are gener-<br />
ally considered the distinctive merits of Cambridge<br />
and Oxford scholarship. We look, as a rule, to<br />
Cambridge for technical perfection in the craft of<br />
scholarship ;_ to Oxford for its use in fruitful<br />
association with polite learning of other kinds.<br />
In “ pure ” scholarship of the Cambridge sort Jebb<br />
had no equal. He particularly excelled in those<br />
ingenious exercises in composition which are the<br />
supreme test of scholarship—those “tours de<br />
force” in which so many Cambridge scholars have<br />
found their favourite recreation. Benjamin Hall<br />
Kennedy’srendering into Latinelegiacs of a circular<br />
calling a meeting of a Sanitary Board is perhaps<br />
the best known production of the kind. Jebb’s<br />
reproduction of “ Abt Vogler.” as a Pindaric Ode<br />
ranks, not with it, but above it. Mastery of the<br />
Greek language could go no further. The feat<br />
astonished Jebb’s contemporaries ; it would doubt-<br />
less have astonished Pindar. As an example of<br />
his skill in composition of a more conventional<br />
order, one is tempted to quote his version of,<br />
“ Home they brought her warrior dead” :—<br />
<br />
Mortuus a bello sua fertur in atria miles ;<br />
Nec fluit ad terram sponsa, nec ore gemit.<br />
Aspiciunt, unfque canunt hee voce puelle :<br />
“A! fleat, est lacrimis, ne moriatur, opus.”<br />
Inde viri repetunt, submisso murmure, laudes :<br />
“ Dignus erat,” narrant, “quem sequeretur amor ;<br />
Fidus amicitiis, ipsos generosus is hostes.”<br />
Illa tamen nullos dat stupefacta sonos.<br />
Labitur e mediis nota statione puellis<br />
Et leviter gradiens nympha cadaver adit. ><br />
Demovet a rigido feralem sindona vultu ;<br />
Tia tamen siccis torpet, ut ante, genis.<br />
Surgit ibi ter sex lustris jam consita nutrix,<br />
In gremium pignus dat puerile viri.<br />
Imber ut aestivus, rupit pia lacrima fontes——<br />
“Tu, puer, in vita cur morer,” inquit, “ eris.”<br />
<br />
Scholars of Jebb’s high mark are generally<br />
scholars and nothing more. Jebb was a man of<br />
letters also. Even when he merely edited<br />
“Sophocles” for schools, the man of letters stood<br />
revealed. Many of us can date our delight in the<br />
literature of Greece from the moment when his<br />
“ Ajax” was first put into our hands. Afterwards, as<br />
all the world knows, he edited ‘‘Sophocles” for<br />
scholars, and, at a stroke, superseded all the earlier<br />
editions. His translations were as eloquent as<br />
Jowett’s, while they were also distinguished by an<br />
accuracy to which Jowett did not pretend—or, at<br />
all events, did not attain. His volume on Bentley<br />
in the “English Men of Letters Series” showed<br />
humour and humanity as well as erudition. No<br />
man could have represented Cambridge more<br />
fittingly, whether in the Commons’ House of Parlia-<br />
ment or in the select ranks of the recently<br />
constituted Order of Merit.<br />
<br />
FRANCIS GRIBBLE.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
UNITED STATES NOTES.<br />
<br />
—+—— + —<br />
<br />
HOUGH we have not as yet before us definite<br />
data as to the complete year, it may be<br />
asserted without hesitation that the output<br />
<br />
of books during 1905 has been one of the largest on<br />
record. ‘There is an increase of a third over last<br />
year’s aggregate of full publications ; and the list is<br />
the largest of any recent year since 1901. Some of<br />
these books, such as Mrs. Pennell’s Life of Charles<br />
Godfrey Leland, will, no doubt, overflow into next<br />
year ; but, with all such deductions, the sum total<br />
is almost unprecedented.<br />
<br />
Mr. Henry James and Mrs. Craigie have<br />
renewed their acquaintance with America; and<br />
we have also had visits from England, by Mrs.<br />
Humphry Ward and Mr. Jerome K. Jerome.<br />
Mrs. Ward has not as yet, so far as we can<br />
remember, portrayed an American, so that one<br />
awaits results with some degree of curiosity.<br />
<br />
An interesting subject for comparison is Mr.<br />
James’s “English Hours,” and Mr. W. D. Howell’s<br />
“London Films,” though the former is not new.<br />
Both will be appreciated by some who do not<br />
invariably relish the fictional methods of these<br />
distinguished writers. Mr. James has also pub-<br />
lished his lectures upon Balzac and his Bryn<br />
Mawr deliverance, “ The Question of Our Speech,”<br />
both of which contain some highly suggestive<br />
criticism.<br />
<br />
We are glad to fancy that we can discern some<br />
revival of the Essay, not only from the above<br />
instances, but in others, like Dr. Van Dyke's<br />
graceful “Essays in Application,” Prof. Trent’s<br />
“Greatness in Literature,” and the “ Shelburne<br />
<br />
Essays” of Paul Elmer-More, not to mention any:<br />
<br />
more. And in this connection we should like to<br />
testify our appreciation of an article written for the<br />
Dial by Mr. Charles Leonard Moore upon “Style<br />
in Literature.” Though he has some unkind<br />
remarks upon the English language, maintaining,<br />
in fact, that “the great mass of our words are low<br />
or indifferent,’ amends are made by the contention<br />
that words in themselves have very little to do<br />
with the evolution of style, in which English is<br />
pre-eminent. This last is the main thesis, and it<br />
is admirably sustained.<br />
<br />
The President has enriched the literature of<br />
sport by his “Outdoor Pastimes of an American<br />
Hunter,” thus adding another item to the long and<br />
varied catalogue of his literary achievements. Bear<br />
hunting in Colorado, wolf hunting in Oklahoma,<br />
hunting with cougar hounds, and the chase of the<br />
prong-buck, are amongst its most fascinating<br />
chapters.<br />
<br />
Mr. John Burroughs appeals to the nature lover<br />
rather than the sportsman in his “ Ways of Nature.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
(he<br />
<br />
ila<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
He does not believe in animal psychology, and<br />
advises writers to humanise their facts if they can,<br />
but to “leave the dog a dog and the straddle-bug<br />
a straddle-bug.” This is not exactly the method of<br />
Mr. Thompson Seton ; and had he followed it,<br />
what would have remained of Mr. Charles Roberts’s<br />
remarkable “ biography,” “Red Fox”?<br />
<br />
Ornithologists and others will be delighted with<br />
the sumptuous record which Mr. C. William Beebe<br />
has published of the quest of himself and his wife<br />
after birds in Mexico. ‘Iwo other notable out-<br />
door books of the season are William J. Long’s<br />
“Northern Trails,” and animal stories, called<br />
collectively ‘“‘The Race of the Swift,” by Edwin C.<br />
Litsey, which excel both in observation and<br />
descriptive power.<br />
<br />
The controversy about the commercialisation of<br />
Literature is still raging in various quarters. One<br />
hopes that some good may be the outcome, at least<br />
to the public. The contestants themselves blink<br />
certain facts : on the one side, that books are and<br />
must be bought and sold, if authors are to live, on<br />
the other, that good taste counts for something in<br />
the eyes of those who have even a modicum of<br />
culture, not to speak of intelligence.<br />
<br />
We note the first conviction under the new copy-<br />
right law, as having occurred in the United States<br />
District Court at Keokuk, Ia., on October 29th.<br />
James L. Glass was found guilty of producing a<br />
play on which a theatrical manager of Minneapolis<br />
held copyright.<br />
<br />
In its October number, the Bookman asserted<br />
that a certain popular motor-novel was “ frankly<br />
and flatly the advertisement of a make of auto-<br />
mobile, of an automobile tyre, and of a toilet soap,”<br />
and further, that a suit had been brought by a<br />
German firm of motor-manufacturers against the<br />
authors in connection with certain disparagements<br />
of their machine in the novel. We are happy to<br />
say that all these charges were unfounded ; and<br />
the periodical makes full amends this month for its<br />
unusual lapse. It is at present running “ A Motor<br />
Car Divorce” through its own pages as a serial ;<br />
so far there has been more of the motor than the<br />
divorce.<br />
<br />
America has had the distinction of introducing<br />
to the English-speaking world the author of<br />
“Peer Gynt” and “Brand” as a letter-writer.<br />
The late Dr. Albert Bielschowsky’s great life of<br />
Goethe has also been translated by an American,<br />
Dr. W. A. Cooper, the first section of whose work<br />
has appeared within the past month.<br />
<br />
Of international importance is also Captain<br />
Mahan’s last work on the War of 1812, also,<br />
perhaps, Poultney Bigelow’s “ The German<br />
Struggle for Liberty,” the issue of the fourth<br />
volume of which completes the work.<br />
<br />
Of scarcely less rank will be held Dr. John<br />
<br />
Ti%<br />
<br />
Basset Moore’s “ American Diplomacy, its Spirit<br />
and Achievements,” and Prof. Breasted’s “ History<br />
of Egypt”; whilst W. W. Rockhill’s ‘* China’s<br />
Intercourse with Corea,” and the ‘General<br />
Sociology,” issued by the Chicago Press for<br />
Prof. Albion W. Small, have far more than a<br />
national interest. From the same quarter comes<br />
Prof. Milyoukov’s timely “Lectures on Russian<br />
Civilisation.”<br />
<br />
A second volume of Prof. Dunning’s useful<br />
and well-written work on the “History of<br />
Political Theories” has appeared. It extends<br />
from Luther to Montesquieu, and includes sum-<br />
maries of the political doctrines of Bodin, Grotius,<br />
Hobbes, the Catholic Controversialists, the English<br />
Puritan Philosophers, and Locke.<br />
<br />
Mr. Geo. H. Warner’s study of the Semitic<br />
problem, “ The Jewish Spectre,” is an indictment<br />
of theocracy rather than an attack upon its votaries.<br />
It is full of varied information, and bristles with<br />
controversial matter, but does not advance the<br />
question far.<br />
<br />
Dr. Frank J. Goodnow’s “ Principles of<br />
the Administrative Law of the United States”<br />
is an important contribution to its subjects,<br />
designed not only for jurists and students of law,<br />
but also for those actually engaged in official work.<br />
<br />
Amongst biographical works of strong interest<br />
we would single out Mrs. Bayard Taylor's “On<br />
Two Continents,” and Thos. Wentworth Hig-<br />
ginson’s “ Parts of a Man’s Life.” The author<br />
of the former is the translater of “ Faust’s”<br />
second wife, née Marie Hansen. She gives us<br />
portraits of Thackeray, Horace Greeley, and<br />
George P. Putnam, amongst other celebrities, and<br />
relates anecdotes of Browning and Bret Harte.<br />
Col. Higginson’s medley of reminiscence and<br />
reflection will prove of interest to readers in two<br />
continents. The volume, which has a decidedly<br />
optimistic tone, contains interesting comparisons<br />
of Englishmen and Americans based on a wide<br />
personal knowledge of both, and some outspoken<br />
criticism of Herbert Spencer. Then there are<br />
volumes on Lowell and Blaine, by Ferris Greenslet<br />
and Edward Stanwood ; and the first complete life<br />
of Sidney Lanier, which comes from the pen of<br />
Edwin Mim. “The True Andrew Jackson,” by<br />
Cyrus Townsend Brady, is a careful study of<br />
another American worthy.<br />
<br />
A work of some authority upon an important<br />
subject, is Charles A. Conant’s “ Principles of<br />
Money and Banking.”<br />
<br />
Randell Parrish’s “Historic Illinois’ may be<br />
commended to students of American history,<br />
together with George Wharton James’s account of<br />
the Franciscan missions of California.<br />
<br />
Probably the most significant publications<br />
concerning art are 8. Isham’s “ History of<br />
118<br />
<br />
American Painting,” and Kenyon Cox’s “Old<br />
Masters and New.”<br />
<br />
Coming to fiction, we have had new works from<br />
Mrs. Wharton, Mrs. Atherton, M. E. Wilkins,<br />
and R. W. Chambers, besides Mark Twain’s<br />
“« Rditorial Wild Oats,” and the inevitable Marion<br />
Crawford novel.<br />
<br />
“The House of Mirth,” a relentless study of<br />
New York society, from the point of view of one<br />
of its victims, will, we think, fully maintain its<br />
author’s reputation ; whether the same can be said<br />
for “The Travelling Thirds” of Mrs. Atherton<br />
is more doubtful. Mrs. Wilkins Freeman, and that<br />
best of American romancers, Mr. Chambers, are as<br />
excellent as ever in their different ways.<br />
<br />
There is a new “ Uncle Remus” book for young<br />
and old ; and Kate Douglas Wiggin has renewed<br />
her hold upon her public with her charming “‘ Roge<br />
o’ the River.”<br />
<br />
Booth Tarkington has probably never done any-<br />
thing better than his ‘‘ Conquest of Canaan” ; and<br />
Emerson Hough’s “ Heart’s Desire,” is a capital<br />
western story with plenty of atmosphere.<br />
<br />
“The Edge of Circumstance,” by Edward Noble,<br />
is a strong sea story.<br />
<br />
There is originality in “The Ballingtons,” by<br />
Frances Squire, a new writer, if we mistake not.<br />
<br />
James Huneker’s short stories, labelled ‘ Vision-<br />
aries,” will be judged morbid by some readers and<br />
praised as uncommon by others ; they are, at any<br />
rate not to be set down as conventional.<br />
<br />
The author of “ The Plum Tree” has written a<br />
story of “high and frenzied finance” in his new<br />
work, “The New Deluge,” but has skilfully inter-<br />
woven it with love interest.<br />
<br />
We could enumerate many another novel,<br />
displaying unusual talent, but must conclude the<br />
catalogue with ‘‘ Shakespeare’s Sweetheart,” which<br />
purports to be Anne Hathaway’s love story, written<br />
by herself, deposited in the hands of Ben Jonson,<br />
and recently discovered among old archives !<br />
<br />
An English novel holds the highest place in the<br />
most recently compiled list of ‘ best-sellers,” Mr.<br />
McCutcheon’s newest story “Nedra” coming<br />
second, with Mrs. Wharton and Kate Douglas<br />
Wiggin taking the next two. places. We con-<br />
gratulate the author of “The House of Mirth”<br />
upon her popularity.<br />
<br />
America has had to mourn this year a heavy loss,<br />
both to her literature and her statesmanship, in the<br />
death of Mr. John Hay, upon whose achievements<br />
we need not dwell here. Mrs. Mary Mapes Dodge,<br />
who died in the succeeding month, was a lesser light<br />
in the firmament. But her Dutch story, “ Hans<br />
Brinker,” endeared her to more than one genera-<br />
tion of children, and her recently published<br />
“ Poems and Verses” had some success, whilst she<br />
did good service as editor of St. Nicholas.<br />
<br />
THE AUTHOR.<br />
<br />
There have been no other recent losses of note ;<br />
but the year which has seen the death of “ Rip Van<br />
Winkle” and the author of the “Pike Country<br />
Ballads,” as well as Lafcadio Hearn and Laurence<br />
Hutton, has left sad gaps in American literature<br />
and art. Just before going to press we heard of<br />
the death of Henry Harland, one of the select<br />
band of what may be called Anglo-American<br />
authors. “The Cardinal’s Snuff-Box” alone would<br />
have assured him a niche in the temple of fame.<br />
<br />
—_+-~<— —_<br />
<br />
PRESIDENT ROOSEVELT ON COPYRIGHT<br />
LEGISLATION.<br />
<br />
—— ><br />
<br />
(The following is quoted from the American Publishers’<br />
Weekly of December 9th, 1905.)<br />
<br />
RESIDENT ROOSEVELT in his annual<br />
message, transmitted to Congress on De-<br />
cember 5th, refers to the United States<br />
<br />
copyright laws as follows :<br />
<br />
“*QOur copyright laws urgently need revision.<br />
They are imperfect in definition, confused and<br />
inconsistent in expression ; they omit provision<br />
for many articles which, under modern reproduc-<br />
tive processes are entitled to protection; they<br />
impose hardships upon the copyright proprietor<br />
which are not essential to the fair protection of<br />
the public ; they are difficult for the courts to<br />
interpret and impossible for the Copyright Office<br />
to administer with satisfaction to the public.<br />
Attempts to improve them by amendment have<br />
been frequent, no less than twelve Acts for the<br />
purpose having been passed since the Revised<br />
Statutes. To perfect them by further amendment<br />
seems impracticable. A complete revision of them<br />
is essential. Such a revision, to meet modern<br />
conditions, has been found necessary in Germany,<br />
Austria, Sweden, and other foreign countries, and<br />
bills embodying it are pending in England and<br />
the Australian colonies. It has been urged here,<br />
and proposals for a commission to undertake it<br />
have, from time to time, been pressed upon the<br />
Congress. The inconveniences of the present con-<br />
ditions being so great, an attempt to frame appro-<br />
priate legislation has been made by the Copyright<br />
Office, which has called conferences of thé various<br />
interests especially and practically concerned with<br />
the operation of the copyright laws. It has secured<br />
from them suggestions as to the changes necessary :<br />
it has added from its own experience and investiga-<br />
tions, and it has drafted a bill which embodies<br />
such of these changes and additions as, after full<br />
discussion and expert criticism, appeared to be<br />
sound and safe. In form this bill would replace<br />
the existing insufficient and inconsistent laws by<br />
<br />
<br />
THE AUTHOR.<br />
<br />
one general copyright statute. It will be presented<br />
to the Congress at the coming session. It deserves<br />
prompt consideration.<br />
<br />
999<br />
<br />
1<br />
<br />
ANTHONY TROLLOPE.<br />
<br />
ane<br />
J. THe WaGce-EARNER.<br />
<br />
OME few years ago a well-known man of<br />
letters, writing of Victorian novelists, gave<br />
it as his opinion that among disappearing<br />
<br />
authors must be included Charles Reade, Charles<br />
Lever, and Anthony Trollope. This statement<br />
must not be allowed to pass unchallenged ; for<br />
Reade must surely endure, by virtue of the great<br />
historical romance, “The Cloister and the<br />
Hearth,” and the delightful, pathetic “¢ Christie<br />
Johnstone”; and it is inconceivable that the<br />
world will be content to let die the rollicking,<br />
madcap stories of “Harry Lorrequer.” These<br />
writers were fully appreciated during their lifetime<br />
—indeed, in the case of some of their books, they<br />
may have been over-praised—and the adverse criti-<br />
cism to which they have since been subjected may,<br />
perhaps, be attributed to the apparently inevitable<br />
reaction./ Every writer has his ups and downs in<br />
the estimation of the generations immediately<br />
succeeding his own; but of all the mighty none<br />
have fallen so low as Anthony Trollope. His has<br />
been the worst fate that can befall a writer; he<br />
has not been abused, he has been ignored. He is<br />
not disappearing : he has disappeared ; and reaction<br />
alone cannot satisfactorily account for the lowly<br />
position he occupies to-day, with few so poor as to<br />
do him reverence. Indeed, so entirely have his<br />
books gone out of fashion that, in this age of<br />
reprints, when an attempt is made to galvanise<br />
into life the works of Mrs. Aphra Behn and<br />
Mr. R. M. Bird, it is impossible to obtain a set of<br />
his best books. Trollope’s most ardent admirers<br />
would not ask, nor could they desire, a complete<br />
edition of his writings. His books of travel, ‘The<br />
West Indies,” “ North America,” “ Australia,” and<br />
“New Zealand,” and “South Africa,” may be<br />
allowed to sink into oblivion ; and with them may<br />
go the monograph on Cicero, and that work to which<br />
Dean Merivale referred as “your comic Ceasar.”<br />
It is as a novelist Trollope has come down to us,<br />
and it is as a novelist he will live for posterity. .~<br />
He wrote much, far too much ; and many, nay,<br />
the majority, of his stories may be put aside. His<br />
industry was prodigious, and in quantity he<br />
rivalled another author who to-day also does not<br />
receive his full share of praise—Bulwer Lytton.<br />
“ T feel confident,” Trollope said, speaking of the<br />
years 1859 to 1871, “that in amount no other writer<br />
<br />
119<br />
<br />
contributed so much during that time to English<br />
literature.” The truth of his remark cannot be<br />
gainsaid, and the output is the more remarkable<br />
in so much as during this period he was a busy<br />
Civil servant. The secret of his prolixity is that<br />
he never waited for the spirit to move him. The<br />
mere word “inspiration ” aroused his ire ; and for<br />
the men who thought they could work only when<br />
“inspired ” his contempt was boundless. “ ‘To me<br />
it would not be more absurd if the shoemaker were<br />
to wait for inspiration, or the tallow-chandler for<br />
the divine moment of melting,” he declared. “If<br />
the man whose business it is to write has eaten<br />
too many good things, or has drunk too much, or<br />
has smoked too many cigars—as men who write<br />
will sometimes do—then his condition may be<br />
unfavourable for work ; but so will be the condi-<br />
tion of a shoemaker who has been similarly<br />
imprudent. I have sometimes thought that the<br />
inspiration wanted has been the remedy which<br />
time will give to the evil results of such impru-<br />
dence: Mens sana in corpore sano. The author<br />
wants that, as does every workman—that and a<br />
habit of industry. I was once told that the surest<br />
aid to the writing of a book was a piece of<br />
cobbler’s wax on my chair. I certainly believe<br />
in the cobbler’s wax much more than in the<br />
inspiration.”<br />
<br />
Undoubtedly Trollope adhered to the cobbler’s<br />
wax theory all the days of his life. He found he<br />
could write as well when he was travelling as when<br />
seated at his desk—the proof of this is to be found<br />
in the merits of “ Barchester Towers,” written<br />
almost entirely in railway carriages. For many<br />
years, while in the postal service, he rose at half-<br />
past five and worked until half-past eight, writing<br />
two hundred and fifty words every quarter of an<br />
hour ; and he found the words came as regularly<br />
as his watch went. It is unlikely he would have<br />
done better work if he had not laboured so<br />
methodically, but it is probable he would not have<br />
turned out so many mediocre works.<br />
<br />
Perhaps the temporary eclipse of Trollope is<br />
largely due to his autobiography. “ I confess,” he<br />
said therein, in a characteristic passage, “ that my<br />
first object in taking to literature as a profession<br />
was that which is common to the barrister when<br />
he goes to the bar, and to the baker when he sets<br />
up his oven. I wished to make an income on<br />
which I and those belonging to me might live in<br />
comfort.” Nothing could be more laudable! He<br />
prided himself upon being a tradesman, ready and<br />
willing to work to order. Again and again he<br />
declared ostentatiously that he wrote only for<br />
money ; that he found his reward in the publishers’<br />
cheque, and that he attributed to the pecuniary<br />
result of his labours all the importance he felt them<br />
to have at the time. The autobiography bristles<br />
<br />
<br />
120<br />
<br />
with figures. He tells us that in 1847 he pub-<br />
lished his first book, ‘‘ The MacDermotts of Bally-<br />
jeloran,” on the half-profits system. ‘I can with<br />
| truth declare that I expected nothing,” he has<br />
| recorded, “and I got nothing.” In the following<br />
| year Colburn brought out “The Kellys and the<br />
O’Kellys.” The terms were the same, and so was<br />
the result. The former was still-born ; the latter<br />
sold to the extent of 140 of the 375 copies printed.<br />
These stories of Irish life failing to attract, in 1850<br />
he published an historical romance, “ lia Vendée,”<br />
for which, on delivery of the manuscript, he received<br />
£20 on account of future profits. It was not until five<br />
years later that “The Warden” appeared. For this<br />
he received £20 3s. 9d. But “The Warden,” though<br />
its pecuniary success was infinitesimal, attracted<br />
attention in the Press, and the author began to be<br />
regarded as one with whom it might be necessary<br />
to reckon. Even the publishers were impressed,<br />
and Longmans offered to print the next novel and<br />
to pay in advance £100. This was “ Barchester<br />
Towers.” During twenty years these two books,<br />
the first of the Barset series, brought the author<br />
£727 lls. 3d. “The Three Clerks” followed,<br />
Bentley buying the copyright for £250.<br />
Thus encouraged, Trollope demanded £400 for<br />
“ Doctor Thorne.” Bentley would not give more<br />
than £300, so the author, who was leaving ye<br />
“T sai<br />
<br />
the next day, went to Chapman & Hall.<br />
what I had to say to Mr. Edward Chapman in a<br />
<br />
quick torrent of words. Looking at me as he<br />
might have done at a highway robber who had<br />
stopped him on Hounslow Heath, he said he sup-<br />
posed he might do as I desired. I considered this<br />
| to be asale, and it was a sale. I remember that<br />
| he held the poker in his hand all the time I was<br />
with him ; but, in truth, even if he had declined<br />
to buy the book, there would have been no danger.”<br />
“The Bertrams”’ went to the same firm for the<br />
game sum ; and, in the meantime, his first book of<br />
travels having proved a success, he demanded<br />
£600 for an Irish novel as yet unwritten, “ Castle<br />
Richmond.” ‘“Framley Parsonage” was com-<br />
missioned for Zhe Cornhill Magazine for £1,000 ;<br />
and after this he received £600 for a one-volume<br />
novel, or £8,000 for a story running to twenty<br />
parts. Sometimes he received more—once, at least,<br />
he was given £3,525 : for many years he contrived<br />
to keep up his price, and, though in later days<br />
he was compelled to accept considerably less, it<br />
is wonderful, remembering his enormous output,<br />
he should have been able to sustain it so long.<br />
Including £7,000 made by journalism—political,<br />
critical, and sporting articles—he earned £70,000,<br />
which result he looked upon as “ comfortable, but<br />
not splendid.” Considering his popularity, it was<br />
certainly not magnificent. Literature was then<br />
the worst paid profession. Think what a doctor<br />
<br />
THE AUTHOR.<br />
<br />
or a barrister of similar eminence would have<br />
made! ‘To-day, thanks partly to the American<br />
copyright law, a popular writer may amass a<br />
modest competence with one book.<br />
<br />
Now, all authors write for money. But if they<br />
are worth their salt, they take pleasure in their<br />
work. Despite the unfortunate autobiography, it<br />
is probable Trollope did not differ greatly from his<br />
fellow-workers. Certainly his desire for money<br />
never induced him deliberately to lower the standard<br />
of his work ; and, thongh he may not have realised<br />
it, he loved the pen, for surely no one, not urged<br />
by want of pence, could otherwise have worked so<br />
hard as he. He was proud of his books, and<br />
believed that some at least might live; while his<br />
affection for his characters was profound. The<br />
public naturally has not gone below the surface,<br />
and it has accepted Trollope’s statements without<br />
reservation. It will not willingly think, however,<br />
of the man of letters as a tradesman, turning out<br />
his wares with one eye on his paper and the other<br />
on his banking account. It likes to think of him<br />
as imbued with romance: it will not place the<br />
writing of books on the same plane as the making |<br />
of buttons or the baking of bricks ; and it is dis-<br />
gusted to learn that one of its favourites always<br />
wrote so many words in so many minutes. It dis-<br />
tinguishes, as Trollope would not, between the<br />
work of the brain and the work of the hand, It<br />
has already been said that the first book in which<br />
Trollope did himself justice was “The Warden.”<br />
Within the next few years he issued “ Barchester<br />
Towers,” ‘‘ Dr. Thorne,” “ Framley Parsonage,”<br />
and ‘‘ The Last Chronicles of Barset.” These are<br />
the Barset series of novels, and, undoubtedly, they<br />
contain his best work. During this period appeared<br />
also “ The Small House at Allington,” “ The Three<br />
<br />
Clerks,” and “ Orley Farm” ; and later, ‘Can You<br />
<br />
Forgive Her ?” “Phineas Finn,” “ Phineas Redux,”<br />
and “The Prime Minister,” in all of which is a<br />
semi-political atmosphere. The student of English<br />
literature may be content with these, though<br />
perhaps “The Eustace Diamonds” might repay<br />
perusal. These are the books upon which Trollope’s<br />
fame depends, and a very sound basis it is upon<br />
which to rest a reputation.<br />
<br />
Trollope’s most enduring title to rank with the<br />
greater novelists is as the chronicler of Barsetshire.<br />
The new shire he added to the English counties<br />
was very real to him, and he had it all in his mind<br />
—its roads and railroads, its towns and parishes,<br />
its members of parliament, its different hunts, its<br />
great lords and their castles, its squires and their<br />
parks, its rectors and their churches. Alone of<br />
the working population he had nothing to say ; not<br />
of the village shopkeepers, nor, though he insisted<br />
on the fact that Barsetshire was entirely agricul-<br />
tural, of the farmer and his labourers. On the<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
one side he saw Gatherum Castle, where lived the<br />
Duke of Omnium in almost feudal state, and the<br />
great county families ; on the other, the professional<br />
nen, the doctors, clergymen and attorneys.<br />
<br />
When he invented Barsetshire he limited his<br />
outlook to the cathedral city ; and in his famous<br />
trilogy, he confined himself mainly to the exposi-<br />
tion of the humours of clerical life, and to the<br />
introduction of ecclesiastical dignitaries. He wrote<br />
of their respectable, humdrum lives ; of their little<br />
squabbles, their ambitions, hopes and disappoint-<br />
ments, failures and successes ; and if at times he<br />
was severe, at least he was always fair, and he<br />
presented no theatrical figures of ranting parsons<br />
and red-nosed, over-fed rectors. Satire he some-<br />
times allowed himself, but caricature never ; and<br />
if Precentor Harding was the best, the hishop’s<br />
chaplain, Slope, was the worst.<br />
<br />
He was agreeably surprised to find he could<br />
write so well about clergymen. He has related<br />
proudly how he was often asked in what period of<br />
his early life he had lived so long in a cathedral<br />
city as to have become intimate with the ways ofa<br />
close. Asa matter of fact he had never resided<br />
for any length of time in any cathedral city, except<br />
the metropolis, and he was not closely acquainted<br />
with any clergyman. “ My archdeacon (Grantly),<br />
who has been said to be life-like, was the result<br />
simply of an effort of my moral consciousness. It<br />
was such as that, in my opinion, that an arch-<br />
deacon should be, or, at any rate, would be with<br />
such advantages as an archdeacon might have<br />
been ; and lo! an archdeacon was produced, who<br />
has been declared by competent authorities to be<br />
an archdeacon to the very ground.” ‘The accuracy<br />
of Trollope’s ecclesiastical figures has never been<br />
called into question, and, indeed, he wrote of them<br />
as easily, and with an instinct as true, as young<br />
Benjamin Disraeli wrote of dukes.<br />
<br />
Lewis MELVILLE.<br />
<br />
—+-—>—9 —<br />
<br />
THE LITERARY YEAR BOOK.*<br />
<br />
aes<br />
1.<br />
Law AND LETTERS.<br />
<br />
E have received the tenth annual edition of<br />
the “ Literary Year Book,” but as it came<br />
to hand just as Zhe Author was going to<br />
<br />
press for January, it has been impossible to review<br />
the legal portion exhaustively. Forina book which<br />
is supposed to be issued for the benefit of authors,<br />
the matter that comes under the heading Law and<br />
Letters should meet with the most exact scrutiny.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
* «he Literary Year Book,’ 1906. George Routledge<br />
<br />
& Sons. 5s, net.<br />
<br />
<br />
<br />
<br />
<br />
<br />
121<br />
<br />
We have taken a cursory glance at this portion<br />
of the book, but regret to notice that it has not<br />
been altered in any way, as far as we can see, since<br />
last year. At any rate, the mistakes pointed<br />
out in Zhe Author have not been corrected. It<br />
may have been too late to add the important<br />
case which has just been tried in the Courts.<br />
Smith, Elder and Macmillan & Co. vy. J. M. Dent<br />
& Co. This may justify its omission, but the case<br />
is one of such importance that some subsidiary<br />
note ought, if possible, to have been inserted.<br />
<br />
The paragraph dealing with section 18 of the<br />
Copyright Act still retains the false statement that<br />
“the contract between the contributing author and<br />
the publisher or proprietor of the periodical work<br />
need not be in writing, nor is an express agreement<br />
that the copyright shall belong to the latter neces-<br />
sary ; and thus in ordinary cases the agreement<br />
that the copyright shall belong to the publisher or<br />
proprietor may be inferred from the mere employ-<br />
ment and payment of the author.” In support of<br />
this statement the editor refers to the case of<br />
Aflalo v. Lawrence and Bullen. That case dealt<br />
merely with encyclopedias, and the point has<br />
never been settled with reference to periodicals.<br />
It is quite possible that a judgment of this kind,<br />
which applied to encyclopedias, might not apply<br />
to periodicals, as an encyclopedia is looked upon<br />
as having a permanent and lasting position which<br />
the contents of periodicals, when published in<br />
periodical form, have not. Again, at the com-<br />
mencement of the same paragraph, the writer<br />
states : “ As regards literary work contributed to<br />
encyclopedias or for periodical or serial publica-<br />
tion on the terms that the copyright shall belong<br />
to the publisher or proprietor, the copyright in all<br />
such work becomes the property of the publisher<br />
or proprietor,” &c., &c. He does not mention the<br />
most important point, that such work must be paid<br />
forthe mere agreement that the copyright shall<br />
belong to the publisher or proprietor is not<br />
<br />
sufficient.<br />
<br />
Again, referring to colonial copyright, he has<br />
made no mention of the Act passed through the<br />
Canadian House on July Ist, 1900. As this Act<br />
is one of some importance, it should not have been<br />
omitted.<br />
<br />
The writer maintains the same views as ex-<br />
pressed in former years on authors, publishers, and<br />
agents, and again omits all mention of the Authors”<br />
Society in his statement, ‘“ Who will protect the:<br />
author against the rapacity of the agent.” It would<br />
have been fair, in view of the position the Society<br />
holds, to have mentioned its name when raising<br />
questions of this kind, for as the Society is in no<br />
way connected with the financial success of the<br />
production of books, it can take an absolutely<br />
impartial view, and can and does act as effectually<br />
<br />
<br />
122<br />
<br />
against agents as against publishers. His view of<br />
agents is, on the whole, in accord with that which<br />
has been expressed from time to time in The Author.<br />
<br />
Lastly, the criticism of agreements lacks many<br />
important points for the protection of both<br />
author and publisher, and cannot be considered<br />
at all exhaustive, and the propositions put for-<br />
ward are in many ways unsatisfactory from the<br />
author’s standpoint. The writer inveighs bitterly<br />
against the advance on royalties, and states: “In<br />
all business transactions the last person to whom<br />
one would go with a request for ready money is<br />
the person who has already staked his capital in a<br />
speculation suggested by the borrower.” He does<br />
not for a moment seem to consider the author’s<br />
capital as represented by his MS., which may, in<br />
some cases, be the work of years ; but, surely, quite<br />
apart from this point, if a publisher, who is a man<br />
of business, considers it worth his while to advance<br />
money on royalties, it is absurd to characterise<br />
such an arrangement as unreasonable. Business<br />
men do not readily enter into unbusinesslike agree-<br />
ments, or else they cannot be looked upon as fit<br />
persons to act as publishers. The forms of agree-<br />
ment which the writer has chosen to criticise are<br />
certainly not the best forms of agreement that<br />
come on the market, and if this work is to be<br />
of the value to authors that it ought to be, the<br />
writer must keep their point of view more promi-<br />
nently before him. He may take it for granted<br />
that a business man like the publisher will not buy<br />
the ‘‘Literary Year Book” in order to obtain<br />
advice on agreements, but to the author such a<br />
work should be of the greatest assistance; but if<br />
an author were to act on the advice at present given,<br />
he might find himself—unless he were a member of<br />
the Society of Authors—in considerable difficulties.<br />
<br />
G. H. T.<br />
Il.<br />
GENERAL REVIEW.<br />
<br />
WessteR deems that ‘“ Precision in the use of<br />
words is of prime excellence.” Especially should<br />
this be the case in the compilation of what is<br />
called a bookman’s directory. To substantiate<br />
convincingly the desirability of stricter atten-<br />
tion to detail, we pointed out, in six columns of<br />
The Author last year, many unfortunate slips.<br />
The object was to get them rectified in a future<br />
edition. This would have pleased us more than<br />
the grateful acknowledgment in this year’s preface,<br />
that “ Special thanks are due to The Author for its<br />
full and suggestive reviews of the last volume of<br />
the annual. The reviewer was, if anything, a<br />
trifle too precise about details, such as the inclusion<br />
of Shenstone’s birthday in our calendar ; but in this<br />
particular, and in other respects, a genuine attempt<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
has been made to carry out his wishes, directed ag<br />
they are to the same object as our own—the pro-<br />
vision of a serviceable annual for the use of<br />
members of all branches of the literary world.”<br />
<br />
Now, this is very pretty. Relying on such<br />
blandishments one feels that at last a Literary<br />
Year Book, worthy of the land of Shakespeare,<br />
after twelve months’ careful and accurate collation<br />
of material, has been evolved to do honour to the<br />
profession of letters in general, and the firm of<br />
Messrs. Routledge in particular. But it is the<br />
duty of a reviewer not to be biased by prefatory<br />
compliment, no matter how elegantly it is worded.<br />
We repeat that our remarks last year were not due<br />
tocaprice. It is pleasant to knowthat they have been<br />
received in the spirit in which they were written.<br />
Yet we fail to perceive how it is possible, in a book<br />
of reference, to be “ too precise about detail.”<br />
<br />
The editor expresses a hope that credit will be<br />
given for his endeavours and indulgence for his<br />
mistakes. We are ready to give full measure of<br />
‘credit ” where it may be due, although the pub-<br />
lishers may not supply the Year Book on the same<br />
terms. Before bestowing the laurel wreath, how-<br />
ever, it is necessary to examine the volume as far<br />
as space permits, in order to ascertain and estimate<br />
what exertions have heen made by way of in:prov-<br />
ing on the issue of 1905. It was a saying of Sir<br />
Joshua Reynolds that “ Excellence is never granted<br />
to man but as a reward of labour.” It is not our<br />
intention to undervalue the care which the com-<br />
pilers may have taken in the production of this<br />
Year Book ; but it is the duty of the troublesome<br />
reviewer, who holds a brief for the purchaser<br />
rather than the publisher, to discover whether<br />
pains have been taken to make the book really<br />
serviceable, or if the necessary work has been<br />
delayed unduly and the publisher has relied on<br />
hoodwinking the critic by reshuffling various<br />
sections and singing to him, in an imploring tone<br />
of voice, “Please go gently,” & la “Spring<br />
Chicken.”<br />
<br />
OBITUARY.<br />
<br />
This year the Obituary List, instead of occupy-<br />
ing five pages, has been reduced to a paragraph,<br />
the omissions including the death, as far back as<br />
last April, of the well-known war-correspondent,<br />
Henry Pearse; in July of Captain Montagu<br />
Burrows, Chichele Professor of Modern History at<br />
Oxford ; and in September of Walter Macfarren,<br />
who, for half a century, was reviewer to the<br />
Queen, and whose ‘“ Memories,” published before<br />
his death, are not mentioned in the biographical<br />
section. If abstracts from the daily papers were<br />
taken systematically day by day during the year,<br />
the record of departed writers would be complete<br />
and more reliable for future reference.<br />
<br />
<br />
<br />
aS<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Tue INDEX.<br />
<br />
We are pleased to note that the contents list has<br />
been rearranged alphabetically. Yet it is not so<br />
good a key to unlock the contents of the book as it<br />
might be made. For example, if one wishes to<br />
refer to the titles of works classified under the<br />
headings of theology, art, or fiction, considering<br />
that these three sections occupy forty-four pages,<br />
it seems strange that they should not be separated<br />
in the Index from the general heading “‘ Catalogue<br />
Raisonné.” Moreover, what is the meaning of<br />
“Fayourite Books of 1906,” paged in the Index<br />
exliv. 2? There is no such section on that page.<br />
Why cannot there be, as is customary in Whitaker<br />
and most books required for rapid reference, first,<br />
a contents table showing the general arrangement of<br />
material, and, secondly, a general Index of a com-<br />
prehensive character, so as to enable the inquirer to<br />
take in the component parts of the volume at a<br />
glance? But here the indexing is muddled. First<br />
we have, on page 11, an Index which is neither a<br />
contents table nor an index, and on page 321 we have<br />
a table of the contents of Part II., and, two pages<br />
further on, a statement of the contents of the legal<br />
section, although these lists are not notified in the<br />
Contents-Index at the beginning of the book. If<br />
the various sections were arranged alphabetically,<br />
the inquirer-within might be_ helped, instead of<br />
being confused by “ Libraries” coming after<br />
“Societies,” “Booksellers” after “ Law and<br />
Letters,’ and so forth.<br />
<br />
AUTHORS.<br />
<br />
Last year, in looking through this list, we<br />
marked privately in our copy the inclusion of the<br />
name of Sir Frederic Bateman, whose death had<br />
been announced in the papers months before.<br />
Turning to the letter “ B” this year, we find that<br />
the honoured name of that long-since departed<br />
physician is still classed amongst living writers.<br />
After this, the introductory assurance of the care<br />
which has been taken regarding the list of authors<br />
loses weight. We have ticked the name of another<br />
dead literary lion in order to see whether, twelve<br />
months hence, the Year Book will still proclaim<br />
that he has been resurrected. Although, in the<br />
majority of cases, if an author fails to make the<br />
return requested, it may be safe to reinsert the<br />
entry regarding him, an exception should be made<br />
and particular care taken concerning all writers<br />
over seventy years of age.<br />
<br />
CATALOGUE RAISONNE.<br />
<br />
Turning to the Classified Catalogue—we beg<br />
pardon, ‘‘ Catalogue Raisonné ”—it is gratifying to<br />
note that, according to the sub-title of this section,<br />
it is confined to “Twentieth Century Literature.”<br />
<br />
123<br />
<br />
That, we take it, implies that books published<br />
before the year 1900 are excluded. Nevertheless,<br />
on the first page of this list of titles, which the<br />
preface tells us has been drawn up with “ consider-<br />
able pains,” we note “ Art in Provincial France,”<br />
published in 1838, three books dated in the<br />
"seventies, and as many in the ’eighties—showing<br />
that the sub-title isa misnomer. This Catalogue<br />
Raisonné occupies no fewer than 143 pages in the<br />
book. As these are indicated by Roman numerals,<br />
the inference is, that, while the bulk of the sheets<br />
have been printed in advance, and go to press<br />
shortly after December 1 (see note on p. 33), this<br />
section has been kept back and inserted at the last<br />
moment, so as to be quite up-to-date. Why, there-<br />
fore, should there be so many omissions? At the<br />
risk of being again called ‘a trifle too precise,”<br />
we give a few of the exclusions. Our list could<br />
be considerably extended did space in these columns<br />
<br />
permit.<br />
<br />
Under the heading of Art, ANTIQUITIES, and<br />
following books are con-<br />
spicuous by their absence —<br />
<br />
ARCHITECTURE,<br />
<br />
the<br />
<br />
Furniture of Windsor G. F. Laking. Bradbury and<br />
Castle. Agnew.<br />
Great Zambabwe. R. N. Hall. Methuen.<br />
<br />
Lace Book.<br />
<br />
Singing of the Future.<br />
<br />
Hudson Moore.<br />
<br />
Chapman and<br />
Hall.<br />
<br />
Ffrangcon Davies. Lane.<br />
<br />
Under BroGrapuy there is no mention of —<br />
<br />
Brahms, 2 vols. Florence May. Arnold.<br />
<br />
Bygone Years. Leveson-Gower. Murray.<br />
<br />
Bygones Worth Re- G.J.Holyoake. Unwin.<br />
membering, 2 vols.<br />
<br />
Froude. Herbert Paul. Pitman.<br />
<br />
Mary Queen of Scots, Henderson. Hutchinson.<br />
2 vols.<br />
<br />
Mirabeau and the Warwick. Lippincott.<br />
<br />
French Revolution.<br />
William Pitt, 3 vols.<br />
<br />
Von Reville.<br />
<br />
Cotta’sche Buch-<br />
<br />
handlung.<br />
Queen Henrietta Taylor. Hutchinson.<br />
Maria, 2 vols.<br />
Wemyss Reid. Stuart Reid. Cassell.<br />
Scarlatti. Dent. Arnold,<br />
Taine, vol. 3. “ Historian.” Hachette.<br />
<br />
Under Ficrron, many books which have met<br />
with more than usually favourable comments in the<br />
Press have been overlooked. Amongst these we<br />
<br />
note —<br />
<br />
Ayesha. Haggard. Ward Locke.<br />
<br />
Barbara Rebell. Mrs. Belloc- Heinemann.<br />
Lowndes.<br />
<br />
Heritage of the Free. Edna Lyall. Hodder and<br />
<br />
Stoughton.<br />
<br />
Irrational Knot. Bernard Shaw. Constable.<br />
<br />
The Lake. George Moore. Heinemann,<br />
<br />
Lohengrin. Bernard Capes. Dean.<br />
<br />
Saints in Society. Mrs. Baillie- Unwin.<br />
Saunders.<br />
124<br />
<br />
Mrs. Baillie-Saunders’ name is also omitted from<br />
the list of authors, although she was much adver-<br />
tised as the winner of a £100 prize in the autumn<br />
publications, before the Year Book went to press.<br />
<br />
We fail to find under the ambiguous heading of<br />
GENERAL LirerRATURE the following books, which<br />
might well have been included —<br />
<br />
The Awakening of OkakuraKakuzo, Murray.<br />
Japan.<br />
<br />
Jiu-Jitsu.<br />
<br />
Secret of the Totem.<br />
<br />
On Ten Plays of Shake-<br />
speare.<br />
<br />
Captain Skinner.<br />
Andrew Lang.<br />
Stopford Brooke.<br />
<br />
Gay and Bird.<br />
Longmans.<br />
Constable.<br />
<br />
Under Porrry there is no mention of —<br />
<br />
History of Ottoman Gibb.<br />
Poetry, Vol. 4.<br />
<br />
Luzac.<br />
<br />
Under THEOLOGY we do not see<br />
<br />
Williams and<br />
Norgate.<br />
Chapman and<br />
<br />
Hall.<br />
<br />
Evolution of Religion. Farnell.<br />
g<br />
<br />
Reconstruction of Be- Malloch.<br />
lief.<br />
<br />
Under TraveL and Topograpuy the following<br />
are left out —<br />
<br />
Gabriel<br />
taux.<br />
Cox.<br />
Macdonald.<br />
Alfred Stead.<br />
Barclay.<br />
Hollis.<br />
<br />
Contemporary France, Hano- Constable.<br />
vol. 2.<br />
<br />
Forests of England.<br />
<br />
In Search of Eldorado.<br />
<br />
Great Japan.<br />
<br />
Land of the Horn.<br />
<br />
The Masai.<br />
<br />
Methuen.<br />
<br />
Unwin.<br />
<br />
Lane.<br />
<br />
Unwin,<br />
<br />
Clarendon<br />
Press.<br />
<br />
Baron Constable.<br />
atsu.<br />
<br />
Cooper.<br />
<br />
Sir H. Maxwell.<br />
<br />
Captain Scott.<br />
<br />
The Risen Sun. Suyen-<br />
<br />
Story of York.<br />
<br />
Story of the Tweed.<br />
<br />
Voyage of the Dis-<br />
covery, 2 vols.<br />
<br />
Stock.<br />
Nisbet.<br />
Smith, Elder.<br />
<br />
The 12 blank pages which should have been<br />
indexed cxlix. for “ Favourite Books of 1906,”<br />
however, furnish space for noting the many excel-<br />
lent volumes omitted. ‘Future recensions,” we<br />
are assured in the preface, “will be fuller and<br />
more accurate.” Let us hope that this excellent<br />
intention will not furnish a supplementary paving-<br />
stone to a place never mentioned in polite society.<br />
Nevertheless, if the resolution is carried out, we<br />
venture to recommend that the bulk of the volume<br />
should not be increased unnecessarily, but that<br />
all titles of books prior to 1901—or five years<br />
preceding date of issue—be eliminated.<br />
<br />
REVIEWS.<br />
<br />
Only two books helpful to the literary worker<br />
are here given. Mention might at least have been<br />
made of that important publication “The Rhymer’s<br />
Lexicon,” by A. Loring, with an introduction by<br />
Prof. Saintsbury.<br />
<br />
THE AUTHOR.<br />
<br />
PUBLISHERS.<br />
<br />
The list of publishers, we are informed, has been<br />
thoroughly revised at first hand, and the informa-<br />
tion is based on replies received to circulars. This,<br />
of course, is: as it should be; but, after the pre-<br />
fatory statement that a ‘genuine’ attempt has<br />
been made to correct the omissions of last year, so<br />
as to make the book serviceable for the use of<br />
members of “all branches of the literary world,”<br />
it comes as a shock to find that the section devoted<br />
to ‘Foreign Publishers” has not been altered in<br />
any way. Surely this is a “just requirement” on<br />
the part of authors living abroad. There was<br />
ample time to do what was needed in twelve<br />
months, and to remove from the Year Book the<br />
reproach that not a single firm in Geneva or Neuf-<br />
chatel is mentioned, and that the publishing houses<br />
of Rome are overlooked.<br />
<br />
PERIODICALS.<br />
<br />
Checking the list of “ Periodical Publications ”<br />
with the flagrant omissions and mistakes pointed<br />
out last year, we find that this section is much<br />
improved. We tender our most cordial felicita-<br />
tions. Another year approximate payments per<br />
thousand words, by editors of those periodicals<br />
who welcome outside contributions, might be<br />
more generally indicated. A minority of promi-<br />
nent writers may command their own prices. What<br />
the majority of contributors, especially those living<br />
at a distance from Fleet Street, desire to know is<br />
the average rate of remuneration given.<br />
<br />
SOCIETIES.<br />
<br />
We are assured that the list of societies has<br />
been thoroughly revised. We feel thankful for this<br />
statement, until we read, on page 5384, that the<br />
“Sette of Odd Volumes” dines at Limmer’s Hotel<br />
on the fourth Tuesday in each month. Some two<br />
years ago the entire Press of the country was para-<br />
graphed with a veiled advertisement regarding the<br />
metamorphosis of thesporting hostelry into a piano<br />
shop. The “Odd Volumes,” when they dine<br />
together every fourth Tuesday, must feel excep-<br />
tionally odd, with pianos allaround them. Buttue<br />
question is, are such premises licensed for the<br />
purposes of dining ? Moreover, if this literary club<br />
which meets on Tuesdays at Limmer’s is included,<br />
why should the “Fraternity of the Whitefriars,”<br />
which foregathers on Friday evenings, at Ander-<br />
ton’s Hotel, be excluded ?<br />
<br />
LIBRARIES.<br />
<br />
So far as Great Britain is concerned, the freshly<br />
prepared library section is animprovement on last<br />
year. Again, we offer felicitations. But, owing<br />
<br />
<br />
<br />
<br />
<br />
<br />
to letters received from correspondents residing<br />
abroad, we begged last year that interest and<br />
yalue might be added to this annual, by mention<br />
of certain renowned public libraries on the Con-<br />
tinent. We specified a number of omissions.<br />
Alas, the old and useless list has been again<br />
published without revision. Le.<br />
<br />
In conclusion, we hark back to the fascinating<br />
: preface. In this, the editor says, that © No<br />
a responsibility can be taken for unintentional errors<br />
q in this issue.” Zrgo, he takes responsibility for<br />
intentional errors, although we thought that an<br />
“error” was always an “ involuntary deviation ”<br />
from the path of rectitude, whereas a deliberate<br />
4 misstatement was—whisper it softly—an in-<br />
“@ gannation. If we have pointed out more short-<br />
of comings than virtues, we have done so regretfully<br />
and without prejudice. We are not uncharitable,<br />
and have no desire to detract from the unques-<br />
tioned value of the major part of the material. By<br />
those who live dependent on the pen, and have to<br />
find constantly fresh markets for their literary<br />
labours, there is much advantage to be derived<br />
from the 1906 Year Book. Seeing how numerous<br />
is this body of men and women writers, the issue<br />
even of an imperfect Literary Directory is a matter<br />
‘ of no small moment, and any effort made to supply<br />
the requirements of authors and journalists merits<br />
i wide support. It has not been our intention,<br />
therefore, to overlook the usefulness of much solid<br />
stuff by unduly magnifying the flaws we have come<br />
ws across. So far Messrs. Routledge have no rival in<br />
the field. That fact ought to encourage the Editor<br />
to improve, diligently, a property which should<br />
become very valuable alike to publishers and pur-<br />
chasers. Nothing but constant and precise atten-<br />
tion to detail, however, makes for perfection in a<br />
directory. Carelessness in such matters does more<br />
damage than want of knowledge.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
A. B.<br />
<br />
—-->+—_<br />
<br />
<br />
<br />
LITERARY TREASURE TROYE.*<br />
<br />
_—<br />
<br />
4 / ELL printed, handsomely bound (although<br />
perhaps not quite so substantially as is<br />
advisable), and arranged—so far as their<br />
<br />
contents go—with taste and skill of the highest<br />
order, the four volumes containing this encyclopedic<br />
record of English literature of fifteen successive<br />
centuries reflect the greatest possible credit on<br />
both editors and publisher alike. The avowed<br />
design of those responsible for this catholic and<br />
discriminatingly sympathetic compilation has been<br />
<br />
<br />
<br />
<br />
<br />
* “English Literature,” an illustrated record, in four<br />
volumes. By Richard Garnett, C.B., LL.D., and Edmund<br />
Gosse, M.A., LL.D. London: William Heinemann.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
125<br />
<br />
to produce a work which shall at once stimulate<br />
and gratify intelligent interest in English authors,<br />
from the first of their number who committed his<br />
thoughts to paper down to those of the end of the<br />
nineteenth century. Readers and writers are thus<br />
introduced to one another, and the latter can,<br />
through this medium, learn for themselves exactly<br />
what manner of men were and are those who have<br />
fired their enthusiasm on the printed page. They<br />
may find out here where and when those authors<br />
lived, what books they wrote, what measure of suc-<br />
cess they achieved, and how they appealed to their<br />
contemporaries. Further than this, the volumes<br />
are illustrated both by portraits and reproductions<br />
of documents, wherever necessary for the elucidation<br />
of any special point referred to in the text. In<br />
brief, the compilation forms a rapid, but careful,<br />
summary of the country’s literary history which,<br />
without professing to be exhaustive, nevertheless<br />
presents a wealth of easily assimilated information<br />
that has never yet been obtainable within a com-<br />
paratively restricted area. A fascinating record is<br />
the result, and one upon which the editors,<br />
Dr. Garnett and Mr. Edmund Gosse, cannot be<br />
too highly congratulated.<br />
<br />
Not the least attractive feature of this record is<br />
furnished by the inclusion therein of biographies<br />
of the authors referred to in the main critical<br />
narrative. These have been selected from among<br />
practically every writer whose work has had any<br />
real influence upon this country’s literature. Con-<br />
siderations of space have perhaps been responsible<br />
for a few omissions here and there, but they are<br />
certainly not important ones. In the first volume,<br />
which is prepared by Dr. Garnett, the period<br />
under examination ranges from the pre-Christian<br />
era down to that of the first Tudors, from the<br />
scarcely more than legendary Widsith (in all pro-<br />
bability, by the way, an assumed name—for the<br />
use of such a disguise is by no means a modern<br />
innovation) down to the George Cavendish, who<br />
wrote an excellent account of Cardinal Wolsey’s<br />
life. This is a stirring piece of writing and a<br />
vivid representation of its subject. A thoughtful<br />
essay on Chaucer, and an informative chapter on<br />
the history of the English Bible and the evolution<br />
of the religious drama are the notable features of<br />
this initial volume. The illustrations—many of<br />
them reproductions from rare MSS. in the British<br />
Museum—give an added interest and value to the<br />
accompanying letterpress.<br />
<br />
In the second volume, which covers but seventy<br />
years (whereas its predecessor gives the literary<br />
history of seven centuries) the period under<br />
examination commences with Henry VIII. and<br />
ends with Milton. ‘wo chapters are devoted to<br />
Shakespeare. ‘These, from the pen of Dr. Garnett,<br />
do not appear to say very much that has not been<br />
126<br />
<br />
said before, but they contain some interesting<br />
remarks on the vexed question of the chronology<br />
of the dramatist’s plays. Mr. Gosse follows with<br />
three chapters on the Jacobean authors in the<br />
fields of poetry, prose, and drama. The influence<br />
on Letters occasioned by the death of Elizabeth<br />
was a subtle one, but none the less a strongly<br />
marked one. It gave the death blow to the<br />
almost medizval sentiment which the Virgin<br />
Queen had so stoutly upheld throughout her long<br />
sway, thus delaying the renaissance for which the<br />
country was hungering. JamesJ. hankered him-<br />
self after literary fame with all the ardour of a<br />
“popular” novelist of the present day, and<br />
effusively welcomed everyone who could wield a<br />
pen. Judging from the specimens here given, some<br />
of his kingly lucubrations are amateurish in the<br />
extreme, despite his proud boast, in “ Invocations to<br />
thé Goddis,” ‘I lofty Virgil shall to life restore,”<br />
and similar comforting assurances scattered about<br />
in his other efforts. Yet it will ever be remembered<br />
that the issue of the Bible in its present form was<br />
due to his instrumentality. The concluding<br />
<br />
chapter of this section treats largely of the<br />
historians, such as Sir John Hayward (knighted<br />
for his researches in 1619), Sir Henry Spelman,<br />
and Richard Knolles (who won the admiration of<br />
<br />
so severe a critic as Dr. Johnson).<br />
<br />
The. third volume merits, perhaps, a special word<br />
of commendation on account of its illustrations.<br />
The choice of these could hardly have been<br />
improved upon, including as it does characteristic<br />
examples of the artistic genius of Rowlandson<br />
and Hogarth, together with portraits by Reynolds<br />
and Gainsborough of the literary giants of the<br />
period (from Milton to Johnson), and reproductions<br />
of the title-pages of famous first editions. What,<br />
for want of a better term, may be called the<br />
democratisation which the cause of authorship<br />
underwent in England during the fifth and sixth<br />
decades of the eighteenth century is remarked<br />
upon in illuminating fashion. With the death of<br />
Anne, and the consequent removal of the some-<br />
what debilitating influence she exercised upon<br />
literary growths, the love of reading spread rapidly<br />
among allclasses. Books and authorship generally<br />
were no longer the close preserve of the aristocracy.<br />
English literature spread its wings and extended<br />
its influence. Instead of being insular and almost<br />
entirely confined to London, it became cosmo-<br />
politan and European. France, Italy and Germany<br />
recognised its worth and were proud to borrow<br />
from it. The great Continental writers—Rousseau<br />
in particular—welcomed the work of British<br />
authors into the salons of Paris, Rome and Berlin,<br />
while our own men of letters borrowed freely from<br />
the genius of their foreign models. The mutual<br />
interchange of thought, combined with the healthy<br />
<br />
THE AUTHOR.<br />
<br />
rivalry thus brought about, had the happiest<br />
results. To its stimulating influence we owe the<br />
rescue of English literature from the slough into<br />
which it had fallen, and the loosening of the<br />
pedagogic shackles that had bound it so long.<br />
<br />
The scope of the fourth and final volume is to<br />
give a survey of the age which commenced with<br />
Johnson and terminated with Tennyson. The<br />
limit of the period under review is the death of<br />
Queen Victoria, and, except in the epilogue, no<br />
living writer is dealt with. The four chapters of<br />
this last section discuss respectively the ages of<br />
Wordsworth, Byron, the Early Victorians, and<br />
Tennyson. They make up a critical estimate—<br />
unmarked, one is glad to note, by any arrogant<br />
dogmatism—of English literature from 1780 down<br />
to within the dawn of the twentieth century. The<br />
opinions expressed are, as must always be the case<br />
in any such undertaking, formed in accordance<br />
with the individual temperament of the historian,<br />
formed on a series of esthetic principles. Although<br />
this may be an unsatisfactory way of creating a<br />
critical estimate of books and writers, it is at least<br />
less open to abuse than any other. As Mr. Gosse<br />
points out, “ The history of literary criticism is a<br />
record of conflicting opinion, of blind prejudice, of<br />
violent volte-faces, of discord and misapprehension.’<br />
In his own day Shakespeare occupied but a small<br />
niche: to-day he is universally regarded as an<br />
inspired genius. Conversely, a great reputation<br />
in one age becomes a laughing-stock in another.<br />
The reason for this is not far to seek. Changes<br />
are constantly passing over human thought which<br />
materially affect the whole atmosphere of criticism.<br />
The individualist method has at times reduced<br />
really great minds into ludicrous excesses, but,<br />
despite this, it still remains the best we have.<br />
<br />
Horace WYNDHAM.<br />
<br />
————+<br />
<br />
THE “ MIRACLE’S” OBITUARIES.<br />
<br />
—+~ +<br />
<br />
« ULLO, you're alive!” exclaimed (with<br />
variations) four out of seven men stand-<br />
ing in a group round the tape in the<br />
<br />
hall of the Pandemonium Club.<br />
<br />
“How did you manage it?” asked the other<br />
three, or they used words to that effect, and the<br />
last comer, declining to corroborate what was<br />
evident to everyone, growled a few words of<br />
explanation in reply to the question.<br />
<br />
“Nothing else to do; fog everywhere; saw<br />
nothing ; came away first train ; wrote a column<br />
on all that a new dockyard must contain, before<br />
going down ; wrote half-a-column on fog in the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ae ae<br />
<br />
<br />
<br />
train. I had the only empty carriage to myself,<br />
and we stopped for ten minutes out of every five ;<br />
sent my copy down to the office from the station,<br />
and came on here. Anything else you'd like to<br />
know ?”<br />
<br />
«You came away before the show was over?”<br />
<br />
“Why not? If a retiring first Lord of the<br />
Admiralty chooses to give a beanfeast to the<br />
Cabinet and all that’s left of his followers in the<br />
House to celebrate the opening of a new dockyard<br />
that nobody wants, need I wait for their departure<br />
for London before describing a ceremony that<br />
nobody could see?”<br />
<br />
“Tjucky you didn’t try to come up in their<br />
train and get personal interviews with statesmen<br />
vacating office ?” said the youngest of the seven.<br />
<br />
The last comer was becoming interested in their<br />
demeanour. He took up the tape, at the other<br />
end of which the machine choked and clucked like<br />
a croupy hen trying to attract attention to the<br />
latest failure in eggs.<br />
<br />
“If anything has happened I wish you'd say so<br />
plainly,” he grumbled. “I’ve had four hours in<br />
the train over a two hours’ journey, and I know<br />
nothing. Has anything happened ?”<br />
<br />
The youngest condescended to be explanatory.<br />
<br />
«Nothing at all,” he remarked lightly. “ Only<br />
a smash half-way down the line ; not more than<br />
nine Cabinet Ministers killed, and only thirteen<br />
remains of common M.P.’s identified up to now !”<br />
<br />
“ What !”<br />
<br />
“Never know your luck—eh ?<br />
passed just before ?”<br />
<br />
The last comer was looking dazed, but was<br />
evidently making an effort.<br />
<br />
“ Anybody thirsty ?” he asked at last, adding,<br />
“oo into the smoking-room.”<br />
<br />
They acted upon his invitation without demur,<br />
leaving him to hang up his overcoat and give<br />
orders to the waiter. It was an occasion which no<br />
doubt demanded some form of celebration, but<br />
when he appeared a few minutes later, preceded<br />
by a tray loaded with magnums of champagne,<br />
and a box of the club’s longest and costliest cigars,<br />
they iooked a little surprised, and one of them<br />
hinted in a whisper that the train which came<br />
through must at least have been provided with a<br />
refreshment bar.<br />
<br />
Their entertainer, seated on the edge of the<br />
table before them while the waiter drew corks and<br />
filled glasses, was apparently reckoning with the<br />
aid of his fingers.<br />
<br />
“ Here’s to fog and newspaper managers,” he<br />
said, raising his glass, while they followed his<br />
example, ‘nine and thirteen make twenty-two.<br />
Poor beggars,” he went on meditatively, “it’s<br />
death to them, but it’s a good start in the New<br />
Year for me. Perhaps you don’t understand.”<br />
<br />
You must have<br />
<br />
THE AUTHOR. 127<br />
<br />
The eldest journalist present remarked that he<br />
was gifted with invention but not with second<br />
sight, and refilled his glass, and the other<br />
continued.<br />
<br />
“ Half-a-dozen years ago, as you all know, the<br />
Miracle was restarted with the idea that it was to<br />
be made a live paper at a popular price. It began<br />
by giving away half-a-pound of tea weekly to its<br />
subscribers, and it promised, to those who paid by<br />
the year, a sausage for breakfast as well, but it did<br />
not quite get so far as fulfilling that. Still, it<br />
increased its circulation. Just about that time<br />
the editor sent for me, and told me that all the<br />
biographies they had in the office—the obituary<br />
notices, you know—were obsolete and wanted<br />
writing up-to-date, and that many of them relating<br />
to new men in the Government and new members<br />
of Parliament had never been written at all. He<br />
wanted them all done in a new way, too; done so<br />
as to be worthy of a ‘live paper ’—he seemed<br />
fond of the expression, and used it all the time.<br />
The terms he offered were uncommonly good ;<br />
something like a tenner a life, and anything over<br />
a column extra at the same rate, so I jumped at it and<br />
thought I’d struck it rich at last. I got the price<br />
put in writing, threw myself into the job, and as I<br />
was slack at the time did very little else for a year.<br />
They were not common ‘ Who’s Who ?’ sort of<br />
work. He said they were to be done from ‘the<br />
inside’; and that is what I tried for. I inter-<br />
viewed the men themselves, and had to keep it dark<br />
that the notice was not to be printed till they were<br />
dead. JI saw their parents when they had any, and<br />
I talked to two old nurses more than eighty years<br />
old. I interviewed their wives—I interviewed<br />
their housemaids. The housemaids told me a few<br />
useful things. The wives mostly told me what no<br />
one would ever have believed, except one who<br />
became confidential and told me things that even<br />
the Miracle would not have printed. In short—I<br />
did it jolly well and the editor said so, and when I<br />
asked for payment he gave me a special note and<br />
asked me to apply personally to the manager.”<br />
<br />
“Ah,” said someone, “what did the manager<br />
say ?”<br />
<br />
“‘Oh, he liked the notices very much too, and<br />
said so. I observed casually that a tenner apiece<br />
had been arranged for, and that as I had written<br />
about seventy-two, I wanted a cheque on<br />
account<br />
<br />
«And he said they would think of it when all<br />
were completed,” suggested the man who had<br />
spoken before.<br />
<br />
“Not he; he said that, like other matter, the<br />
obituary notices on the Miracle were paid for<br />
immediately after publication.”<br />
<br />
The gentle murmur, scarcely to be called a<br />
groan, that went round the group of listeners was<br />
<br />
<br />
<br />
<br />
THRE AUTHOR.<br />
<br />
suggestive of patience in tribulation rather than of<br />
resentment or even surprise.<br />
<br />
“T said what I could, of course, and he told me<br />
newspapers had to live ; though it did not seem to<br />
strike him that journalists might find it difficult to<br />
write for newspapers unless they could live too.<br />
He was quite polite and said that no doubt I should<br />
regard my work as an investment of capital bring-<br />
ing in interest at a fair rate, with just those<br />
fluctuations dependent upon fortune that are<br />
attractive to a speculative mind.”<br />
<br />
“Did you tell him that half the men you had<br />
written about would probably outlive you ?” asked<br />
a clean-shaven man.<br />
<br />
“ Not being a lawyer I did not take the trouble<br />
to make obvious points. I said rather more than<br />
I can remember, and I ended by telling him that<br />
nothing so iniquitous had been attempted since<br />
the eighth commandment forbade larceny, but he<br />
only smiled and said that of course there were<br />
well-established precedents for all that was done on<br />
the Miracle, so I left him. But now a<br />
<br />
“Now, you’ve scooped it; and as half your<br />
biographies refer to men who would have lost their<br />
seats in the House in a month’s time you are<br />
considerably lucky—there will have to be some<br />
notice as to each, and the Miracle won’t be able to<br />
say that your work was not used at all.”<br />
<br />
“ That is so, of course.”<br />
<br />
He seated himself in an easy chair and stretched<br />
out his feet towards the fire.<br />
<br />
The clean-shaven man had not quite liked the<br />
tone adopted towards him, and had been meditating<br />
deeply.<br />
<br />
“ Do you feel nervous ?” he asked suddenly.<br />
<br />
“ Of course not—why should I?”<br />
<br />
“Leaving out the question of motive for the<br />
present,” began the other in measured tones, ‘“ you<br />
passed the spot shortly before the accident hap-<br />
pened, and you say that your train often stopped<br />
for ten minutes at a time ; [ suppose anyone in it<br />
could have laid the usual iron chair on the line—<br />
or a few large stones—without being seen in the fog,<br />
and you had the only empty carriage to yourself.<br />
It is not usual, I suppose, for a journalist to leave<br />
what he is going to report before everything is<br />
over, when he need not do so—and just look at<br />
the motive! Now I come to think of it, the tele-<br />
gram says that foul play alone can account for an<br />
accident at such a spot. Of course we can all<br />
point to your evident pleasure at the news, and<br />
your noteworthy absence of surprise and sorrow at<br />
so terrible a catastrophe—your want of gratitude<br />
to Providence for your own escape—and the<br />
motive ye<br />
<br />
His host was pulling at his cigar with a contented<br />
and benignant smile upon his face.<br />
<br />
“Tt does seem as if I was growing a little<br />
<br />
hard-hearted,” he remarked, interrupting; ‘but<br />
twenty-two articles at a tenner apiece—all the work<br />
done—and perhaps more to follow, don’t fall in every<br />
working day. It’s only a question of your point<br />
of view. From my point of view it is a pity that<br />
it was not the roof of the station when they were<br />
all getting out of the train! Anyhow we shall see<br />
what the Miracle has to say about the negligence<br />
of railway companies, and the wanton sacrifice of<br />
valuable lives to earn dividends.”<br />
<br />
+<br />
<br />
THE NOBEL PRIZE.<br />
ee<br />
N December 11th, under the rules of the<br />
Nobel Prize Foundation, the awards for 1905<br />
were declared by those bodies anthorised to<br />
make the selection.<br />
<br />
The literary prize has this year been awarded to<br />
Henryk Sienkiewicz, the Polish novelist, who is<br />
known to all English readers for his powerful novel<br />
“Quo Vadis,” which made his literary fame<br />
international.<br />
<br />
The following is a list of the prizewinners in<br />
former years :—<br />
<br />
1901. The French poet, Sully Prudhomme.<br />
<br />
1902. The German historian, Th. Mommsen.<br />
<br />
1903. The Norwegian poet, Bjdérnstjerne<br />
Bjornson.<br />
<br />
1904.<br />
<br />
The Provencal poet, Fr. Mistral, and to<br />
the Spanish dramatist, José Echegaray.<br />
<br />
ee<br />
<br />
CORRESPONDENCE.<br />
ae<br />
On AGREEMENTS.<br />
<br />
Sir,—A considerable time since Sir Walter<br />
Besant pointed out that it was the right of the<br />
seller to draw the agreement. I believe that this<br />
statement was, from a business point of view, per-<br />
fectly correct. Have authors yet taken any steps<br />
towards availing themselves of their right to draw<br />
the agreement ? And if not, why not ?<br />
<br />
Also, in many cases at least, authors are invited<br />
to contribute towards the cost of production. In<br />
business the individual who assists with money<br />
another insufficiently supplied with capital to<br />
conduct his affairs, rightly claims and enjoys a<br />
definite share in the control of every step subse-<br />
quently taken in the use of that money. Do<br />
authors (if any are still so weak) who contribute<br />
money towards the costs of production, sist<br />
upon being consulted by the person to whom they<br />
have lent their money respecting all the steps<br />
which be subsequently taken ? And if not, why<br />
<br />
not ?<br />
EB, K. | https://historysoa.com/files/original/5/512/1906-01-01-The-Author-16-4.pdf | publications, The Author |
513 | https://historysoa.com/items/show/513 | The Author, Vol. 16 Issue 05 (February 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+05+%28February+1906%29"><em>The Author</em>, Vol. 16 Issue 05 (February 1906)</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> | 1906-02-01-The-Author-16-5 | | | | | 129–160 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-02-01">1906-02-01</a> | | | | | | | 5 | | | 19060201 | Che HMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
Vou. X VI.—No. 5.<br />
<br />
FEBRUARY I1sT, 1906.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
—_——-+-~> +<br />
<br />
NOTICES.<br />
<br />
+<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 />
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 />
Tu List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
1<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tux Trustees of the Pension Fund met at the<br />
Society’s Offices in April, 1905, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
VoL, XVI.<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 />
<br />
<br />
<br />
<br />
<br />
<br />
Consoin 26 Gs STOOD UY<br />
Juocal ligans=. 500 0 0<br />
<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
Wart Wont 3... es. 201° 9 3<br />
<br />
London and North Western 3 % Deben-<br />
ture SbOcK 6 ee 250 0 9<br />
<br />
Egyptian Government — Irrigation<br />
Trnst. 4 °% Certificates ............-.. 200 -0 ©<br />
otal ee £2,443. 9 2<br />
Subscriptions, 1905. £8. a.<br />
<br />
July 13, Dunsany, the Right Hon. the<br />
Lord : : . : : 20 5 20<br />
Oct. 12, Halford, F. M. ; : / 0 5 oO<br />
., Chorbucn, WM. : 0 100 0<br />
Nov. 9, ‘ Francis Daveen ’’. : 70. 8 6<br />
5s alr, J Osep)) : : .- it 1 0<br />
», 21, Thurston, Mrs. ; ; ei<br />
Dec. 18, Browne, F. M. ; : 7 0. 60<br />
Donations, 1905.<br />
<br />
July 28, Potter, the Rev. J. Hasluck GO 5 0<br />
Oct. 12, Allen, W. Bird : O25 0<br />
Oct. 17, A. C. N. : : : 1 0 30<br />
Oct. 17, Hawtrey, Miss Valentina 0. 52.0<br />
Oct. 31, Williamson, C. N. 1150<br />
Oct. 31, Williamson, Mrs. 1 6<br />
Noy. 6, Reynolds, Mrs. Fred. ea)<br />
Nov. 9, Wingfield, H. 0 10 6<br />
Nov..17, Nash, T.A. . le 0<br />
Dec. 1, Gibbs, F. L. A. 010 6<br />
Dec. 6, Finch, Madame 113 6<br />
Dec. 15, Egbert, Henry 0 5 0<br />
Dec. 15, Muir, Ward . : P16<br />
Dec. 15, Sherwood, Mrs. A. . 010 O<br />
Dec. 18, Sheppard, A. T. 010 6<br />
Dec. 18, 8. F. G. : 010 0<br />
<br />
1906.<br />
Jan. 2, Jacobs, W. W. . : 7b 8 0<br />
Jan. 6, Wilkins, W. H. (Legacy) 50 0 0<br />
Jan. 10, Middlemas, Commander A. C. 0 10 0<br />
130<br />
COMMITTEE NOTES.<br />
<br />
— 1<br />
<br />
rYNHE first meeting of the committee for the<br />
<br />
year 1906 was held at the Society’s offices,<br />
<br />
39, Old Queen Street, Storey’s Gate, on Mon-<br />
day, January 8th. :<br />
<br />
The year opened auspiciously with an elect on<br />
of twenty-three members and associates.<br />
<br />
The three members of the committee who, under<br />
the Memorandum and Articles of Association,<br />
are bound to,retire were Sir Henry Bergne, Mr.<br />
A. W. 4 Beckett, and Mr. Austin Dobson, These<br />
gentlemen resigned, submitted their names for<br />
re-election, and were re-elected in due course.<br />
<br />
The next question to be considered by the com-<br />
mittee was the appointment of a sub-committee to<br />
settle the report for the past year, and Sir Henry<br />
Bergne and Mr. A. Hope Hawkins kindly con-<br />
sented to pass the draft. This, when it has been<br />
settled, will as usual be circulated to all the<br />
members.<br />
<br />
There were two or three important cases before<br />
the committee for discussion. In one, referring to<br />
the insufficiency of a publisher’s accounts, the<br />
committee decided to appoint an accountant on<br />
behalf of the member to go fully into the matter<br />
and check the details. In another the com-<br />
mittee decided, subject to the approval of the<br />
Society’s solicitors, to print a letter in The Author.<br />
No legal remedy existed, but the committee thought<br />
it essential to bring the facts to the notice of the<br />
members of the Society through the columns of<br />
The Author. ‘here was another case, referring to<br />
the infringement of artistic copyright, which,<br />
owing to the unsatisfactory state of the artistic<br />
copyright law, contained many legal difficulties.<br />
In consequence, the committee decided to take<br />
counsel’s opinion before any further action was<br />
sanctioned. On the other cases it is impossible to<br />
report, owing to their confidential nature. The<br />
Secretary reported that he had received during the<br />
past month another letter from the Foreign Office,<br />
with reference to Egypt and the Berne Convention.<br />
With the consent of the Foreign Office, the<br />
correspondence will be printed in one of the coming<br />
numbers of Z’e Author. It would appear that under<br />
existing arrangements it is possible to protect the<br />
copyright property of English authors in the mixed<br />
tribunals in Heypt.<br />
<br />
The Secretary announced to the committee two<br />
donations to the pension fund—one from Mr. W.<br />
W. Jacobs—an amount recovered through the<br />
Society’s agency for infringement of copyright in<br />
Norway, and the other a sum of £50 left under<br />
the will of the late Mr. W. H. Wilkins.<br />
<br />
oo<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
Cases,<br />
<br />
During the past month six cases have passed<br />
through the secretary’s hands. One referred to<br />
the settlement of a contract. This has not as yet<br />
been terminated. One referred to accounts, and<br />
in this case the accounts have been delivered and<br />
forwarded to the member. One referred to a<br />
demand for publication and money due. This<br />
has been settled by the editor consenting to pub-<br />
lish within the next two months and pay the<br />
amount due on publication. The author has<br />
agreed to the arrangement. ‘Two of the others<br />
were demands for money for articles that had been<br />
published. In the one case the cheque has been for-<br />
warded to the author, in the other the editor has<br />
refrained so far from answering the secretary’s<br />
letters. The last case was for the return of a<br />
MS. As this has only just been placed in the<br />
secretary’s hands the editor has not as yet had<br />
time to reply.<br />
<br />
Of the cases mentioned in the previous issue of<br />
The Author there are still four unsettled. Two of<br />
these refer to actions abroad, one in America and<br />
one in Canada, and will take some time to negotiate.<br />
The others are still in the course of negotiation,<br />
but one of the demands for money is in an un-<br />
satisfactory condition, as the editor repudiates<br />
liability and refuses to answer letters, and purports<br />
to hold letters from the author, of which the latter<br />
has no copies. Members of the society cannot be<br />
advised too strongly of the importance of retaining<br />
copies of their letters, otherwise, energetic action<br />
on the part of the committee is almost impossible,<br />
as at any moment they may be met with a letter<br />
which, having escaped the recollection of the mem-<br />
ber, upsets the legal position of the contract and<br />
the member’s demands.<br />
<br />
1+<br />
<br />
January Elections.<br />
<br />
Alwyn, Harold Crowther Wentworth House,<br />
Folkestone.<br />
<br />
Berry, William Grinton, 838, Vesta Road,<br />
<br />
M.A. Bromley.<br />
<br />
Branson, William P, 8. 59, Gordon Square,<br />
WiC,<br />
<br />
Buckton, Miss Alice M. Sesame House, 434,<br />
Acacia Road, St.<br />
<br />
John’s Wood, N.W.<br />
34, Westbourne Gar-<br />
dens, W.<br />
Chettle, Blandford,<br />
Dorset.<br />
<br />
16, Montgomerie Cres-<br />
cent, Glasgow, W.<br />
121, Rue de Varenne,<br />
<br />
Paris.<br />
<br />
Burdon, The Rev. H. N.<br />
Castleman, Henry C. ff. .<br />
Clark, Miss Margaret S.<br />
<br />
Dawson, Francis War-<br />
<br />
rington<br />
<br />
<br />
<br />
<br />
<br />
<br />
2, St. James’ Square<br />
S.W.<br />
<br />
4, Grange Road, Gun-<br />
nersbury, W.<br />
<br />
49, Drayton Gardens,<br />
S. Kensington.<br />
<br />
c/o. Agent-General for<br />
Queensland, Victoria<br />
Street, Westminster.<br />
<br />
c/o. Messrs. Grindlay &<br />
Co., 54, Parliament<br />
Street, S.W.<br />
<br />
25, Colville Road, Bays-<br />
water.<br />
<br />
74, Carlisle Mansions,<br />
Victoria Street, S.W.<br />
<br />
Falmouth,<br />
The Viscountess<br />
<br />
Maxwell, H. B.<br />
<br />
Middlemass, Commander<br />
<br />
A. C., R.N.<br />
Mills, Miss Ethel<br />
<br />
Norman, F. J. : :<br />
<br />
Palmer, J. E.<br />
Prichard, Mrs. Hesketh .<br />
<br />
Rowland-Brown, Miss Othey Grove, Harrow<br />
Lilian (Rowland Grey) Weald.<br />
Sergeant, P. W. . . The Authors’ Club, 8,<br />
Whitehall Court,<br />
S.W.<br />
<br />
Still, Alfred Yette Lodge, Ellesmere<br />
Park, Eccles, Lanca-<br />
shire.<br />
<br />
Bank of Scotland<br />
House, Callander,<br />
Perthshire.<br />
<br />
229, West 139th Street,<br />
Manhattan, New<br />
York City, U.S.A.<br />
<br />
Charlottenburg, Uh-<br />
landstrasse, 194.<br />
<br />
Royal Societies Club,<br />
St. James’, S.W.<br />
<br />
The Anchorage, Como,<br />
Province of Quebec,<br />
Canada; Constitu-<br />
tional Club, W.C.<br />
<br />
Thomson, William Harold<br />
<br />
Vance, Louis Joseph<br />
<br />
Wentzel, Frau Grace D.<br />
Barlow von<br />
Whyte, Frederic W.<br />
<br />
Wintle, Gilbert C. H.<br />
<br />
———<br />
<br />
<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
—-——<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etce., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve ‘to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars, )<br />
<br />
ART.<br />
<br />
SocIAL CARICATURE IN THE 18TH CENTURY. By Gro.<br />
<br />
Pasvon. 15} x 11}. 144 pp. Methuen. £2 12s. 6d.n.<br />
BIOGRAPHY,<br />
JosEPH CHAMBERLAIN, IMPERIALIST. By N. MURRELL<br />
Marris. 71x 5, 275 pp. Routledge. Is.<br />
<br />
THE AUTHOR.<br />
<br />
131<br />
<br />
DRAMA,<br />
<br />
THE AUTHOR’S APOLOGY FROM<br />
FESsION. By BERNARD SHAW.<br />
by John Corbin. 7 x 44.<br />
60c. n.<br />
<br />
Mrs. WARREN’S PRO-<br />
With an Introduction<br />
66 pp. New York. Bretano’s.<br />
<br />
EDUCATIONAL.<br />
<br />
AN EMBASSY TO THE GREAT MOGUL.<br />
A SosgourN AT LHa-ssa. 112 pp.<br />
SINTRAM DE LA MOTTE-FOUQUE. 140 pp.<br />
THE VOYAGE OF CAPTAIN JAMES. 118 pp.<br />
PRESCOTT’S CONQUEST OF PERU (abridged).<br />
THE SIEGE OF JERUSALEM. 132 pp.<br />
<br />
THE ADVENTURE OF MoNTLUC. 117 pp.<br />
ENGLISH ScxHoon Texts. Edited by W. H. D. Rouse,<br />
<br />
136 pp.<br />
<br />
128 pp.<br />
<br />
Litt. D. 6} x 44. Blackie. 6d.<br />
<br />
STORIES FROM GRIMM. Edited by A. R. Hope Mon-<br />
CRIEFF. (Modern Language Series.) 6} x 4}. 122pp.<br />
Blackie. Is. 6d.<br />
<br />
FICTION.<br />
<br />
A SICILIAN MARRIAGE.<br />
5. 308 pp. White. 6s.<br />
<br />
THE EXPIATION OF EUGENE.<br />
FOUR. 73x 5. 452 pp.<br />
<br />
THROUGH THE RAIN. x<br />
302 pp. J. Long. 6s.<br />
<br />
THE Scar. By Francis W. Dawson. 7% x 5}. 310 pp.<br />
Methuen. 6s.<br />
<br />
Six WomEN. By VICTORIA CROSS.<br />
Werner Laurie. © 6s.<br />
<br />
AT SUNWICH PoRT.<br />
Will Owen. 188 pp.<br />
x 53. Newnes. 6d.<br />
<br />
THE Beauty SHop. By DANIEL WOODROFFE.<br />
338 pp. Werner Laurie. 6s.<br />
<br />
THE ARROW OF THE‘NorTH. By R. H. Forster. 7} x<br />
5. 316 pp. J. Long. 6s.<br />
<br />
THE House oF RIDDLES. 3y DoROTHEA GERARD.<br />
7% x 5. 320 pp. Hutchinson. 6s.<br />
<br />
Her HIGHNKSS. By FRED WHISHAW. 7} x 5.<br />
J. Long. 6e,<br />
STELLA FREGELIUS. -A<br />
H. RIDER HAGGARD.<br />
Longmans. 3s. 6d.<br />
PEARL, or A PASSING<br />
<br />
By DoUGLAS SLADEN. 7} x<br />
<br />
By Freperic H. BAL-<br />
Greening. 6s.<br />
<br />
By Mrs. HUGHES-GIBB, 7} X 5}.<br />
<br />
7% x 5. 293 pp.<br />
<br />
3y W. W. JAcoss. Illustrated by<br />
(Newnes’ Sixpenny Novels.) 83<br />
<br />
<br />
<br />
<br />
<br />
7% x 5.<br />
<br />
<br />
<br />
317 pp.<br />
<br />
<br />
<br />
Tale of Three Destinies. By<br />
New Edition. 8 x 53. 361 pp.<br />
<br />
3RIGHTNESS. By OLIVE KATH-<br />
<br />
ERINE Parr. 74 x 53. 260 pp. Sands & Co. 3s. 6d.<br />
GARDENING.<br />
<br />
PICTORIAL PRACTICAL FLOWER GARDENING. Edited<br />
<br />
By W. P. Wricut. 74x 5. 152 pp. Cassell. 1s. n.<br />
HISTORY:<br />
<br />
ByY-PATHS OF NOTTINGHAMSHIRE History, By J. Por-<br />
TER Briscon, F.R.S.L. 73x 5. 160 pp. Saxton.<br />
Nottingham. 3s, 6d.n.<br />
<br />
LITERARY.<br />
<br />
TREASURE OF THE HUMBLE. 3y MAURICE<br />
Translated by ALFRED SuTRO. 6}<br />
Humphreys. 6s, n.<br />
<br />
THE<br />
MAETERLINCK.<br />
6, - 218 pp.<br />
<br />
MISCELLANEOUS.<br />
<br />
CHILDREN'S ANSWERS. Shrewd, witty, nonsensical, and<br />
<br />
pathetic. Collected by J. H. Burn. New and Enlarged<br />
64 x 49.<br />
<br />
Edition. 282 pp. Treherne. 2s. n.<br />
<br />
<br />
132<br />
<br />
PAMPHLETS.<br />
<br />
HAPPINESS AND THRIFT. Being the Substance of an<br />
‘Address to the Members of the Booksellers’ Provident<br />
Institution. By THE Rigut Hon. LORD AVEBURY,<br />
Macmillan. ls. n.<br />
<br />
POETRY.<br />
<br />
INNocENCcIES. By KATHERINE TYNAN. 7] X 5. TOpp.<br />
Bullen. 3s. 6d. n.<br />
<br />
A LADY oF Kricock. With Other Lays and Relays.<br />
By J. M. Lowry. 73 x5. 71 pp. Dublin: Hodges.<br />
<br />
London: Simpkin. 1s. n.<br />
<br />
POLITICAL.<br />
<br />
FiscaL RerorM. Speeches delivered by the Right. Hon.<br />
A. J. Balfour, from June, 1880 to December, 1905. With<br />
a Preface. 8} x 53. 280 pp. Longmans. 2s. 6d. n.<br />
<br />
REPRINTS.<br />
<br />
VERSES AND TRANSLATIONS, By CHARLES STUART<br />
CALVERLEY. With an Introduction by Owen Seaman.<br />
184 pp. Blackie. Is. 6d. n.<br />
<br />
THE Last Essays or ELIA.<br />
With an Introduction by Augustine Birrell.<br />
Blackie. 2s. 6d. n.<br />
<br />
SELECTED POEMS OF ROBERT BURNS.<br />
duction (40 pp.). By ANDREW LANG.<br />
Kegan Paul. ls. 6d. n.<br />
<br />
LYRISTS OF THE RESTORATION. From Sir Edward<br />
Sherburne to William Congreve. Selected and Edited<br />
by JOHN and CONSTANCE MASEFIELD. 5 X 3}. 282 pp.<br />
Grant Richards. 3s. 6d. n.<br />
<br />
By CHARLES LAMB.<br />
296 pp.<br />
<br />
With an Intro-<br />
64 x 4. 223 pp.<br />
<br />
THEOLOGY.<br />
<br />
THE SACRED TENTH, or<br />
ANCIENT AND MODERN.<br />
Two Vols. 82 x 53.<br />
<br />
STUDIES IN TITHE-GIVING,<br />
By H. Lanspeun, D.D.<br />
752 pp. S.P.C.K. 16s.<br />
<br />
TRAVEL.<br />
<br />
InDIA. By MORTIMER MENPES. Text by FLORA ANNIE<br />
STEEL. 9 x 6}. 216 pp. Black. 20s. n.<br />
<br />
THE WoRLD oF To-Day. A Survey of the Lands and<br />
Peoples of the Globe as seen in Travel and Commerce.<br />
By A. R. Hope Moncrierr. Vol. IV. 103 x 73.<br />
266 pp. The Gresham Publishing Co.<br />
<br />
THE AFRICANDER LAND. By A. R. COLQUHOUN.<br />
<br />
93 x<br />
6. 438 pp. Murray. 16s. n.<br />
<br />
ri<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
— 1<br />
<br />
E regret that in the magazine contents for<br />
January, we missed chronicling an article<br />
that appeared in the December number of<br />
<br />
The Monthly Review, by Mr. Eden Phillpotts,<br />
<br />
entitled “'To the Lamp-Bearers.” We take this<br />
opportunity of repairing the omission by recom-<br />
mending this. interesting essay to our members.<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Phillpotts uses De Quincy’s “ Life of Goethe ”<br />
as the germ for some thoughts on other great<br />
writers, such as Ruskin, Rabelais, Aristotle.<br />
<br />
The Seatonian prize of the University of Cam-<br />
bridge, 1905, has been obtained by the Rev. A. C.<br />
Deane, for a poem on St. Columba. St. Columba<br />
died on June 9th, 597, and the incidents described<br />
in the poem are derived from the chronicle of<br />
Adamnan, ninth abbot of Iona.<br />
<br />
“The Sacred Tenth, or Studies in Tithe-giving,<br />
Ancient and Modern,” is the title of a work<br />
written by the Rev. Henry Lansdell, and pub-<br />
lished by the Society for Promoting Christian<br />
Knowledge. The author traces the history of the<br />
practice of tithe-paying, and argues the need and<br />
possibility of reform in charitable giving and<br />
of a general resumption of the practice of tithe-<br />
paying.<br />
<br />
Messrs. Harper Bros. have recently published<br />
Vol. iv. of Mr. Poultney Bigelow’s “‘ History of the<br />
German Struggle for Liberty,” which closes with<br />
the popular upheaval of 1848. Mr. Bigelow is at<br />
present in Boston, where he is delivering a course<br />
of twenty-five lectures before the department of<br />
jurisprudence, Boston university. The subject of<br />
the lectures is “Colonial History and Adminis-<br />
tration.”<br />
<br />
Mr. Desmond F. T. Coke, author of “Sandford<br />
and Merton,” “ The Dog from Clarkson’s,” etc., has<br />
written a story which attempts to paint life as it is<br />
at one of our great public schools, and to satirise<br />
false sentiment and melodrama. The book is<br />
called the “Bending of a Twig,” and is pub-<br />
lished by Messrs. Chapman and Hall, at 6s, It<br />
will be illustrated with many photographs of<br />
scenes at Shrewsbury, where the action of the<br />
story passes.<br />
<br />
“The Beauty Shop” is the title of a novel<br />
which Mr. Werner Laurie published last month.<br />
It is from the pen of Daniel Woodroffe, author of<br />
‘Tangled Trinities.” The story concerns a Bond<br />
Street beauty shop, and the art of the beauty<br />
doctor is exhibited as a grave social peril. The<br />
schemes by which this establishment gathers<br />
within its meshes of deception and blackmail both<br />
rich and poor, form the purport of the story.<br />
<br />
Mr. Werner Laurie has also published Victoria<br />
Cross’s new book “Six Women,” which in the<br />
main is oriental in character.<br />
<br />
Messrs. Joseph Williams, Limited, have recently<br />
published, at the price of 1s. net., a work entitled<br />
“Songs for Children,” set to music by L. Budgen.<br />
The songs include “ Simple Simon,” ‘Good King<br />
Arthur,” “Mr. Do’s the Man for Me,” “ Dame Get<br />
Up and Bake Your Pies,” ‘We Willie Winkie,”<br />
“Try Again.”<br />
<br />
“The Rosebud Wall and Other Poems” is the<br />
title given to a collection of verses from the pen of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Agnes H. Begbie, published in Edinburgh by Wm.<br />
J. Hay, and in London by 8. Bagster & Sons,<br />
Limited. Most of the pieces deal with nature<br />
and the deity, and all of them are reverent in<br />
conception.<br />
<br />
* Sir Theodore Martin will publish shortly, through<br />
Mr. John Murray, a volume of “ Monographs,”<br />
containing biographical sketches of Garrick, Mac-<br />
ready, Rachel and Baron Stockmar. The volume<br />
is based on articles published in the Quarterly<br />
Review and elsewhere many years ago.<br />
<br />
Mrs. Mona Caird is publishing a series of travel<br />
sketches under the title of “ Wanderings in Pro-<br />
vence.” In this work, which Mr. Joseph Pennell<br />
and Mr. Edward Synge will illustrate, consider-<br />
able attention is given to the associations of<br />
the region with French history and with the<br />
troubadours.<br />
<br />
Miss Alice C. C. Gaussen has written a memoir<br />
of Mrs. Elizabeth Carter, the friend of Dr.<br />
Johnson and the translator of Epictetus. Mrs.<br />
Carter was a prominent member of the Bas Bleu<br />
— and enjoyed not a little notoriety in her<br />
<br />
ay.<br />
<br />
Messrs. Longmans & Co. announce the publica-<br />
tion of “The Elements of Geometry in Theory<br />
and Practice,” by A. E. Pierpoint. The work,<br />
which is published at the price of 2s., is based on<br />
the report of the committee appointed by the<br />
Mathematical Association, 1902, and comprises<br />
the subject matter of Euclid, with an experi-<br />
mental section and additional theorems and<br />
problems.<br />
<br />
The latest additions to Messrs. Geo. Newnes’<br />
series of sixpenny copyright novels are, Mr. Rider<br />
Haggard’s “ Nada, the Lily,” and Mr. Douglas<br />
Sladen’s story of old Heidelberg, “ Trincolax.”<br />
<br />
Mr. and Mrs. C. N. Williamson have written a<br />
story which they have entitled “ Lady Betty across<br />
the Water.” It tells of the experiences and adven-<br />
tures of a young English girl who goes to America<br />
for the first time. It also compares English and<br />
American manners.<br />
<br />
Messrs. Chatto & Windus will publish shortly a<br />
new vovel by Mrs. Campbell Praed, the title of<br />
which is “The Lost Earl of Ellan.” he story<br />
deals with the wreck of the Quetta, which took place<br />
off Thursday Island in 1889. The hero of the<br />
book is a lost earl—hence the title.<br />
<br />
“In the Sixties and Seventies,” by Laura Hain<br />
Friswell, which Messrs. Hutchinson & Co. pub-<br />
lished recently, has gone into a second edition.<br />
The book has been extensively reviewed in England,<br />
and an edition for the United States is also in<br />
preparation.<br />
<br />
“A Chaplet from Florence” is the title of a<br />
collection of sonnets by M. G. J. Kinloch, author<br />
of “A History of Scotland, Chiefly in its Hccle-<br />
<br />
THE AUTHOR. 133<br />
<br />
siastical Aspect,” and ‘A Song-Book of the<br />
Soul.” The volume, which contains twenty<br />
photogravure plates illustrating views in Florence<br />
and famous paintings in Florence, is published<br />
at the price of 10s. 6d. net. Copies can be<br />
obtained at Giennini, Piazza Pitti, 20, Florence, or<br />
from Messrs. Sands & Co., 23, Bedford Street,<br />
Strand, London, and 13, Bank Street, Edinburgh.<br />
<br />
At a meeting of the Quatuor Coronati Lodge,<br />
No. 2076, held at Freemasons’ Hall, London, early<br />
in January, the following resolution was unani-<br />
mously passed: “That official recognition and<br />
sanction be given by this lodge to, and permission<br />
to use the lodge emblems in, the medal about to be<br />
issued by Brother Carl C. Wiebe, Past Grand<br />
Master of Hamburg, in commemoration of the<br />
jubilee anniversary of Brother Robert Freke<br />
Gould’s initiation into Masonry.”<br />
<br />
The first of Mr. St. John Lacy’s series of concerts<br />
for 1906 took place on Wednesday, January 17th,<br />
at the Clarence Hall, Imperial Hotel, Cork. The<br />
next two concerts will be held on February 21st<br />
and March 17th, respectively. Among others it is<br />
hoped that the following works will be performed<br />
during the season :—<br />
<br />
Bach Concerto in D major (piano and strings) ;<br />
Bazzini, quartet in D minor (strings) ;_ Beethoven,<br />
the kreutzer sonata (piano and violin); Bossi,<br />
sonata in E minor (violin and piano) ; Gade, trio<br />
in F (piano, violin, and ’cello).<br />
<br />
Miss Florence Warden will produce, at the<br />
Great Queen Street Theatre, in February, a comedy<br />
written by herself, entitled ‘“‘Parlez-vous Frangais ?”<br />
Members of the Press and managers of theatres<br />
are specially invited, and members of the dramatic<br />
profession will be welcome.<br />
<br />
“The Harlequin King,” adapted from the<br />
German of Rudolf Lothar, by Louis N. Parker<br />
and Selwyn Brinton, was produced at the Imperial<br />
Theatre on January 38rd. The Harlequin (Mr.<br />
Lewis Waller) is the living image of the King,<br />
and, after quarrelling with the latter, in a fit of<br />
fury kills him and assumes his position. The<br />
natural results of this impersonation form the<br />
main theme of the play. In addition to Mr,<br />
Lewis Waller, the caste includes Miss Evelyn<br />
Millard, Miss Mary Rorke, Mr. Norman McKinnel,<br />
and Miss Brooke.<br />
<br />
Mr. Henry Arthur Jones’ new comedy, “'The<br />
Heroic Stubbs,” was produced at Terry’s Theatre<br />
on January 24th. “The Heroic Stubbs” is<br />
a bootmaker, whose admiration for one of his<br />
fair customers is the spur behind all his endeavour ;<br />
although he recognises that the object of his<br />
worship belongs to an entirely different social<br />
sphere. When, therefore, he hears the details of a<br />
scheme which he considers likely to wreck her<br />
domestic happiness, he feels morally bound to go to<br />
134<br />
<br />
ler assistance. His adventures whilst engaged in<br />
this labour of love, and the success which he finally<br />
achieves, form the purport of the play. The caste<br />
included Mr. James Welch in the title part, Miss<br />
Gertrude Kingston and Mr. Dennie Eadie.<br />
<br />
—_—_—_———_+—>_o—_<br />
<br />
PARIS NOTES.<br />
<br />
— 1<br />
<br />
HE book, “ Jean Christophe,” by M. Romain<br />
Rolland, which has won the prize of 5,000<br />
francs awarded by the review, La Vie<br />
<br />
Heureuse, for the best novel of the year, is the story of<br />
the life of a musician. The novel is in three volumes,<br />
“T’Aube,” “Le Matin,’ and “ L’Adolescent.”<br />
Tt commences with the birth of the child in a little<br />
Bhenish town, where his father is violinist at the<br />
theatre and his grandfather had been conductor of<br />
the orchestra for the Grand Duke’s concerts. We<br />
follow day by day the progress of the baby-child,<br />
and are initiated into all his secret thoughts and<br />
feelings. The old grandfather, a sturdy, upright,<br />
<br />
rugged man, with a kindly heart, is introduced to<br />
us; the father a contemptibly weak nature and an<br />
<br />
inveterate drunkard. Jean Christophe’s mother, a<br />
typical German wife of the household drudge<br />
order, devoted to her husband, family and home.<br />
Of course, it is obvious that the author has been<br />
inspired by the life of Beethoven for very much in<br />
this novel. The child’s home and surroundings,<br />
the reprobate father, through whom the boy’s early<br />
days were clouded and his nature warped, the<br />
young musician’s first compositions which, in the<br />
novel, date from his eighth year, his independent<br />
character and hatred of patronage, his keen<br />
sensitiveness and difficult character, together with<br />
all his family troubles and pecuniary difficulties,<br />
are minutely described, and remind one strongly<br />
of Beethoven’s biography. As a matter of fact, it<br />
is somewhat confusing, for one is inclined to wonder<br />
all the time which is history and which fiction.<br />
As a psychological study, it would be more<br />
interesting without this dual personality.<br />
<br />
‘‘ T Etat et la Liberté,” by M. Waldeck-Roussean,<br />
is a collection of speeches and articles by the late<br />
eminent statesman, several of which are of special<br />
interest at the present moment. “ L’Eglise ouverte<br />
a la foi et non A la politique” is the subject of a<br />
speech made at Montreuil-le-Gust in 1879. In<br />
another speech, “Les Congrégations contre la<br />
Republique,” pronounced in 1880, he says: ‘Le<br />
Gouvernement n’ a aucune animosité contre cette<br />
Eglise francaise, qui, il y a deux siecles, par la<br />
voix de ses évéques, condamnait si hautement ces<br />
doctrines ultramontaines et anti-nationales sous<br />
lesquelles on veut aujourd’ hui la courber... . Il<br />
<br />
THER AUTHOR.<br />
<br />
y a quelques semaines, nous avons fondé une<br />
Société d’agriculture. ... . Nous en avons arrété<br />
les statuts, puis nous les avons soumis a M. le<br />
Préfet, et comme ils ne contenaient rien que de<br />
licite, nous avons immédiatement été autorisés, . : .<br />
Eb bien! ce que nous venons de faire, c’est ce que<br />
le Gouvernement veut que les congrégations<br />
fassent. C’est le dernier mot de sa tyrannie et de<br />
sa persécution.” Other interesting chapters are on<br />
“Te ‘Travail, levier des Destinées humaines,”<br />
“Te Clergé et les Elections,” “De PAutorité,”<br />
“Défense de la Politique du ministere ‘ Gam-<br />
betta,” “La Loi Municipale,” “ La Loi sur les<br />
Récidivistes,” &c.<br />
<br />
Among the new novels are: “ Le Mauvais Pas,”<br />
by Jacques des Gachons; “Cousine Laura,” by M.<br />
Marcel Prévost ; ‘‘Sous le Fardeau,” by J. H.<br />
Rosny ; “ Les Etourderies de la Chanvinesse,” by<br />
Léon de Tinseau.<br />
<br />
M. Paul Doumer has written a book ‘entitled<br />
“Livre de mes fils,” which is attracting a certain<br />
amount of attention just now. The volume is<br />
divided into four parts : the man, the family, the<br />
citizen, country.<br />
<br />
Another book by a politician is entitled “ Idées<br />
contemporaines.” It is by M. Poincaré and treats<br />
of widely diverse subjects.<br />
<br />
Some recent historical and biographical works<br />
are the following : “* Le Comte Paul Stroganof,” by<br />
the Grand Duke Nicolas Mikhailovitch ; ‘‘ Six Mois<br />
en Mandchourie,” by M. Ivan de Schneck. The<br />
author started from St. Petersburg, February 24th,<br />
1904, with Veretschaguine, and went to Siberia,<br />
Moukden, Port Arthur, Dalny. He describes the<br />
catastrophe of Petropavlosk, the death of Verets-<br />
chaguine, the siege of Port Arthur, &c.<br />
<br />
Another book of interest is “ La Carriére d’un<br />
navigateur,” by Prince Albert of Monaco ; and<br />
“La Fin de notre ére,” by Tolstoi; ‘ Michel<br />
Ange,” by M. R, Rolland; “ La Russie, au dix-<br />
huitiéme siécle,” by M. Emile Haumant; “ La<br />
France ¢t I’Italie,” by M. A. Billot, ex-ambassador ;<br />
‘Histoire des relations du Japon avec i’Europe,<br />
aux seizieme et dix-huitiéme siécles,” by M. H.<br />
Nagoake, attaché to the Japanese legation of Paris ;<br />
“Te Maroc pittoresque,” by M. Jean du Taillis ;<br />
“J, Empire du travail” (Life in the United States),<br />
by M. Anadoli.<br />
<br />
Among translations from the English : “ Les<br />
Exploits du Colonel Gérard,” by Conan Doyle ;<br />
“THistoire des Gadsby,” by Rudyard Kipling ;<br />
“Une jeune Anglaise & Paris,” by C. Maud;<br />
“Hypocrite sanctifié,” by Max Beerbohm.<br />
<br />
Money prizes varying in amount from £120 to<br />
£5 have been awarded by the Société des Gens de<br />
Lettres for literary work, to the following authors :<br />
Mmes. Pommerol, Gevin Cassal, Jeanne Leroy<br />
Brada, Dalvy, Jean Barancy, and to M. M.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Reibrach, Vergniol, Lepelletier, Labitte, Rosay,<br />
du Bled, Saint Maurice, Grison, de Grave, Jho<br />
Pale, des Granges, Boyer d’Agen, Guiraud, Pourot,<br />
Poulailler, Andre.<br />
<br />
The death of Paul Meurice, at the age of eighty-<br />
seven, has taken away one of the most sincere and<br />
devoted admirers of Victor Hugo. He was the poet's<br />
executor, and for many years had devoted nearly all<br />
his time to the publication of the last and complete<br />
edition of Victor Hugo’s works. M. Paul Meurice<br />
wrote novels, translated several of Shakespeare’s<br />
plays, and adapted many other plays for the<br />
French stage. ;<br />
<br />
A voyage in Greece is being organised for the<br />
month of March by the Revue génerale des Sciences<br />
pures et appliquées. M. Gaston Deschamps will<br />
have the scientific management of the cruise, and<br />
will give lectures on board on the art and civiliza-<br />
tion of ancient Greece. When visiting the various<br />
sites and monuments, he will act as_ historical<br />
guide.<br />
<br />
The Cercle de la Librairie has now opened a fresh<br />
bureau for the protection of French literary and<br />
artistic rights abroad.<br />
<br />
In the Revue des Deux Mondes, Maurice Barres<br />
continues his “ Voyage 4 Sparte,” M. Goyau writes<br />
on “Le Péril primaire,” and M. Bruneticre on<br />
“Les époques de la Comédie de Moliére.” In<br />
La Revue there is an admirable article by Jean<br />
Finot, entitled “ La Volonté, comme moyen de pro-<br />
longer la vie” ; and in the second number of the<br />
month an article by M. Georges Pellissier on “ Les<br />
Femmes écrivains en France,” the conclusion of an<br />
anonymous article commenced in the preceding<br />
number, entitled “Tues Dessous de la Révolution<br />
russe”; and an exquisite poem, “ Solitaire,” by<br />
Sully Prudhomme.<br />
<br />
Maurice Donnay’s play, “ Paraitre,” is soon to<br />
be given at the Théatre Francais, and M. Claretie<br />
has just received a comedy, in two acts, by Daniel<br />
Riche, entitled ‘‘ Prétexte.”<br />
<br />
The success of “ La Rafale” continues, but it is<br />
announced that the next play to be given at the<br />
Gymnase is “ Benjamine,” by Jean Aicard.<br />
<br />
Sardou has recently read a new piece to the<br />
actors of the Variétés.<br />
<br />
“Vers l’Amour,” a comedy in five acts, by M. Léon<br />
Gandillot, has had great success at the Théatre<br />
Antoine. It is an episode taken from the Mont-<br />
martre life of Paris. ‘The characters are all well<br />
drawn, and the whole play is convincing.<br />
<br />
Anys HALLARD.<br />
<br />
—____+—>—+- —____<br />
<br />
THE AUTHOR.<br />
<br />
135<br />
<br />
COPYRIGHT CASES IN THE UNITED<br />
STATES.<br />
<br />
—_+—@ +<br />
<br />
[Reprinted from the United States Publishers’ Weekly, of<br />
December 23rd, 1905. ]<br />
<br />
i.<br />
<br />
NOTICE IN BOOKS PRINTED<br />
INVALIDATES COPYRIGHT.<br />
<br />
HE following is the decision rendered by<br />
Judge Kohlsaat in the suit brought by<br />
the G. & C. Merriam Company in the<br />
<br />
Circuit Court of the United States for the<br />
Northern District of Illinois (Eastern Division)<br />
to restrain the United Dictionary Company, of<br />
Chicago, from publishing and offering for sale<br />
copies of “ Webster’s High School Dictionary ”<br />
and “ Webster’s International Dictionary,” which<br />
the Merriam Company published in England<br />
jointly with George Bell & Sons, with the<br />
omission of the American copyright notice :—<br />
<br />
“The question in this case is whether one who<br />
publishes in this country a copyrighted book,<br />
containing due notice of copyright, and who sub-<br />
sequently takes the plates which are made from<br />
type set within the United States, and were used<br />
in printing said copyrighted book, to England,<br />
and there in conjunction with another publisher<br />
publishes another edition of the book from said<br />
plates, intentionally omitting therefrom the notice<br />
of the American copyright, can maintain a suit for<br />
infringement against another who imports a copy of<br />
the English book and proceeds toreproduce the same.<br />
<br />
“The only limit for the purposes of this hearing<br />
placed upon the right of the English publisher is<br />
contained in a written contract with him, to the<br />
effect that he should not import the book or sell it<br />
for the purpose of importation into the United<br />
States. No breach of this condition is asserted.<br />
Defendant imported a copy of the English publi-<br />
cation ‘for use,’ as he states, and ‘not for sale,’<br />
for the purpose of reproducing it in the United<br />
States. So far as the record shows, this and<br />
another subsequently imported by defendant were<br />
the only volumes of the English edition in the<br />
country. Defendant thereupon proceeded to<br />
photograph the book and make plates therefrom<br />
in this country, and to reproduce said imported<br />
book. The bill herein was filed to restrain defen-<br />
dant from such act. The case is now oefore the<br />
Court on final hearing.<br />
<br />
“The Copyright Act prohibits the importation of<br />
a book not made from plates from type set in the<br />
United States, during the life of the copyright,<br />
but contains no prohibition as to a book made<br />
from type set in this country as was the case here,<br />
In the latter case there is no restriction placed<br />
upon importation, except that imposed by the<br />
<br />
OMISSION OF ABROAD<br />
<br />
<br />
1386<br />
<br />
Revenue Act, which it is not necessary here to<br />
consider. So far as disclosed in the agreed state-<br />
ment of facts, the two books in question were<br />
rightfully in the possession of defendant—as much<br />
so as though complainant had in person delivered<br />
the same to it without condition. If such an act<br />
constituted a publication within the terms of<br />
Section 4962 of the statute, which provides that<br />
no person shall maintain an action for the in-<br />
fringement of his copyright unless he shall give<br />
notice of his copyright by inserting in the several<br />
copies of every edition published the words pre-<br />
scribed by the section, then complainant falls<br />
within the prohibition, and cannot maintain this<br />
suit. I can see no distinction in legal effect<br />
between the status of the imported book under<br />
the above circumstances and that of a book pub-<br />
lished in this country from plates made here which<br />
omits the requirements of notice prescribed in said<br />
Section 4962.<br />
<br />
“‘ Any person desiring to take advantage of the<br />
copyright law must follow its provisions strictly :<br />
Wheaton v. Peters, 6 Peters, 593; Thompson v.<br />
Hubbard, 131 U.S. 123; Osgood v. Aloe Instru-<br />
ment Co., 88 Fed. 470.<br />
<br />
“Tt was held in Gottsberger v. Aldine Pub. Co.,<br />
33 Fed. Rep. 381, that a sale of one volume<br />
constituted a publication and came within the<br />
prohibition of the copyright statute. In the case<br />
of Larrows-Loisette v. O'Loughlin et al., 88 Fed.<br />
Rep. 896, the Court decided that one claiming<br />
copyright could not free himself from the strict<br />
terms of the statute by disposing of or printing<br />
books in which copyright is claimed, to be used<br />
by others under a contract which bound them not<br />
to disclose the contents.<br />
<br />
“The volumes in question amounted in my<br />
opinion to such a publication as will bar the<br />
complainant from maintaining this suit. What<br />
might have been the effect if the English edition<br />
had retained the notice of copyright appearing in<br />
the American edition need not be discussed. Such<br />
a notice was of no moment in England, and might,<br />
conceivably, have been deemed detrimental to the<br />
sale of the book. The equities of the situation<br />
are with complainant, and it is with regret that I<br />
find myself driven to a legal conclusion which<br />
ignores them. The remedy rests with Congress<br />
and not with the Courts. The bill is dismissed<br />
for want of equity.”<br />
<br />
II.<br />
COPYRIGHT IN PAINTING UPHELD.<br />
<br />
For the second time a decision was handed<br />
down on December 18th in the Federal Courts,<br />
concerning the copyright of the painting “The<br />
Chorus,’ owned by the artist, W. Dendy Sadler,<br />
and exhibited in the ].ondon Royal Academy in<br />
1894. Judge Holt, of the U.S. District Court,<br />
<br />
THE AUTHOR.<br />
<br />
in New York, reiterating the opinion of Judge<br />
Townsend, of the United States Circuit Court of<br />
Appeals, rendered in November, 1904 (a substan-<br />
tial part of which was given in The Publishers’<br />
Weekly, May 13th, 1905), sustains the contention<br />
of the plaintiff, that, under the circumstances of<br />
the case, a painting or sculpture need not be<br />
marked “‘ copyright” to protect them from piracy,<br />
and granted an injunction. Emil Werckmeister<br />
brought the action against the American Litho-<br />
graph Company and the American Tobacco Com-<br />
pany, charging them with having violated his<br />
copyright in the painting of which he had obtained<br />
the rights from the artist for a photographic repro-<br />
duction.<br />
eg<br />
<br />
EGYPT AND THE BERNE CONVENTION.<br />
<br />
—<br />
<br />
T the meeting of the Committee of the Society<br />
of Authors, held in October, it was decided,<br />
owing to the increased sales of authors’<br />
<br />
works in Egypt, to make enquiries of the Foreign<br />
Office with a view to ascertain whether it were<br />
possible for English copyright to be protected in<br />
the mixed tribunals, or by Egypt’s adhesion to the<br />
Berne Convention. The following letter was<br />
accordingly written to Lord Lansdowne, who was<br />
then Secretary of State for Foreign Affairs :-—<br />
[ Copy. |<br />
October 12th, 1905.<br />
<br />
The Most Noble The MARQUIS OF LANSDOWNE, K.G.<br />
<br />
My Lorp,—I am desired by the Committee of the<br />
Society of Authors for whom, from time to time, your<br />
Lordship has obtained information concerning International<br />
Copyright relations, to enquire if a report could be obtained<br />
from Lord Cromer as to whether it would be desirable or<br />
possible for Egypt to join the Berne Convention, and the<br />
Additional Act of Paris.<br />
<br />
Since the occupation of Egypt the circulation of English<br />
books has increased enormously in that country, and as<br />
Egypt is not a party to the Berne Convention there<br />
appears to be no effective means to prevent pirated copies<br />
of English works from being sold there to the detriment of<br />
English authors.<br />
<br />
If there is no reason to the contrary, the adhesion of<br />
Egypt to the Berne Convention and the Additional Act of<br />
Paris would appear to be the best mode of meeting the<br />
difficulty, but before definitely proposing such a course,<br />
the Society of Authors would be very grateful if Lord<br />
Cromer’s opinion upon the subject could be ascertained.<br />
<br />
I beg to remain,<br />
Your Lordship’s obedient humble servant,<br />
(Signed) G. HERBERT THRING.<br />
<br />
And on November 10th, the Foreign Office, after<br />
kindly taking the matter in hand and making full<br />
enquiries from Egypt, wrote to the Secretary of the<br />
Society as follows :—<br />
FOREIGN OFFICE,<br />
November 10th, 1905.<br />
<br />
Srtr,—I am directed by the Marquess of Lansdowne to<br />
state that he referred to the Earl of Cromer, his Majesty's<br />
Agent and Consul General in Cairo, your letter of the<br />
<br />
<br />
THE AUTHOR.<br />
<br />
12th of October last, respecting the question whether it<br />
would be desirable or possible for Egypt to join the Berne<br />
Copyright Convention and the Additional Act of Paris.<br />
<br />
A despatch has now been received from his Lordship<br />
reporting that as long as the Egyptian Government is,<br />
owing to the Capitulations, unable to make a copyright law<br />
giving them the power to punish criminally any infringe-<br />
ments committed by Europeans, the adhesion of the<br />
Egyptian Government to the Berne Convention would<br />
give to foreigners no advantages over those now conferred<br />
on them by the practice of the Mixed Tribunals.<br />
<br />
The Mixed Tribunals have, however, done what they<br />
could to supply the omission by dealing with such matters<br />
under the terms of Article 34 of the Statute of Judicial<br />
Organisation, and Article 11 of the Civil Code: ‘‘En cas<br />
de silence, d’insuffisance ou d’obscurité de la loi le juge se<br />
conformera aux principes du droit naturel et aux régles de<br />
Véquité,”<br />
<br />
Tam, Sir,<br />
Your most obedient humble servant,<br />
E. GoORST.<br />
<br />
The Secretary to the Society of Authors.<br />
<br />
This letter was placed before the committee at their<br />
meeting on November 27th, and very carefully<br />
considered. As it was apparent that under the<br />
Berne Convention and under the British Copyright<br />
Law, criminal proceedings were not necessary, the<br />
committee decided to write again to the Foreign<br />
Office and enquire whether it were possible to obtain<br />
adequate remedy for infringement of copyright.<br />
<br />
[ Copy. ]<br />
November 30th, 1905.<br />
<br />
The Most Noble The MARQUIS OF LANSDOWNE, K.G.<br />
<br />
My Lorp,—The letter from your Lordship’s office, dated<br />
November 10th, 1905, was placed before the Committee<br />
of the Society of Authors at their meeting on Monday,<br />
November 27th.<br />
<br />
While thanking your Lordship for the trouble you have<br />
taken in the matter, the Committee would be glad to be<br />
clearly informed whether a British subject can sue for<br />
a civil remedy in the mixed tribunals of Egypt in regard<br />
to the piracy in Egypt of works which are copyright in the<br />
British Dominions.<br />
<br />
fam to point out that neither under the Berne Conven-<br />
tion, nor under the Copyright Law of Great Britain—with<br />
the exception of that dealing with musical publications—<br />
is there any reference to criminal proceedings.<br />
<br />
May I, at the same time, enquire whether your Lordship<br />
would have any objection to the correspondence in this<br />
matter, or a summary thereof, being printed in The Author<br />
—the organ of the Society—for the information of members.<br />
<br />
I beg to remain,<br />
Your Lordship’s obedient humble servant,<br />
(Signed) G. HERBERT THRING.<br />
<br />
Again the Foreign Office gave the matter their<br />
kind attention, and obtained the further report<br />
contained in their letter of January 4th, printed<br />
below.<br />
<br />
FOREIGN OFFICE,<br />
January 4th, 1906.<br />
<br />
Siz,—With reference to your letter of the 30th of<br />
November last, respecting copyright in Egypt, I am<br />
directed by Secretary Sir E. Grey to state, for your<br />
information, that it would appear to be sufliciently es-<br />
tablished, by decisions of the Courts of Justice in Egypt,<br />
that a British subject can sue for a civil remedy in the<br />
<br />
137<br />
<br />
Mixed Tribunals of Egypt, in regard to the piracy in Egypt<br />
of works which are copyright in the British Dominions.<br />
<br />
I am to transmit herewith copies of head-notes of cases<br />
decided in the Mixed Tribunals as to copyright,<br />
<br />
I am, Sir,<br />
Your most obedient humble servant,<br />
E. Gorst.<br />
The Secretary to the Society of Authors.<br />
<br />
We must thank His Majesty’s Government for<br />
the trouble it has taken in obtaining for the Society<br />
this necessary information, which, with the consent<br />
of the Foreign Office we have much pleasure in<br />
printing.<br />
<br />
[| COPIE. |<br />
HEAD-NOTES OF CASES DECIDED IN THE MIXED<br />
TRIBUNALS AS TO COPYRIGHT,<br />
Puthod v. Ricordi, B.J.L. (1889), L. 77,<br />
<br />
A défaut de toute convention ou loi spéciale, la propriété<br />
littéraire et artistique est protégée en Egypte par les régles<br />
ordinaires du droit commun.<br />
<br />
En conséquence le préjudice qui résulte d’une atteinte<br />
portée 4 cette propriété donne lieu contre celui qui en est<br />
Vauteur 4 une action en réparation du dommage qu’il a<br />
causé. '<br />
<br />
L’achat de la partition d’un opéra n’en confére que la<br />
jouissance personnelle, et non pas le droit de jouer Vopéra<br />
sur une scéne publique et dans un but de lucre,<br />
<br />
Société des gens de lettres vy, Philip, B.L.J. (1899) Z. 110,<br />
<br />
Le droit de l’auteur sur son oeuvre est un véritable droit<br />
de propriété.<br />
<br />
A défaut de loi spéciale en Egypte, le droit de propricté<br />
littéraire est protégé et garanti par l'article 34 du Régle-<br />
ment d’Organisation Judiciaire.<br />
<br />
La réproduction dans un journal, sans autorisation et<br />
sans compensation, d'oeuvres littéraires pour lesquelles<br />
l’auteur a conseryé, d’aprés la loi de son pays, son droit de<br />
propriété, est une atteinte portce 4 droit et constitue un<br />
préjudice donnant lieu 4 une action en réparation.<br />
<br />
oer<br />
<br />
MACMILLAN v.<br />
<br />
—<br />
<br />
DENT.*<br />
<br />
JUDGMENT.<br />
<br />
R. JUSTICE KEKEWICH: “This isan<br />
extremely difficult question, and perhaps<br />
a satisfactory solution of it can only<br />
be obtained by a decision of the ultimate Court<br />
of Appeal, but having pondered over it since the<br />
Court rose, and looked at the cases to which Mr.<br />
Danckwerts referred me, I see no reason for<br />
thinking that my opinion would be any better<br />
for being postponed. I, therefore, propose to<br />
say what conclusion I have arrived at, in the<br />
hope that my remarks may assist the parties in<br />
obtaining somewhere a complete solution of the<br />
question which is raised.<br />
<br />
<br />
<br />
* Transcript from the shorthand notes, Printed by the<br />
kind permission of Messrs. Macmillan & Co,, who inform<br />
us that the defendants have appealed from the decision.—<br />
<br />
ED.<br />
<br />
<br />
138<br />
<br />
“The plaintiffs claim the right of publication of<br />
certain letters of Charles Lamb which are many<br />
years old, and they say that they have purchased<br />
that right from a gentleman and lady named<br />
Steed, who were in possession of the letters up<br />
to some ten years ago. It seems to me that, as<br />
there is no suggestion that those persons obtained<br />
the letters by theft or otherwise improperly, I<br />
must assume at this distance of time from the date<br />
of the writing of the letters that they were in<br />
rightful possession of the letters. What that<br />
implies is really the question to be decided, but<br />
I begin with tracing the letters to rightful<br />
possession.<br />
<br />
“There is no doubt that they assigned their<br />
rights, whatever those rights were, as regards the<br />
publication to the plaintiffs. The plaintiffs have<br />
vested in them any right of publication which Mr.<br />
and Mrs. Steed could pass. If they are entitled to<br />
publication—if they have a right of publication—<br />
then, of course, they are entitled to restrain every<br />
person who is not entitled to publish, and that<br />
raises the question whether the defendants are<br />
entitled to publish. The defendants claim also<br />
through the Steeds, and in addition through the<br />
administrator of Charles Lamb.<br />
<br />
« Now as regards their title through the Steeds,<br />
it, is obviously a defective one, because the Steeds<br />
had already assigned everything that they could<br />
assign to the plaintiffs, and nothing was left for<br />
them to assign to the defendants, and they were<br />
perfectly conscious of that ; they only purported to<br />
confer on the defendants such rights, if any, as<br />
remained in them.<br />
<br />
“ As regards the defendants’ other title, I confess<br />
I do not understand it. I do not understand how<br />
the administrator of Charles Lamb at the present<br />
day can have any property whatsoever in these<br />
letters of any kind .or description, even on the<br />
assumption that a right of property did vest in<br />
Charles Lamb at the date of his death, and could<br />
pass by his will. It is not competent for me to<br />
decide on the present occasion what the meaning<br />
of Charles Lamb’s will is, or whether such property<br />
as he had passed by that will. But whatever<br />
property passed, it cannot, it seems to me, Dow be<br />
vested, as it could not have vested in the adminis-<br />
trator of Charles Lamb when these letters of<br />
administration were granted only the other day.<br />
But I thought it right to say that, because it may<br />
be that a question of that kind will arise.<br />
<br />
“The defendants decline to prove their title.<br />
They say: ‘All we have to do is to show that<br />
the plaintiffs have no title, and if we satisfy the<br />
Court that the plaintiffs have no title, then, of<br />
course, they cannot restrain us. It matters not<br />
to us or the Court whether we have a title or not.’<br />
That is a perfectly proper view, if they are so<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
advised to take it, for the defendants to take. It<br />
is the view they take, and, therefore, I will not<br />
pursue that subject any further. All I have to<br />
consider is the bare question, not whether the<br />
right of publication is vested in the plaintiffs as<br />
between them and the defendants, but whether it<br />
is vested in the plaintiffs abstractedly, so that they<br />
have a good title. That question depends entirely<br />
on the proper construction to be placed on a few<br />
lines, indeed of a few words, in the third section<br />
of the Copyright Act, 5 & 6 of Queen Victoria,<br />
It is not easy to understand, but in order to under-<br />
stand it one must, of course, have in one’s mind<br />
and present before one’s eye the common law as it<br />
stood at the date of the Act of Parliament.<br />
<br />
“Now, about the common law up to a certain<br />
point there is no doubt whatever on that. I have<br />
been referred to a large number of cases, beginning<br />
with, I believe, the first—it is always quoted as<br />
the first—-Pope v. Curle, decided by Lord Hard-<br />
wicke. Probably one or two would have sufficed,<br />
and, indeed, I venture to say, as the observation<br />
which I made to Mr. Scrutton in opening the case<br />
indicated, that no reference to any case at all was<br />
really necessary. But I certainly should not refer<br />
to many of them.<br />
<br />
“‘T have said that the common law is perfectly<br />
clear up to a certain point, and I use that expres-<br />
sion advisedly, because I think the point is a<br />
limited one, and there is a great deal of doubt<br />
about the common law beyond that. Mr. Danck-<br />
werts referred me, among other cases, to Caird v.<br />
Sime, which is an important case in the House of<br />
Lords, arising out of the publication—touching<br />
the right of publication—-of lectures on Moral<br />
Philosophy delivered by Dr. Caird. The case is<br />
very much concerned with the peculiar circum-<br />
stances connected with the delivery of lectures,<br />
and all the judges who took part in the decision<br />
go into those circumstances, and the dissenting<br />
judgment of Lord Fitzgerald is extremely instruc-<br />
tive as regards lectures delivered as those were, as<br />
distinct from letters or books, or other manuscripts.<br />
Mr. Danckwerts quoted largely from the judgment<br />
of the present Lord Chancellor, but to my mind,<br />
without saying what the Lord Chancellor said—<br />
really the same thing in other language — the<br />
precise position is more accurately stated as<br />
regards language by Lord Watson on page 343."<br />
He says: ‘The author of a lecture on Moral<br />
Philosophy or of any other original composition<br />
retains the right of property in his work which<br />
entitles him to prevent its publication by others.<br />
until it has by consent been communicated to the<br />
public.’ -He calls it ‘a right of property in his.<br />
work. The Lord Chancellor in his judgment<br />
calls it a proprietary right in his unpublished<br />
literary productions. In many of the other cases<br />
<br />
*<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 139<br />
<br />
the presiding judge has used the expression ‘the<br />
right of property.’ I think the phrase ‘pro-<br />
prietary right’ is peculiar to the judgment of the<br />
Lord Chancellor in Caird v. Sime. But some<br />
other judges have used a different expression,<br />
and called it a joint property, that is, a right in<br />
the author of the letter—I am talking of a letter-—<br />
jointly with the sender. Vice-Chancellor Bacon,<br />
so late as 1884, in a case of Earle v. Maudelay,<br />
said ‘the property in the letters remains in the<br />
person to whom they are sent.’ But it is obvious<br />
from his judgment that he perfectly understood<br />
there wasa right of property in the sender, and he<br />
no doubt was speaking there of the property in the<br />
letters as the property in the paper with the writing<br />
upon it—the actual physical thing and nothing<br />
more—and that no doubt is in the person to whom<br />
the letter is sent. It has been decided that he can<br />
maintain an action of detinue for it by reason of<br />
the right of property in the physical thing. To<br />
that point it seems to me that the law is perfectly<br />
clear. Beyond it I will not say it is obscure, but<br />
I think there is very little light. What the right<br />
of property is, and how it ought to be defined,<br />
none of the judges seem to me to tellus. To read<br />
again Lord Watson’s words, it is a right of pro-<br />
perty in his work, which entitles him to prevent<br />
its publication by others. That is the right of<br />
property. What other privileges it gives him,<br />
how otherwise you can spell out the right of<br />
property, I am unaware. I do not think there is<br />
any judgment anywhere which helps at all. Even<br />
the numerous judgments—numerous according to<br />
the manner of the particular judge—in (ee v.<br />
Pritchard, which is extremely instructive, do not,<br />
as far as I have studied them, really give us any<br />
guide to determine what the right of property is<br />
beyond this, that it entitles the author, the com-<br />
poser, to prevent its publication by others, I<br />
need not go beyond that on the present case. I<br />
think it is well deserving of disquisition or dis-<br />
cussion on these very interesting questions, but<br />
these questions would be purely academic on the<br />
present occasion, because it is sufficient for me<br />
to say that according to the law the writer of the<br />
letter, notwithstanding that he sent it to some-<br />
body else, who has a right to the physical thing,<br />
retains that peculiar right of property which<br />
entitles him to prevent publication by others.<br />
Now that being the common law, what does this<br />
statute mean? The section is divided into two<br />
parts, and the division into two parts is to my<br />
mind the origin of the puzzle. The first part of<br />
the section deals with a book which is published in<br />
the lifetime of its author, and a book includes a<br />
letter. I need not go back to the authority on<br />
the point, because it is assumed all through this<br />
argument, and it is common ground that ‘ book’<br />
<br />
does include a letter. It was contested in one<br />
case, but held at once without hesitation, that a<br />
book must include a letter. ‘The copyright in<br />
every book or letter which after the passing of<br />
this Act is published in the lifetime of its author<br />
shall endure for a certain time, and shall be the<br />
property of such author or his assigns.’ ‘Then,<br />
having enacted that, the Legislature goes on to<br />
deal with the case of a copyright in a book<br />
which has been published after the death of its<br />
author, and it does not say, what it would have<br />
been extremely easy to say, in plain language, that<br />
the copyright in that book shall remain in the<br />
author or his assigns, or his legal personal repre-<br />
sentatives. JI am not professing to frame the<br />
words in which it could have been enacted, but no<br />
difficulty would have been entertained by a reason-<br />
ably experienced draughtsman in saying in plain<br />
and unmistakable language that the copyright<br />
belongs to those who claim through the author,<br />
whether by assignment—which would include, of<br />
course, a bequest—or as legal personal representa-<br />
tive, if that had been the intention of the Legisla-<br />
ture. I think it is fair to conclude that the<br />
Legislature did not intend that. But what does<br />
it intend ? That it shall be the property of the<br />
proprietor of the author’s manuscript ? I will not<br />
go further for the moment. I do not think it<br />
necessary to consult dictionaries to understand<br />
what the meaning of the word ‘manuscript’ is.<br />
Manuscript, of course, means that which is written<br />
by the hand. That in the case of a letter would be<br />
the actual letter written by the writer with his own<br />
pen or pencil. Ihave no doubt that in these days the<br />
Court would haye no difficulty in extending that<br />
to a typewritten letter. It might even, I think,<br />
without difficulty extend to a printed letter if the<br />
writer would not be the writer’s printer, but used<br />
a private printing press. I have no doubt also<br />
that if the writer of the letter, instead of using his<br />
own hand, used that of an amanuensis to whom he<br />
dictated the letter, that would be a manuscript<br />
within the meaning of this Act. I go further<br />
<br />
and say that if the writer wrote out the letter with<br />
<br />
his own hand, and then had a copy made of it in<br />
order to send it away, and made that really the<br />
<br />
original letter, though in truth it was more a copy<br />
<br />
than an original, that that might be a manuscript.<br />
<br />
“ But it seems to me that it must be that which<br />
<br />
proceeds from the writer as his own work in the<br />
first instance, and that must be, I think, the<br />
author’s manuscript. It is not the manuscript<br />
made by somebody else for the author for the pur-<br />
<br />
pose of really constructing an original letter.<br />
<br />
Also ‘manuscript’ must mean, I think, that<br />
<br />
which filled the place of the manuscript in<br />
<br />
the ordinary sense; that is to say, the letter<br />
<br />
written by the author’s own hand, If it was the<br />
<br />
<br />
140<br />
<br />
one original letter which he intended to be the<br />
original, then that is the author’s manuscript.<br />
Take the case of a man sending a letter, and<br />
keeping a copy of it. I do not know that it is<br />
necessary to decide it, but I should think the<br />
letter sent, and not the copy kept would be the<br />
author’s manuscript. So far there seems to be<br />
little difficulty in understanding what the Legisla-<br />
ture meant.<br />
<br />
“¢ But then comes the question of who is the pro-<br />
prietor of the author’s manuscript. If we can<br />
ascertain who the proprietor of the author’s manu-<br />
script is, then there is no difficulty in determining<br />
what the statute means, because it says it shall be<br />
the property of the proprietor, not that the pro-<br />
prietor shall have a proprietary right—not qualified<br />
in any way ; not that he shall have the property<br />
jointly with anyone else—but it shall be the pro-<br />
perty, and the Legislature being, of course,<br />
cognisant with all the decisions of the common<br />
law must be taken to have meant the property<br />
being the exclusive property of the proprietor.<br />
<br />
“Now who is the proprietor of the author’s<br />
manuscript ? According to the common law, as I<br />
have already said, there are two proprietors of<br />
the letter who can bring detinue for it. That is,<br />
he who is entitled to the physical thing, and the<br />
writer of the letter, who has that peculiar right of<br />
property which entitles him to prevent publication<br />
by others. Did the Legislature here intend to<br />
perpetuate any notion of that kind in the pro-<br />
prietor of the author’s manuscript ? It seems to<br />
me, having regard to the division into two parts<br />
which I have already called attention to, and to the<br />
care of the Legislature not to repeat in the second<br />
part, as it might have done in slightly different<br />
language, the first part, it must be that the pro-<br />
prietor of the author’s manuscript means the pro-<br />
prietor of the physical thing ; that the manuscript<br />
here is the thing written—the actual paper on<br />
which the writing is and the writing on it. That<br />
seems to me to be the only legitimate construction<br />
which I can place upon the words ‘ the proprietor<br />
of the manuscript.” I will leave out ‘author's<br />
manuscript’ now, because I have said enough<br />
about that.<br />
<br />
«That seems to me to be what the Legislature<br />
said, and the result then is that that belongs to<br />
the person to whom it is sent, and as I have said<br />
already, I have no reason to doubt in this case, and<br />
I think I ought to assume, that Mr. Steed and his<br />
wife were the proprietors of those letters ; that is, of<br />
the manuscript. There can be no question of the<br />
fact that it was from the manuscript the book was<br />
first published. They were sent to Mr. Mac-<br />
millan, or to Messrs. Smith, Elder & Co., in order<br />
that they might be published, and the publication<br />
was from these original letters, and through the<br />
<br />
THE AUTHOR.<br />
<br />
assigns of Mr. and Mrs. Steed. I put to. Mr.<br />
Scrutton, when replying, a question about the<br />
meaning of ‘assigns’ there, and he endeavoured<br />
to convince me that the right interpretation of the<br />
section was, that the assigns had the right of<br />
publication. I do not think that is the strict<br />
construction of the sentence ‘The proprietor of<br />
the author’s manuscript from which such book<br />
shall be first published,’ which is put paren-<br />
thetically, ‘and his assigns’ must, I think, mean<br />
the assigns of the author’s manuscript ; but the<br />
point is not essential to my decision, Messrs.<br />
Smith, Elder & Co. were the assigns of the author’s<br />
manuscript and in my view they fill that position.<br />
The result is, it seems to me, that I must come to the<br />
conclusion that the Legislature intended that the<br />
persons in that position, Mr. and Mrs. Steed,<br />
having these letters rightfully in their possession,<br />
were entitled to publish them themselves, or to<br />
hand them over, or otherwise, to Messrs. Smith,<br />
Elder & Co., and to give them the right of pub-<br />
lication, and that that having been done, nothing<br />
remained in Mr. and Mrs. Steed which they could<br />
have passed to anyone, except, of course, the right<br />
to the letters themselves. Those they retained,<br />
and those they can part with. The right of publica-<br />
tion, it seems to me, was gone.”<br />
<br />
Judgment was given for the plaintiff, with the<br />
declaration of Mr. Justice Kekewich that the right<br />
of publication in these particular letters was vested<br />
in the plaintiffs, Messrs. Smith, Elder & Co.<br />
Accounts with profits and costs were also given<br />
with the judgment, and a stay of execution for<br />
fourteen days in case of appeal.<br />
<br />
——$—$— <_<<br />
<br />
ANNUAL RESUME OF THE NUMBER OF<br />
BOOKS PUBLISHED IN THE PAST YEAR.<br />
<br />
1<br />
<br />
(Reprinted by the kind permissiom of the editor of the<br />
Publishers’ Circular.)<br />
<br />
HE total number of books reported during<br />
1905 is almost the same as in 1904—<br />
only four score fewer. The number of<br />
<br />
Theological books, in spite of a fall of thirty in<br />
November, shows an increase on the year, due<br />
more to Francis of Assisi, Thomas i Kempis, and<br />
other devotional authors, than to Torrey and<br />
Alexander or Church and Education. The number<br />
of Educational works is a hundred down, so is<br />
that of Political and Commercial books and of<br />
reprinted novels. The issue of new novels 1s<br />
almost to a unit the same as last year (1731—<br />
1733). The number of Law books reported is<br />
practically unchanged, so is that of books on the<br />
Arts and Sciences, and that of Biographical and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
141<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
|<br />
<br />
<br />
<br />
460 | 626 | 786<br />
|<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ANALYTICAL TABLE or Books PUBLISHED IN 1905.<br />
bo : ;<br />
ae | 3 : 5<br />
Subjects. Pp os : 3 2 H 2<br />
Ss = Fast ; < . = 2 = a<br />
ea ee ee<br />
ete < = 5 5 < R } %<br />
| | | a |<br />
aS sae: {ji @ 34) 31 69 | 73} 63 7 21 50 62 68 | 81 66 | 665<br />
1. Theology, Sermons, Biblical ... ba 4} 10 1 3 3 2 3/ 1 bis) Be<br />
| | et 745<br />
2. Educational, Classical, and (| a 54| 63 62) 62) 44 Ai Sd 68- (09 || 66 6 | 35 | 642<br />
Philological ... se ae 7 4) 11 S110 5 1 9} 15 7 BU 92<br />
| 734<br />
3. Novels, Tales, Juvenile Works, || @ 78 73 | 141 | 144 | 151 | 133 88 | 140 | 235 | 139 | 247 | 164 1733<br />
ce ae (i hos) o2 wey 69 | 84 62) 88) 63) 58 | 74) 74] 398 | 680<br />
| | 2363<br />
: a8 FT| 22) 3 5 3 4 5 5) 6) 4) 5 56<br />
4, Law, Jurisprudence, &c. AB Al oe 6 4 5 2 8 ee ele a | Bl<br />
\—— 107<br />
5 s aac<br />
5. Political and Social Economy, )| @ 45 | 33) 22) 58) 44 34} 29) 47 29 70 | 50] 41 | 502<br />
Trade, and Commerce... J| b 3 a) isp od At 6| 10) 13] 30} 12] 17 | 135<br />
| | 687<br />
@ Aris, Science, and Illustrated )| a 40| 29| 45| 51| 42| 45) 11) 49/ 51) 46 | 60) 58 | 522<br />
Works one ie Sto =) 5 4 7 4 3405 4 3 | 3 2} 49<br />
| 57)<br />
7. Voyages, Travels, Geographical )| @ 7| 12] 8 S113 | 1s Fa | 2h le | 30 | 28 |) 30 | 234<br />
Research... os 48 5 EE 7) 10 6 7 6 7 8 Bee 4| 73<br />
| 307<br />
- : : a 40 37 | 35 65 48 38 14 41 32 73 |. 01 63 | 557<br />
8. History, Biography, &c. _— i hoo Gi 5 7 | 7 7 4 8 6 9 8 | 79<br />
| |_— 636<br />
| ‘ ‘ ‘ ro | ae<br />
s : (| @ 25 Ve 15 31 34 32 14 16 39 31 |. 49 58 | 361<br />
9. Poetry and the Drama “1b 5 5 | 16 13 5 8 i 2 9} 19| 112<br />
| | 473<br />
“10, Year-Books and Serials in||@63| 20| 24| 31| 30) 37/ 9| 33 39) 56 | 37 | 79 | 458<br />
Volumes... ee je —f— |S Pe | fe ee<br />
Bol il 1 01 is} ib] | 2 ere<br />
. as ~ {| a@ 17 19 6421 lk 0 ‘ O42) 26 15 | 180<br />
11. Medicine, Surgery, &c. ib 2 2 5 8 2 10 L 6 a1 15 9 Ci<br />
| | 251<br />
12. Belles-Lettres, TP . Mono- a moO) 90 1-28) 20) 24) 22) 11) 384) 28) a2) 4 46 | 320<br />
graphs, Xe. a | Ji) 12) 107 261<br />
| —— 381<br />
13. Miscellaneous, including || @ 25] 27) 54) 49) 44 651 4185 | 67 | 8t 45 | 68 | 587<br />
Pamphlets, not Sermons | be Se ee 2<br />
| — —— 589<br />
509 | 694 | 664 | 361 | 700 | 805 | 849 | 954 | 844 | 8252<br />
| | Ce<br />
<br />
<br />
<br />
a New Books; b New Editions.<br />
<br />
The Analytical Table is divided into 13 Classes; also New Books and New Editions.<br />
<br />
<br />
<br />
<br />
<br />
Divisions.<br />
<br />
190<br />
New Books.<br />
<br />
4.<br />
New Editions. |<br />
<br />
New Books.<br />
<br />
1905.<br />
<br />
New Editions.<br />
<br />
<br />
<br />
<br />
<br />
Theology, Sermons, Biblical, &c.<br />
<br />
Educational, Classical, and Philological<br />
<br />
Novels, Tales, Juvenile Works, &c.<br />
Law, J ‘urisprudence, &e.<br />
<br />
Political and Social Economy, Trade and Commerce<br />
Arts, Sciences, and Illustrated Works ae<br />
<br />
Voyages, Travels, Geographical Research<br />
<br />
History, Biography, &c.<br />
Poetry and the Drama .<br />
Year-Books and Serials in n Volumes<br />
Medicine, Surgery, Xe. .<br />
<br />
Belles- Lettres, Essays, Monographs, &e.<br />
<br />
Miscellaneous, including Pamphlets, not Sermons ... : “<br />
<br />
<br />
<br />
<br />
<br />
|<br />
568 98 665<br />
694 142 | 642<br />
1,731 817 1,733<br />
55 48 | 56<br />
594 181 502<br />
458 74 522<br />
229 60 234<br />
540 113 557<br />
309 98 361<br />
421 = | 458<br />
148 71 180<br />
173 47 | 320<br />
536. | 103 587<br />
6,456 1,878 | 6,817<br />
<br />
<br />
<br />
80<br />
92<br />
630<br />
51<br />
136<br />
49<br />
73<br />
ig<br />
<br />
112<br />
<br />
<br />
<br />
<br />
<br />
<br />
142<br />
<br />
Historical works. In Belles-Lettres the previous<br />
table showed a falling off of nearly a hundred, but<br />
this table shows an increase of one hundred and<br />
sixty-one. A slight increase is shown in books on<br />
Journeyings and Geography, Poetry books and<br />
dramatic works, Year Books and Serials, Medical<br />
and Surgical works. But for Africa and for the<br />
Tariff question Political books would be few<br />
<br />
indeed.<br />
————__+—~—_+—____—_-<br />
<br />
COPYRIGHT AT THE CAPE.<br />
<br />
— 1<br />
<br />
Copyrigut Act In CERTAIN WoRKS OF ART<br />
ASSENTED TO JUNE 6TH, PROMULGATED<br />
OcToBER 81st, 1905.<br />
<br />
E it enacted by the Governor of the Cape of<br />
Good Hope with the advice and consent of<br />
the Legislative Council and House of<br />
<br />
Assembly thereof, as follows :—<br />
<br />
1. Inthis Act, unless the context shall otherwise<br />
indicate or require, the following terms shall have<br />
the meanings hereby attached to them :—<br />
<br />
“Work of Art” and ‘ Work” shall mean a<br />
<br />
painting or drawing and the design thereof,<br />
a photograph and the negative thereof, and<br />
any positives or copies made therefrom, an<br />
engraving or a piece of sculpture.<br />
Copyright ” shall mean the sole and exclusive<br />
right of copying, reproducing, repeating, or<br />
otherwise multiplying copies of any work of<br />
art and of the design thereof, of any size, in<br />
the same or any other material, or by the same<br />
or any other kind of art.<br />
<br />
“Author” shall mean the inventor, designer,<br />
engraver, sculptor or maker of any work of<br />
art: provided that the author of a work of art<br />
made by the employé of any person or firm in<br />
virtue of his employment shall mean the<br />
person or firm under whose orders, or in<br />
the course of whose business, the work of art<br />
was made by such employe.<br />
<br />
‘¢ Assions”’ shall include every person in whom<br />
the interest of an author is vested, whether<br />
derived from such author before or after<br />
publication or registration, and whether<br />
acquired by sale, donation, legacy or by<br />
operation of law or otherwise.<br />
<br />
“Court” shall mean the Supreme Court, the<br />
Eastern Districts Court, the High Court of<br />
Griqualand West, and any Circuit Court.<br />
<br />
“ Registrar’? shail mean such official, in the<br />
Civil Service, as the Governor may appoint to<br />
oe the duties of Registrar under this<br />
<br />
ct.<br />
<br />
2. The author of every original work of art pro-<br />
duced in the Colony shall have the copyright<br />
<br />
‘<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
therein, provided that when any work of art shall,<br />
for the first time after the passing of this Act, be<br />
sold or disposed of or shall be made or executed<br />
for or on behalf of any other person, for a good or<br />
valuable consideration, the person so selling or dis-<br />
posing of or making or executing the same shall not<br />
retain the copyright thereof, unless it be expressly<br />
reserved to him by an Agreement in writing,<br />
signed, at or before the time of such sale or dis-<br />
position, by the purchaser or assignee, or by the<br />
person for, or on whose behalf, the same shall have<br />
been so made or executed, but the copyright shall<br />
belong to the vendee or assignee, or to the person<br />
for or on whose behalf the work of art shall have<br />
been made or executed.<br />
<br />
(1) The copyright hereinbefore given shall, in<br />
the case of paintings and sculpture endure<br />
for the life of the person to whom the<br />
same is given, and thirty years next after<br />
his death; and in the case of engravings<br />
not published in, or forming part of, a book,<br />
and photographs, for the term of thirty years<br />
next after the end of the year in which they<br />
or any copies may have been first offered for<br />
sale, delivered to a purchaser or advertised<br />
or exposed as ready for sale to the public<br />
or for delivery to a purchaser, or delivered<br />
for registration.<br />
<br />
3. Nothing in this Act contained shall prejudice<br />
<br />
the right of any person to copy or represent any -<br />
<br />
work in which there shall be no copyright, or to<br />
represent any scene or object, notwithstanding that<br />
there may be copyright in some representation of<br />
such scene or object.<br />
<br />
4. A Registry Book entitled “The Register of<br />
Proprietors of Copyright in Works. of Art” shall<br />
be kept at the office of the Registrar, wherein shall<br />
be registered the proprietorship of every copyright<br />
in works of art and assignments thereof; and<br />
there shall be entered in such Register the follow-<br />
ing particulars in reference to every copyright<br />
entered therein :—the name and abode of the pro-<br />
prietor of the copyright, the title, if any, of the<br />
work, a short description of the nature and subject<br />
thereof, and, if the person registering so desire, a<br />
sketch or outline or photograph of such work, and<br />
all such further particulars as may be prescribed by<br />
the Registrar in that behalf; and for every entry<br />
of proprietorship or assignment of copyright in<br />
the Register, there shall be paid to the Registrar<br />
such sum as the Governor may prescribe : provided<br />
that in the case of a photograph the fee shall not<br />
exceed one shilling, and in the case of a series of<br />
photographs commonly known as living pictures,<br />
cinematographs, or bioscopes, the said fee shall<br />
only be payable on the first and every succeeding<br />
hundredth negative or photograph constituting<br />
any one continuous film or series of photographs.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<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 Register shall at all convenient times be<br />
open to the inspection of any person on<br />
payment of one shilling sterling for every<br />
entry which shall be _ searched for or<br />
inspected in the said Register ; and the<br />
Registrar shall, whenever thereunto reason-<br />
ably required, give a copy of any entry in<br />
such Register, certified under his hand, to<br />
any person requiring the same, upon pay-<br />
ment to him of the sum of five shillings<br />
sterling ; and such copy so certified shall be<br />
received in evidence in all Courts, and shall<br />
be prima facie proof of the proprietorship<br />
or assignment of the copyright as therein<br />
stated, but subject to be rebutted by other<br />
evidence.<br />
<br />
(2) If any person shall deem himself aggrieved<br />
by any entry made in the Register under<br />
cover of this Act, it shall be lawful for such<br />
person to apply by motion to the Court, or<br />
in vacation to a Judge thereof in chambers,<br />
for an Order that such entry may be<br />
expunged or varied; and tiereupon such<br />
Court or Judge shall make such Order for<br />
expunging, varying or confirming such<br />
entry, either with or without costs, as to<br />
such Court or Judge shall seem just ; and<br />
the Registrar shall, on the production to<br />
him of any such Order for expunging or<br />
varying auy such entry, expunge or vary<br />
the same accordingly.<br />
<br />
5. It shall be lawful for the registered proprietor<br />
of copyright to assign his interest or any part<br />
thereof in writing, under his hand, duly witnessed<br />
by two witnesses ; and on production of such<br />
assignment by or on behalf of the assignee, the<br />
Registrar shall make an entry in the Register of<br />
such assignment, and of the name and place of<br />
abode of the assignee thereof ; and such assignment<br />
so entered shall be effectual in law to all intents<br />
and purposes whatsoever, without being subject to<br />
any stamp or duty.<br />
<br />
6. If any person, not being the proprietor for<br />
the time being of the copyright in any work of art,<br />
shall without the consent of such proprietor make<br />
or cause to be made any copy, reproduction, repeti-<br />
tion or colourable imitation of the work in which<br />
such copyright exists, for sale, hire, exhibition or<br />
distribution, or shall knowingly sell, let to hire,<br />
exhibit or distribute or cause to be sold, let to hire,<br />
exhibited or distributed any copy, reproduction,<br />
repetition or colourable imitation, made without<br />
such consent, or if made abroad, imported without<br />
such consent, or shall import, or cause to be im-<br />
ported, any copy, reproduction, repetition or colour-<br />
able imitation, such person shall be liable to an action<br />
for damages for infringement of the copyright, and<br />
all such copies shall be forfeited to such proprietor.<br />
<br />
THER AUTHOR.<br />
<br />
143<br />
<br />
7. No person shall do or cause to be done any of<br />
the following acts, that is to say :—<br />
<br />
(1) No person shall fraudulently sign or affix, or<br />
fraudulently cause to be signed or affixed<br />
to or upon any work of art any name,<br />
initial or monogram.<br />
<br />
(2) No person shall fraudulently sell, publish,<br />
exhibit or dispose of, or offer for sale,<br />
exhibition or distribution any work of art<br />
having thereon the name, initials, or mono-<br />
gram of a person who did not execute or<br />
make such work.<br />
<br />
(3) No person shall fraudulently utter, dispose of<br />
or put off, or cause to be uttered, or disposed<br />
of, any copy, colourable imitation, engraving<br />
or print of any work of art, whether there<br />
shall be subsisting copyright therein or not,<br />
as having been made or executed by the<br />
author or maker of the original work from<br />
which such copy or imitation shall have<br />
been taken.<br />
<br />
(4) Where the author or maker of any work of<br />
art, whether made before or after the pass-<br />
ing of this Act, shall have sold or otherwise<br />
parted with the possession of such work, if<br />
any alteration be afterwards made therein<br />
by any other person, by addition or other-<br />
wise, no person shall be at liberty during<br />
the life of the author or maker of such<br />
work, without his consent, to make or<br />
knowingly to sell or publish or offer for<br />
sale such work, or any copies of such work<br />
so altered as aforesaid, as or for the<br />
unaltered work of such author or maker.<br />
<br />
Every offender under this section shall on con-<br />
viction be liable to a fine not exceeding ten pounds,<br />
or in default of payment to imprisonment for a<br />
period not exceeding one month; and all such<br />
copies, engravings, imitations or altered works<br />
shall be forfeited to the person aggrieved, or his<br />
assigns : Provided always that the provision of<br />
this section shall not apply unless the person whose<br />
name, initials or monogram shall be so fraudulently<br />
signed or affixed, or to whom such spurious or<br />
altered work shall be so fraudulently or falsely<br />
ascribed as aforesaid, shall have been living at, or<br />
within seven years next before, the time when the<br />
act complained of may have been committed.<br />
<br />
8. Whenever after the commencement of this<br />
Act any portrait or photographic likeness of any<br />
person is painted or taken on commission, neither<br />
the photographer, nor any other person, whether he<br />
owns the copyright therein or not, shall sell, or<br />
give, or exhibit in public in any shop window or<br />
otherwise, any copy of such likeness, if the person<br />
whose portrait or likeness was painted or taken, or<br />
for whom such was painted or taken, shall object to<br />
such sale, gift, or exhibition ; and any photographer<br />
<br />
<br />
144<br />
<br />
or other person selling, giving or exhibiting any<br />
likeness or portrait after being called upon to<br />
desist from so doing shall be liable to a penalty not<br />
exceeding ten pounds, and every copy of such<br />
portrait. or likeness in his possession shall be for-<br />
feited and delivered up to the person for whom the<br />
work was executed. :<br />
<br />
9. All penalties and forfeitures under this Act<br />
may be summarily imposed and awarded by the<br />
Resident Magistrate provided that any person<br />
summarily proceeded against shall be entitled, on<br />
lodging security to the satisfaction of the Magis-<br />
trate, to stay of execution pending appeal to the<br />
Court, and all the provisions of the Resident<br />
Magistrate’s Court Act No. 20 of 1856 in regard to<br />
appeals in criminal cases shall apply.<br />
<br />
10. In any action for the infringement of any<br />
copyright vested under this Act it shall be lawful<br />
for the Court in which such action is pending, or<br />
if the Court be not sitting, then for a Judge, on<br />
the application of the plaintiff or defendant<br />
respectively, to make such Order for an interdict,<br />
inspection or account and to give such directions<br />
respecting such interdict, inspection or account,<br />
and the proceedings therein, respectively, as to<br />
such Court or Judge may seem fit : Provided that<br />
the work of art or work shall bear on it a mark or<br />
notification showing that it has been copyrighted.<br />
<br />
11. No proprietor of copyright in a work of art,<br />
<br />
first produced in the Colony, shall be entitled to<br />
the benefit of this Act until he shall have registered<br />
his copyright, nor shall any prosecution or action<br />
be competent for anything done before registration.<br />
<br />
12. The Governor may make such rules and<br />
reculations as may be necessary or expedient in<br />
order to detect and prevent infringements of pro-<br />
<br />
prietors’ rights under this Act, and impose<br />
reasonable penalties for the breach thereof.<br />
<br />
13. This Act may be cited for all purposes as<br />
the “ Copyright in Works of Art Act, 1905.”<br />
<br />
—_____—__+ 2 —__<_.<br />
<br />
MAGAZINE CONTENTS,<br />
<br />
—+-—~<—1+<br />
<br />
BLACKWOOD’'S.<br />
<br />
Cleopatra’s Needle. By St. John Lucas.<br />
<br />
BOOKMAN.<br />
<br />
_ Shelley. By H. Buxton Forman, C.B.<br />
Samuel Richardson. By ‘“ Ranger.”<br />
Liberal Leaders in Literature. By Thomas Seccombe.<br />
Art, By Alfred Noyes.<br />
“Fiona Macleod.” By Alfred Noyes.<br />
Book MONTHLY.<br />
<br />
Stories on the Stage: The Art of the Novelist Dramatist.<br />
3y Hall Caine.<br />
Our Literary Gods and the Going of Them to America,<br />
To American Millionaires. By James Milne.<br />
Dickens as Artist or Genius and The Cry of “Art for<br />
Art’s Sake.” By Brimley Johnson,<br />
<br />
THE AUTHOR.<br />
<br />
CHAMBERS’ JOURNAL.<br />
<br />
Unpublished Letters to Wm. Hunter. Edited by Victor<br />
G. Plan.<br />
<br />
Literary Elbow-Grease.<br />
<br />
Notes and News from a Diary.<br />
<br />
CONTEMPORARY REVIEW.<br />
<br />
An Agnostic’s Progress. By Wm. Scott Palmer.<br />
<br />
The Bankruptey of Higher Criticism. By Dr, Emil<br />
Reich.<br />
<br />
Chopin. By A. E, Keeton.<br />
<br />
CORNHILL.<br />
<br />
Mayfair and Thackeray. By The Right Hon, Sir<br />
Algernon West, G.C.B.<br />
<br />
An Early Victorian Tale. By A. H.S.<br />
<br />
“ Judge’s Writ.” By Viscount St. Cyres.<br />
<br />
From a College Window.<br />
<br />
FORTNIGHTLY REVIEW.<br />
<br />
Of Our Anxious Morality. By Maurice Maeterlinck.<br />
<br />
Nero in Modern Drama. By J. Slingsby Roberts.<br />
<br />
Pepys and Shakespeare. By Sidney Lee.<br />
<br />
Notes on the History and Character of the Jews. By<br />
Laurie Magnus.<br />
<br />
The Sportsman’s Library : Some Sporting Books of 1905,<br />
<br />
Fiona Macleod : A Sonnet. By Alfred Noyes,<br />
<br />
INDEPENDENT REVIEW.<br />
<br />
Mr. Swinburne and the Sea. By C. C. Michaelides.<br />
A Note on Mr. Bernard Shaw. By G. K. Chesterton.<br />
The Author of “Ionica.” By Herbert Paul.<br />
<br />
The Teaching of Reynolds. By Laurence Binyon.<br />
Walt Whitman. By F. Melian Stawell.<br />
<br />
MACMILLAN’S MAGAZINE,<br />
<br />
An American Rhode’s Scholar at Oxford By Stanley<br />
Royal Ashby,<br />
Monru.<br />
By The Rev. C. Lattey,<br />
<br />
A Philosophy of Religion.<br />
By The Rev. Herbert<br />
<br />
The Marriage of Mrs. Fitzherbert.<br />
Thurston.<br />
MONTHLY REVIEW.<br />
Relics. By Eveline B. Mitford.<br />
Among the Felibres in Provence.<br />
Maude.<br />
<br />
By Constance E.<br />
<br />
NATIONAL REVIEW.<br />
<br />
Sparks from the Anvil or Thoughts of a Queen. By<br />
H.M. The Queen of Roumania (Carmen Sylva).<br />
The Uses of History. By St. Loe Strachey.<br />
<br />
NINETEENTH CENTURY.<br />
<br />
The Antagonism of the Prophet and the Priest, By G.<br />
Monroe Royce.<br />
<br />
Stafford as a Letter Writer. By Lady Burghclere.<br />
<br />
The Tragedy of Kesa Gozen. By Yei Theodora Ozaki,<br />
<br />
Lafcadio Hearn. By Nina K, Kennard.<br />
<br />
PALL MALL MAGAZINE.<br />
A Painter of French and American Society: An Hour<br />
with M. Théobald Chartran. By Frederic Lees.<br />
TEMPLE BAR,<br />
<br />
Vladimir Korolenko. By G.H. Perris.<br />
Sea Songs. By John Masefield.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
———_— +<br />
<br />
agreement. There are four methods of dealing<br />
<br />
cy Hx are a few standing rules to be observed in an<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
pbiained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
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 />
lothe author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright,<br />
<br />
——_+——_+—____<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—<br />
EVER sign an agreement without submitting it to the<br />
c 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 />
THE AUTHOR.<br />
<br />
145<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory, An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (}.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event, It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced,<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11, An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
———+—__——_<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—-——9——<br />
<br />
assistance of producers of books and dramatic<br />
<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
I ITTLE can be added to the warnings given for the<br />
<br />
<br />
146<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
——<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
VIEERY member has a right toask for and to receive<br />
<br />
4) advice u pon his agreements, his choice of a pub-<br />
<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of tlie Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion, All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. ‘Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers, (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) I'o enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
8. Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 is. per<br />
annum, or £10 10s. for life membership.<br />
<br />
THE AUTHOR.<br />
<br />
TO MUSICAL COMPOSERS.<br />
cn!<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamips are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble,<br />
<br />
<><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. ‘ihe 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 />
I the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for “The Author” should be addressed<br />
to the Ottices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. very 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 />
Ss<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
——>— + —_<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
<br />
be obtained from this society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—<br />
<br />
In the last number of Zhe Author we printed<br />
some comments on the haif-profit agreement.<br />
Another disadvantage that may arise from a<br />
half-profit agreement occurs in the following cir-<br />
cumstancesi:—The publisher goes bankrupt when<br />
there is a deficit against the book of, say, £100.<br />
All the publisher’s rights in the contract and the<br />
remaining stock are purchased by another publisher<br />
for a paltry sum of, say, £15. The new publisher<br />
proceeds to put the remaining stock on the market,<br />
and, perhaps, realises from the sales £50 to £60.<br />
On the author demanding a statement of account<br />
he is met with the deficit of the £100 against his<br />
book, which the new publisher is legally entitled<br />
to charge, so that although there is no profit to<br />
the author—in fact, the accounts still show a<br />
deficit against the book of £50 or £60—yet the<br />
new publisher has, in reality, made a profit of £45<br />
or £35, and in consequence a good bargain. Such<br />
a position could not possibly occur in the case of<br />
a royalty agreement.<br />
<br />
THERE is another form of agreement equally<br />
unsatisfactory, which must be mentioned. Certain<br />
letters pass between author and publisher, then<br />
the author asks for a formal agreement. The<br />
publisher, in the pride of his position, refuses to<br />
forward a formal agreement, as he states it is the<br />
custom of his house not to do so; their letters<br />
make a binding contract. This statement, no<br />
doubt, is absolutely true. The letters are excellent<br />
examples of caligraphy, but not of legal documents.<br />
If the publisher has been exceedingly exact in the<br />
form which his letters take, and has set out all the<br />
points of which an author is usually ignorant, and<br />
if the series of letters is not too long, then, well<br />
and good; but these conditions are never fulfilled.<br />
In the letters which have come before the secretary<br />
—they are not infrequently placed before him—<br />
the omission of so many items which should have<br />
been inserted in the difficult contract of publica-<br />
tion make the letters, although, no doubt, binding,<br />
altogether unsatisfactory from the point of view of<br />
a definite contract, As we have pointed out<br />
again and again, what is wanted in a contract is<br />
finality. The author may get the better of the<br />
publisher, or the publisher, as sometimes happens,<br />
may get the better of the author; but if the con-<br />
tract is clear and binding, both parties will be held<br />
to abide by the legal position. There may be<br />
grumbling, but there will be no necessity for the<br />
intervention of the Society of Authors.<br />
<br />
A CERTAIN publisher who, by his methods of<br />
dealing with literary property, and by his form<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
147<br />
<br />
of agreement, has, on many occasions, given<br />
trouble to members of the society, is in the habit<br />
of placing before those members who enter into<br />
negotiations with him, a fixed form of agreement.<br />
On the member desiring an alteration in some<br />
of the clauses which it contains, he has openly<br />
stated in writing that this is the form of agree-<br />
ment signed by all his authors. This, however,<br />
is not the case, although the statement has, on<br />
some occasions, had the result of inducing young<br />
authors to sign very unsatisfactory clauses. ‘To<br />
this method of dealing he has now added a further<br />
statement to the effect that this fixed form of<br />
agreement is not only signed by all his authors,<br />
and therefore as unalterable as the laws of the<br />
Medes and the Persians, but that it is the same<br />
agreement as is signed by Mr. He mentions<br />
an author of world-wide reputation who, we<br />
regret to state, is dead, and therefore unable to<br />
answer for himself. From this it is clear either<br />
that Mr. was very ill-advised in signing the<br />
agreement, or that the publisher has seen fit to<br />
deviate from the truth. It cannot be possible,<br />
surely, that this latter deduction is correct ?<br />
<br />
We put the following statement before members<br />
of the society, and ask them to consider the<br />
position from their own point of view.<br />
<br />
This author of world-wide reputation is asked to<br />
sign an agreement by which he is forbidden to<br />
translate or dramatise his work without the con-<br />
sent of the publisher; by which serial and<br />
Colonial rights are left to the publisher to negotiate,<br />
and, under the special agreement we refer to, yield<br />
half the returns to the publisher. These two<br />
points alone will give those members who care to<br />
investigate the circumstances food for consideration.<br />
<br />
<br />
<br />
<br />
<br />
THERE is a similar case which this method of<br />
quoting well-known authors as signatories to<br />
agreements calls to mind.._A publisher contem-<br />
plates the production of a series of books, and<br />
in order to start the series, finds a gentleman of<br />
great distinction in his special line of thought,<br />
but ignorant of the commercial value of literary<br />
property. The publisher enters into an agreement<br />
with him to open the series, and pays him a<br />
ridiculously low figure. ‘The publisher then goes<br />
round to others, from whom he desires volumes for<br />
the series, and on their specifying to the publisher<br />
the terms they are willing to accept, they are met<br />
by the dead weight ahead of the publisher's reply,<br />
that Mr, So-and-so is going to open the series ; that<br />
these are the terms he has accepted; and that it<br />
is impossible to give other writers higher terms<br />
than these. The unfortunate writer has, accord-<br />
<br />
ingly, to consider whether he will accept totally<br />
inadequate, terms or miss the opportunity of<br />
148<br />
<br />
appearing in the series. We do not in any way<br />
desire to cast a slur on those specialists who accept<br />
inadequate terms, as first, no doubt they are<br />
ionorant of the value of their work on the literary<br />
inarket, and secondly, their knowledge of the<br />
subject makes the work exceedingly easy to them,<br />
and they forget for the moment the years of<br />
experience and hard work which has given them<br />
the power to carry out such a contract without<br />
much effort. These two instances are no imaginary<br />
instances, but have come not infrequently to the<br />
society’s office for explanation.<br />
<br />
We should like to mention one further point<br />
dealing with the question of agreements. In the<br />
March (1904) issue of Zhe Author we printed<br />
a certain agreement with full comments. The<br />
heading of the article was “ Mr. Absolute’s Agree-<br />
ment.” It is with considerable regret that we<br />
find that “ Mrs. Absolute ” is now placing the same<br />
form of agreement before those authors for whom<br />
she desires to publish.<br />
<br />
Mr. W. H. Witkins, whose last book ‘“ Mrs.<br />
FitzHerbert and George IV.,”’ published by Messrs.<br />
Longmans & Co., is having such a large sale, died<br />
at the end of last year. Mr. Wilkins had been a<br />
member of the society for many years and had<br />
taken active interest in its work.<br />
<br />
He has been kind enough, by his will, to leave<br />
£50 to the pension fund of the Society of Authors.<br />
This is the first legacy the pension fund has<br />
received, though, no doubt, after the fund shall<br />
have endured for some years, such donations will<br />
come to increase the amount standing to its credit.<br />
<br />
ei 9<br />
<br />
SOME CANADIAN WRITERS.<br />
<br />
—<br />
Part IJ],—Prosz WRITERS.<br />
<br />
PYFNUE first novel written in Canada was “ The<br />
History of Emily Montague.” It was the<br />
work of Mrs, Frances Brooke, the wife of<br />
<br />
an army chaplain who was stationed at the<br />
<br />
garrison of Quebec, soon after the great battle<br />
of the Plains of Abraham in 1759, when the<br />
sovereignty of Canada passed from France to<br />
<br />
England. Mrs. Brooke appears to have written<br />
<br />
. her novel in 1766, or thereabout. She was the<br />
<br />
daughter of a clergyman named Moore, and the<br />
<br />
title-page informs us that she had written a previous<br />
story entitled, “ Lady Julia Mandeville.” ‘ Emily<br />
<br />
Montague” was written in the style of a flighty<br />
<br />
girl, a worshipper of wealth and fashion, and is in<br />
<br />
the form of a great number of letters written<br />
<br />
THE AUTHOR.<br />
<br />
by the different characters to one another,<br />
Although, after the fashion of the time, the<br />
agonies and trials of Emily are spread out over<br />
four volumes, it is worth while for the student<br />
of Canadian history to wade through them on<br />
account of the lively impression they give of<br />
contemporary manners, customs, and amusements.<br />
<br />
Mrs. Brooke’s story was a lonely star in the<br />
firmament of Canadian literature, and in the first<br />
half of the nineteenth century, with a few bright<br />
exceptions, little was done in the way of writing.<br />
In 1840 Mrs. Ethelind Sawtell came before the<br />
Canadian world of letters with “The Mourner's<br />
Tribute: or Effusions of Melancholy Hours,”<br />
two hundred and seventy-two pages of them;<br />
while evidence of the attention paid to the<br />
youthful mind is found in the title of that juvenile<br />
work, “Every Boy’s Book: or, a Digest of the<br />
British Constitution,” which was published at<br />
Ottawa in 1842, “The Adopted Daughter : or,<br />
The Trials of Sabra,” published twenty years after-<br />
wards, seems to have struck a responsive chord,<br />
since it ran into two editions. That the aboriginal<br />
inhabitants of the country were not neglected is<br />
proved by two books printed in Toronto respec-<br />
tively in 1846 and 1850. The first of these was<br />
entitled : ‘ Shahguhnahshe ahnuh - meahwene<br />
muzzeneegun ojibwag anwawand azheuhnekeno-<br />
otahbeegahdag,”’ and it shows that the Toronto<br />
printers of that day were not behind their brethren<br />
of the same city of to-day in all-round capability,<br />
particularly as the volume (it was a prayer book),<br />
ran into four hundred and seventy pages.<br />
<br />
Major John Richardson, of Upper Canada (now<br />
Ontario), a soldier and, as he says on the title page<br />
of one of his stories, “ Knight of the Military<br />
Order of St, Ferdinand,” has been called by some<br />
the Fenimore Cooper of Canada. The same<br />
people say that his best work was ‘‘ Wacousta.”<br />
This was an historical novel of the time of Pontiac,<br />
and the scene of it is laid chiefly in Detroit. It<br />
was followed by a sequel called “The Canadian<br />
Brothers.” Richardson also wrote a poem on<br />
Tecumseh, the great Indian ally of the British in<br />
the war of 1812.<br />
<br />
Down in the Maritime Provinces, however,<br />
which have the reputation of having always pro-<br />
duced more intellectual people in proportion to<br />
population than any other part of Canada, a<br />
“bright occidental star” had arisen in the person<br />
of Judge Haliburton—the subsequent creator of the<br />
renowned “Sam Slick’”—whose “ Historical and<br />
Statistical Account of Nova Scotia,” in two con-<br />
siderable volumes, was published at Halifax in 1829.<br />
On the title page of these interesting volumes,<br />
which in their day did much to make Nova Scotia<br />
and its great resources known to the world, the<br />
author is deseribed .as ‘Thomas ©, Haliburton,<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Esq., Barrister-at-Law, and Member of the House<br />
of Assembly of Nova Scotia.” The first series<br />
of “The Clockmaker,” in which are recorded<br />
the adventures and opinions of Samuel Slick,<br />
of Slickville, appeared in The Nova Scotian in<br />
1835 and 1836. It was published in book form in<br />
Halifax and Londonin 1837. Afterwards followed<br />
—with the same theme—“ The Attache,” “ Wise<br />
Saws,” and “ Nature and Human Nature.” There<br />
are two other works, “The Letter-Bag of the<br />
Great Western,” and ‘‘The Bubbles of Canada,”<br />
which purport to be written by the redoubtable<br />
Sam. Haliburton’s last historical work was “ Rule<br />
and Misrule of the English in America,” which was<br />
published in 1851. In 1858 and 1859 he contri-<br />
buted a series of acute articles, entitled “The<br />
Season Ticket,” to the Dublin University Magazine.<br />
They are, ostensibly, a collection of remarks and<br />
narrations by a Mr. Shegog, who has a season<br />
ticket on an English railway.<br />
<br />
No writer has at present arisen in Canada who for<br />
calibre, breadth of view, keen insight, observation,<br />
and humour can begin to supplant Haliburton in his<br />
premier position among native writers. in his<br />
day he did more to make eastern Canada known—<br />
and intimately known—than any score of his con-<br />
temporaries. He was one of the first of our<br />
imperialists, and British readers were naturally<br />
attracted not only by his genius and humour as a<br />
writer, but by his unmistakable attachment to<br />
England.<br />
<br />
Mrs. Catherine Parr Trail, a writer of much<br />
merit and a relative of Agnes Strickland’s, author<br />
of “The Queen’s of England,” made the best of<br />
her experiences as a settler in Canada. She was<br />
an ardent naturalist, and possessed abundant<br />
kindliness and common sense. Her ‘ Female<br />
Emigrant’s Guide,” which was published in 1854,<br />
was very popular, and her “Canadian Settlers<br />
Guide,” ran into half-a-dozen editions. Her last<br />
book was published in 1894, and was entitled<br />
“Pearls and Pebbles: or, Notes of an old Natura-<br />
list.”<br />
<br />
Professor James De Mille, who was born in<br />
New Brunswick in 1836, and died in Halifax in<br />
1880, besides being a writer of occasional verse,<br />
was a prose author in several kinds.<br />
<br />
He wrote a religious novel called ‘ Helena’s<br />
Household: a Tale of the First Century,” which<br />
was very popular in “the sixties” both in the<br />
United States and in England. It is a very good<br />
example of that kind of work, and abounds in<br />
glowing ideas and thoughtful passages. It is<br />
possible that in his next book, ‘‘ The Dodge Club<br />
Papers,” he was influenced both by Dickens and<br />
by Haliburton, but he cannot therein be regarded<br />
as an imitator. In a succeeding book, “Cord and<br />
Crease,” he describes a typical Yankee journeying<br />
<br />
x<br />
<br />
149<br />
<br />
abroad, and in it he evidently grows the flower<br />
for which Haliburton had provided the seed.<br />
Mr. De Mille took high rank in his day as a<br />
writer of essays, and produced, in all, about forty<br />
books. At about the same time Miss Louisa<br />
Murray, of Ontario, wrote a capital serial story<br />
entitled “The Settlers of Long Arrow,” which<br />
appeared in 1861, in Once a Week, and on which<br />
the British press bestowed high praise. She also<br />
contributed stories both to United States and<br />
Canadian periodicals.<br />
<br />
William Kirby, the author of the most cele-<br />
brated of Canadian novels, “ Le Chien D’Or,” was<br />
born in England in 1817. He is consequently a<br />
veteran verging towards ninety, but by the last<br />
accounts he is still able to take an interest in<br />
life at his quiet home in Niagara where he has<br />
resided for many years, and where for thirty-four<br />
years he was Collector of Customs, retiring from<br />
that post in 1895. He appeared before the public<br />
in the first instance as a poet, with an epic poem,<br />
entitled “The U.E.” (United Empire) consisting<br />
chiefly of a series of historical tableaux, studded<br />
with portraits of loyalist personages. His master-<br />
piece, “ The Golden Dog,” was first published in<br />
1877, at Montreal. But although the reviews of<br />
<br />
the work were exceedingly flattering, the sales<br />
So inadequate were they<br />
<br />
were far from being so.<br />
indeed that the author reaped next to nothing in<br />
the way of financial return from the book which is:<br />
destined to live as one of the most noteworthy in<br />
Canadian literature. A second edition was published<br />
in Boston in 1896, and there has been something<br />
like a renaissance of this admirable work.<br />
<br />
It has been complained by some critics that<br />
Kirby’s style, in some parts of this great novel,<br />
is diffuse, and lacking in movement. But it<br />
will be confessed by all, that there is in it a<br />
dignity, a marvellous drawing of character, and a<br />
mastery of all the strings of its artistic plot that<br />
give it a high place among important works of<br />
fiction. It has already proved its inherent vitality<br />
by the failure of time permanently to bury it; by<br />
a resurrection in new and eagerly called-for<br />
editions after twenty years of comparative neglect;<br />
and by its new and successful appeal to a second<br />
generation of judges.<br />
<br />
As a rule, at the present time, Canadian authors<br />
who desire a more extended market, have to<br />
make arrangements with United States or British<br />
publishing houses. Canadian publishers then<br />
borrow the electrotype plates, on a royalty basis,<br />
and print from these a “Oanadian copyright<br />
edition,” or they import the work in ready-printed<br />
sheets, bind them up, and put them into circula-<br />
tion. Among the earlier Canadians who took<br />
advantage of the more recent mode, was Miss Lily<br />
A. Dougall, of Montreal, who in her novel, ‘‘ What-<br />
<br />
<br />
150<br />
<br />
Necessity Knows,” and in others of equal note,<br />
has shown conspicuous literary ability and grasp<br />
of character. Her literary training was Canadian,<br />
and it is from her native soil that she derives her<br />
original literary impulse.<br />
<br />
Tn his fine novel, “The False Chevalier,” and in<br />
other stories, Mr. W. B. Lighthull has shown an<br />
intimate acquaintance with French-Canadian _his-<br />
tory, and has vividly delineated the period of which<br />
he writes. He has also rendered good service to<br />
the cause of natural literature.<br />
<br />
In his self-reliance, his great industry, and his<br />
determination to make the best of the mental outfit<br />
with which Providence has provided him, and in a<br />
certain adventurous courage, Sir Gilbert Parker is<br />
very typical of the Canadian young man, and<br />
Canadians are proud of the position which his<br />
special genius, added to the qualities which his<br />
country breeds, has enabled him to attain. He<br />
was one of the first to take advantage of the condi-<br />
tions of the field occupied by the modern novel,<br />
and nothing better illustrates the contrast between<br />
those conditions and the previously existing ones<br />
than a comparison between the reception accorded<br />
to the 1877 Montreal edition of Kirby’s “ Golden<br />
Dog” and that which was received, for instance,<br />
by “ When Valmond came to Pontiac,” or “The<br />
Seats of the Mighty,” eighteen or twenty years<br />
afterwards, when they were started on their career<br />
by London and New York publishing houses. Sir<br />
Gilbert’s work is so well known in England that I<br />
shall not carry coals to Newcastle by attempting<br />
any extended review of it here. His most success-<br />
ful books have, in my opinion, been those with<br />
Canadian themes, and he has done much to awaken<br />
interest in the history of what was so well called<br />
New France, while his portrayal of French-Canadian<br />
character is firm and accurate.<br />
<br />
Among the story-writers who have so success-<br />
fully exploited the field of what may be called<br />
psychologic zoology there are few who will not<br />
acknowledge that the first who ever burst into that<br />
well-explored region of jungle, forest and prairie<br />
was a Canadian. ‘The first of these stories, with<br />
animals instead of human beings for heroes and<br />
heroines, so numerous now, appeared in a New<br />
York magazine. It was written by Ernest<br />
Thompson-Seton, a Canadian from his childhood,<br />
and a man in every way fitted to write the interest-<br />
ing series of books that have appeared from his<br />
pen. In “ Wild Animals I Have Known,” and in<br />
his other stories, Thompson-Seton had only to<br />
accentuate with an inventive touch his experiences<br />
as field naturalist for the Government of Manitoba,<br />
and his adventures in the wilds of North-western<br />
Canada. It was asa painter that he first displayed<br />
his abilities, and his vigorous illustrations add<br />
much to the charm of his popular books, . In the<br />
<br />
THE AUTHOR.<br />
<br />
stories of the animal kind that C. G. D. Roberts<br />
has given us, and to which allusion has already<br />
been made, there is perhaps a superior literary<br />
flavour, and scarcely less of poignant interest.<br />
W. A. Fraser is another well-known and successful<br />
Canadian writer who has turned aside from hig<br />
chosen path of stirring stories of action and<br />
breathless adventure to humanize the buffalo and<br />
to make us weep at the intellect and sentiment of<br />
the dog ; while Miss Marshall Saunders, although<br />
the writer of many bright and clever books, is best<br />
known by her “ Beautiful Joe,” a humane work<br />
which has been translated into a number of foreign<br />
languages, and has been in itself a whole Society<br />
for the Prevention of Cruelty to Animals. If our<br />
Canadian poets have celebrated our flora, our<br />
writers of fiction have lifted our fauna to a position<br />
of eminence such as has never been occupied by<br />
members of the brute creation since their ancestors<br />
left Noah’s Ark.<br />
<br />
There have been other Canadian writers besides<br />
Kirby, Gilbert Parker and W. H. Drummond who<br />
have turned to the French-speaking province of the<br />
Dominion for their material. William McLennan<br />
obtained a perfect knowledge both of French-<br />
Canadian dialect and character. H.W. Thompson,<br />
in his “ Old Man Savarin and Other Stories,” dis-<br />
plays much skill in depicting character and much<br />
synipathetic insight ; Henry Cecil Walsh, in a<br />
volume of stories entitled “ Bonhomme,” is not 80<br />
pronounced in dialect, but is equally true in<br />
character-sketching. Mrs. 8. Frances Harrison,<br />
both in her book of poems entitled “‘ Rose and<br />
Fleurs de Lis” and in her “ Forest of Bourg-<br />
Marie,” has given evidences of very accurate<br />
observation of the people of Quebec and the<br />
scenery that surrounds them, and also of the<br />
possession of great literary skill and story-telling<br />
capacity.<br />
<br />
We have already seen how, sixty years ago, the<br />
British Constitution was supposed to be suitable<br />
literary pabulum for every boy. Many readers of<br />
these lines will have a grateful memory of a<br />
voluminous writer for boys who thought differently<br />
—J. Macdonald Oxley. He belongs by birth to<br />
<br />
our maritime provinces, and in his time was dux<br />
<br />
of the Halifax Grammar School. He has done<br />
much good literary work besides that in the<br />
juvenile department, his pen having borne prolific<br />
fruit in all the principal magazines ; but it is as a<br />
provider of sound, manly, wholesome fiction for<br />
boys, most of it with Canadian themes, that I<br />
introduce him here. :<br />
<br />
Sara Jeanette Duncan (Mrs. Cotes), author of —<br />
“A Social Departure,” “An American Girl in ~<br />
London,” ‘The Path of a Star,’ and other —<br />
stories, is Canadian born, and is well remembered<br />
as a- brilliant member of the staff of a: Toronto<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
newspaper. Her freshness of conception, her buoyant<br />
humour, and her excellent literary craftsmanship,<br />
have been very widely appreciated. Agnes C. Laut<br />
is another Canadian woman-journalist who has<br />
achieved fame in the particular section of the book<br />
world of which I am writing. Her ‘‘ Lords of the<br />
North” gives a vivid picture of the region of<br />
Canada which was the field of the operations of the<br />
Hudson’s Bay Company and its great rival, the<br />
North-West Company, while her “ Pathfinders of<br />
the North-West” attacks existing allotments of<br />
fame with a vigorous and unflinching hand.<br />
Among those who have commemorated the far<br />
west of Canada in books are Clive Phillips-Wolley,<br />
Lily A. Lefevre, Julia Henshaw, D. W. Higgins<br />
(late Speaker of the British Columbia Legislature),<br />
and “ Ralph Connor ” (Rev. C. W. Gordon). The<br />
last-mentioned of these is well known through very<br />
large editions of “ Black Rock,” “ The Sky Pilot,”<br />
“The Man from Glengarry,” and others, both<br />
throughout this Continent and on the other side of<br />
the Atlantic. His powerful descriptions of the<br />
lumber-camp, the mine, and the prairie, and his<br />
great moral force, appeal to larger audiences than<br />
it has been the lot of any other Canadian author to<br />
address.<br />
<br />
I have come to the end of the space at my dis-<br />
posal. I have endeavoured to give some idea of<br />
the work of Canadian authors in poetry and fiction,<br />
but I have no intention of attempting to construct<br />
a Canadian Academy-Pantheon out of the forty<br />
names I have mentioned. I would rather imitate<br />
the Japanese commander and say that if this army<br />
be demolished I can bring up another forty to take<br />
its place immediately. For I am conscious that<br />
there are many valiant and skilful writers that J<br />
have not been able to parade. Heavy guns of<br />
history we have, too, and a theological phalanx,<br />
besides a small but very admirable corps of skir-<br />
mishing essayists, not to mention our more than a<br />
corporal’s guard of able and veracious biographers.<br />
<br />
Bernarp McEvoy.<br />
<br />
——___+—>_+—___—_<br />
<br />
ANTHONY TROLLOPE.<br />
<br />
— ++<br />
IJ. Toe Novetistz.<br />
<br />
HAT action there is in the trilogy, “The<br />
<br />
V Warden,” “ Barchester Towers,” and<br />
“The Last Chronicle of Barset ’—and it<br />
<br />
is but little—takes place in the quiet ancient close<br />
of Barchester Cathedral. But, as compensation,<br />
there is a great gallery of portraits. The gentle<br />
Bishop Grantly is reverently portrayed, and is<br />
admirably contrasted with his son, the Archdeacon,<br />
energetic and overbearing. In “Ihe Warden ”’ the<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
151<br />
<br />
latter is unsympathetic; but further acquaintance in<br />
the next book renders him more acceptable, and when<br />
<br />
he is opposed to the crafty Slope his faults become<br />
<br />
virtues: eyen at his worst, the Archdeacon is a<br />
<br />
gentleman. The hen-pecked Bishop Proudie is a<br />
<br />
poor creature, under the thumb of his wife, who<br />
<br />
recalls inevitably the Mrs. Caudle of the “ Curtain<br />
<br />
Lectures.” Trollope loved to introduce the charac-<br />
<br />
ters of one book into the others, and the reader<br />
<br />
may meet in many a volume with the Duke of<br />
Omnium, the De Courcys, Doctor Thorne, Miss<br />
<br />
Dunstable, and the Proudies among others. The<br />
<br />
author only killed Mrs. Proudie after overhearing<br />
<br />
a conversation between two clergyman at the<br />
<br />
Atheneum Club, who, discussing the books, and<br />
<br />
especially this character, remarked that they would<br />
<br />
not write novels at all unless they could invent new<br />
<br />
figures. ‘Then Trollope went home and killed the<br />
<br />
bishop’s wife; but he regretted her to the end of<br />
his days.<br />
<br />
Trollope rarely indulged in the luxury of any<br />
but the very slightest plot. ‘The Warden” and<br />
“ Barchester Towers” have but the merest thread<br />
of story, and digressions are frequent. In the<br />
former is dragged in a somewhat ill-natured<br />
parody of Carlyle, who is re-christened Anticant ;<br />
and a reference to Dickens, who figures as Mr.<br />
Popular Sentiment ; while many pages are devoted<br />
to a disquisition upon the influence of the press,<br />
which would be more in place in an essay. In the<br />
latter the description of the sports at Ullathorne,<br />
and the desires of the Lookalofts to take precedence<br />
of the Grenacres are amusing enough, but they<br />
irritate because they needlessly stop the action<br />
of the tale. In ‘Doctor Thorne” he overcame<br />
this fault. He had a more concise tale to unfold—<br />
it was suggested by his brother Adolphus—and with<br />
the exception of the Duke of Omnium’s dinner-<br />
party there is no ground for such a complaint;<br />
which may account for the fact that, in his lifetime<br />
at least, this was the most popular of his stories.<br />
With ‘Doctor Thorne” Trollope also took a<br />
broader canvas, and added to the scenes of clerical<br />
life the humours of county society.<br />
<br />
But if he rarely had a plot, he often had a<br />
purpose, “I have ever thought of myself as a<br />
preacher of sermons, and my pulpit as one which<br />
I could make both salutary and agreeable to my<br />
audience.” He realised that it was the first duty of<br />
the novelist to be readable, and he never allowed<br />
his sermon to interfere with the story. The<br />
strongest theme he ever introduced is in “The<br />
Vicar of Bullington,” where he introduced a girl<br />
to whom he refers—to save ears polite—as a<br />
castaway. How is the woman to return to decency<br />
to whom no decent door is opened, is the problem<br />
he put before his readers? He held that what was<br />
<br />
sauce for the gander should be sauce for the goose,<br />
<br />
<br />
<br />
<br />
152<br />
<br />
in so far at least, that while the fatted calf is killed<br />
for the prodigal son, pardon should not be withheld<br />
for the erring daughter. In ‘‘ The Way We Live”<br />
he tilted against commercial profligacy ; and having<br />
taken: in hand the satirist’s whip, he turned it<br />
against girls who sunk their self-respect in their<br />
eagerness to secure husbands, young men who<br />
were too selfish to abate a single luxury for the<br />
sake of matrimony, and against the puffing pro-<br />
pensities of authors. Elsewhere he had a word to<br />
say of mothers who would not nurse their children,<br />
and he indulged in quiet raillery when he raised<br />
the question of doctors’ etiquette. But he was no<br />
satirist. His method lacked delicacy; he used<br />
the bludgeon instead of the scalpel. He was at<br />
his best when exposing the shams of society, and<br />
castigating arrogance, undue pride of race, and<br />
snobbishness generally, which he did as fervently,<br />
though not so humourously, as Thackeray. He<br />
endeavoured to make vice repellent and virtue<br />
attractive, and to secure the reader’s affection for<br />
the good, the beautiful, and the true.<br />
<br />
Trollope never troubled about novel situations<br />
or dramatic effects. As often as not there is no<br />
denouement ; and he was quite indifferent to the<br />
advantage that might accrue from the preservation<br />
of some ignorance as to the ending of the tale. If<br />
a book was not good enough to be independent of<br />
mystery, which could always be solved by a glance<br />
at the last chapter, why then, in his opinion, it was<br />
worthless. The result of this feeling caused him<br />
often to interrupt the narrative to assure the<br />
reader that all would be well in the end, and that<br />
the heroine would not marry A., the fortune-hunter,<br />
or B., the unworthy, but C., who was her affinity.<br />
This naturally weakened the interest that otherwise<br />
might be felt for the lady. But Trollope was<br />
perhaps never entirely at his ease with his lovers.<br />
In “The Warden,’ where the love interest is<br />
between Bold the reformer and Eleanor Harding,<br />
the figures are not very real ; and in “ Barchester<br />
Towers,” where Eleanor reappears as a widow, it<br />
is not easy to be very anxious about her admirers.<br />
The affairs of sweet Lucy Mary Thorne and Frank<br />
Gresham, and Lord Lufton and Lucy Robarts, are,<br />
however, a marked improvement.<br />
<br />
Trollope did not take for his province the<br />
matters of life and death. He was pre-eminently<br />
a chronicler of small-beer ; and he was at his best<br />
when dealing with such trifles as the appointment<br />
to a deanery or a wardenship and the consequent<br />
intrigues. His humour found its most pleasing<br />
field when describing such scenes as those which<br />
constitute the duel between Mrs. Proudie and the<br />
crafty Slope for the control of the bishop. His<br />
favourite devices were the pursuit of an heiress by<br />
impecunious admirers, and the courtship of a maid<br />
of comparatively low degree by the squire or the<br />
<br />
THE AUTHOR.<br />
<br />
lord of the manor. These he introduced. into more<br />
than one story.<br />
<br />
For the most part his characters are of flesh and_<br />
blood. He presented neither devils nor saints;<br />
and, if he had a weakness for heroines, his heroes<br />
were rather poor creatures. His bad men were<br />
Slope, Henry Thorne, Sir Roger Scatcherd and his<br />
son, Louis Philippe. It cannot be said that he<br />
was as successful with his good young men. They<br />
were as unstable as water; and their hearts were<br />
so little under control that they flitted from girl to<br />
girl, even after they had to all intents and purposes<br />
plighted their troth. His girls were better drawn:<br />
Lucy Robarts, Kate Woodward, and Mary Thorne,<br />
charming: creatures all; and excellent, too, is<br />
Griselda Grantly, who when she hears from her<br />
mother that, at the eleventh hour, her marriage<br />
may be broken off, remarks placidly, ‘Then,<br />
mamma, I had better give them orders not to go<br />
on with the marking.” He was happier still with<br />
his elder men. Archdeacon Grantly has already<br />
been mentioned ; and Harding, whom Trollope pre-<br />
sented confidently to the reader, “not as a hero,<br />
not as a man to be admired and talked of, not as<br />
a man who should be toasted at public dinners<br />
and spoken of with conventional absurdity as a<br />
perfect divine, but as a good man without guile,<br />
believing humbly in the religion which he had<br />
striven to teach, and guided by the precepts which<br />
he had striven to learn.” A fine fellow, Harding,<br />
and a credit to his cloth. Admirable, too, was<br />
Doctor Thorne, with his loving, trusty heart, and<br />
almost womanly tenderness ; but somehow it seems<br />
wrong to have married him to Miss Dunstable.<br />
But then Trollope wanted everybody to be happy<br />
at the end of the last chapter of the last volume.<br />
The author’s favourite was Plantagenet Palliser :<br />
“Tf he be not a perfect gentleman, then am I<br />
unable to describe a gentleman.” Plantagenet is<br />
all that is claimed for him; but the greatest<br />
character in all the books is the Rev. Mr. Crawley,<br />
who ranks with the best creations of modern<br />
fiction. This unhappy gentleman, whose pride<br />
prevents him, owing to his poverty, from associat-<br />
ing with his equals, and who is anxious only to<br />
hide from the world the barrenness of his house-<br />
hold. At last, when his wife falls ill, he is com-<br />
pelled to allow the aid of his friends ; and at the<br />
end, when his pride is conquered, he thanks Lucy<br />
Robarts for all she has done, he seems to reach<br />
the level of some great patriarchal figure of old.<br />
“May God Almighty bless you, Miss Robarts.<br />
You have brought sunshine into this house, even<br />
in the time of sickness, when there was no sun-<br />
shine ; and He will bless you. You have been the<br />
Good Samaritan, binding up the wounds of the<br />
afflicted, pouring in oil and balm. To the mother<br />
of my children you have given life, and to me you<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
have brought light, and comfort, and good words<br />
—making my spirit glad within me as it has not<br />
peen gladdened before. All this hath come of<br />
charity, which vaunteth not itself, and is not puffed<br />
up. Faith and hope are beautiful, but charity<br />
exceedeth them all.” And, having so spoken,<br />
instead of leading her to the carriage, he went<br />
away and hid himself. There is nothing finer in<br />
Trollope, and perhaps nothing better in English<br />
fiction.<br />
<br />
‘Also he excelled in the presentation of what, in<br />
theatrical parlance, are styled “ character parts,”<br />
such as the Countess de Fourcy, Lady Arabella<br />
Gresham, Lady Lufton, Miss Thorne of Ullathorne,<br />
Martha Dunstable, the Oil of Lebanon heiress,<br />
and Lady Glencora. The latter ranked among the<br />
author’s favourites. “She is by no means a per-<br />
fect lady ; but if she be not all over a woman, then<br />
am I not able to describe a woman.” In this<br />
category comes Mrs. Proudie and Mademoiselle<br />
Neroni ; but the portrait of the latter, an unscru-<br />
pulous coquette, was by no means a success.<br />
<br />
What ‘Trollope said of “Barchester Towers a<br />
may be said of most of his books. “ The story<br />
was thoroughly English. There was a little fox-<br />
hunting and a little tuft-hunting, some Christian<br />
virtue and some cant. There was no heroism and<br />
no villainy. There was much Church, but more<br />
love-making. And it was honest, downright<br />
love.” To this need only be added that some-<br />
times there was a little electioneering.<br />
<br />
Trollope had some pathos and a quiet humour<br />
that vented itself not so much in the dialogue as<br />
in the delineation of the characters. Nor did he<br />
lack tenderness, as all are aware who have read of<br />
Arabin’s courting of Eleanor Bold : “ And now it<br />
remained to them each to enjoy the assurance of<br />
each other’s love. And how great that luxury is!<br />
How far it surpasses any other pleasure which God<br />
has allowed to His creatures! And to a woman’s<br />
heart how doubly delightful! When the ivy has<br />
found its tower, when the delicate creeper has found<br />
its strong wall, we know how the parasite plants<br />
grow and prosper. They were not created to<br />
stretch forth their branches alone and endure<br />
without protection the summer’s sun and the<br />
winter’s storm. Alone they but spread themselves<br />
on the ground, and cower unseen in the dingy<br />
shade. But when they have found their firm sup-<br />
porters, how wonderful is their beauty ; how all-<br />
pervading and victorious! What is the turret<br />
without its ivy, or the high garden-wall without its<br />
jasmine, which gives it beauty and fragrance ?<br />
The hedge without the honeysuckle is but a<br />
hedge. There is a feeling still half existing, but<br />
now half conquered by the force of human nature,<br />
that a woman should be ashamed of her love till the<br />
husband’s right to her compels her to acknowledge<br />
<br />
THE AUTHOR.<br />
<br />
153<br />
<br />
it. We would fain preach a different doctrine. A<br />
woman should glory in her love; but on that<br />
account let her take the more care that it be such<br />
as to justify her glory.”<br />
<br />
As the preceding passage shows clearly enough,<br />
Trollope wrote easily and without strain. But his<br />
style generally was undistinguished. There are<br />
no purple patches, no fine passages of description,<br />
nor are there many scenes which the reader feels<br />
impelled to re-read again and again. He was no<br />
phrase-maker, and epigrams are few and far<br />
between ; but occasionally a page is lit up with a<br />
flash of Disraelian wit. We read of the Duke of<br />
Omnium, who “was very willing that the Queen<br />
should be Queen so long as he was allowed to be<br />
the Duke of Omnium” ; and of the Hon. George<br />
De Courcy, who “ for his part liked to see the people<br />
go quiet on Sundays. The parsons had only one<br />
one day in seven, and he thought they were fully<br />
entitled to that.”<br />
<br />
Trollope’s best books are veritable human docu-<br />
ments, and his scenes are as true to life as his<br />
characters ; while his peers, his county families,<br />
squires, political folk, clergymen, doctors, attor-<br />
neys, civil servants, are so many accurate portraits<br />
of the men and women of the time. Within his<br />
limits he did excellent work ; and the fact that he<br />
was for many years prior to his death the most<br />
popular of English writers of fiction is a tribute<br />
alike to his powers and to the public which had the<br />
discernment to recognise them. He must for ever<br />
rank high among the exponents of English county<br />
life in mid-Victorian times; and the day cannot be<br />
far distant when he will take his place, not perhaps<br />
with the greatest English novelists, but certainly<br />
not far below them.<br />
<br />
Lewis MELVILLE.<br />
——————_1 > _____<br />
<br />
COMMERCIALISATION OF LITERATURE.<br />
es<br />
R. HENRY HOLT, of the firm of Messrs.<br />
Henry Holt & Co., of New York, has<br />
written a very interesting article in the<br />
Atlantic Monthly on “The Commercialisation of<br />
Literature.”<br />
<br />
The article is prompted by “The Confessions of<br />
a Publisher,” a book which was reviewed some<br />
months ago by Mr. Bernard Shaw in these columns,<br />
but though it deals incidentally with the book and<br />
the review referred to, this is not the main object<br />
of the paper. Its title is its own explanation.<br />
<br />
At first it appeared desirable, with the permission<br />
of the Editor, to republish the paper in Zhe Author,<br />
but, as it extends to twenty-three pages of the<br />
review, it would be much too long for the pages of<br />
this magazine. In these circumstances a few<br />
remarks on the contents will serve the purpose.<br />
154<br />
<br />
The article is divided into three parts. Part 1,<br />
<br />
“ Author and Publisher.” Part 2, ‘‘ Publisher and<br />
<br />
Publisher.” Part 3, “ Publisher and the Public,”<br />
<br />
The first part is interesting as containing the<br />
opinions of an American publisher; but its subject,<br />
frequently dealt with in 7'he Author, presents little<br />
that is really fresh, but it may be mentioned that<br />
Mr. Holt takes a very pronounced attitude against<br />
the position of the agent. He says in one place,<br />
“The agent can be very useful in arranging the<br />
business of a few authors popular enough to be<br />
published in both serial and book form in England,<br />
the United States, Canada, and Australia, and<br />
sometimes—occasionally through translations—in<br />
other places, although such business could be as<br />
well, and perhaps better, arranged by a competent<br />
publisher.” ‘This is the publisher’s opinion. The<br />
real facts of the case, as far as English authors<br />
are concerned, have frequently been set forth in<br />
these columns. The publisher is the worst person<br />
to whom to entrust these rights. When he is<br />
entrusted to obtain the United States copyright<br />
he makes an effort—a small effort—through his<br />
United States agent and drops the matter, as it is<br />
very often a better financial business for him to<br />
sell sheets or stereos to the United States market<br />
than to secure the copyright for the author. Over<br />
<br />
and over again this position has been laid before the<br />
<br />
Secretary of the Society, with the same result and<br />
the same dissatisfaction on the part of the author.<br />
Where, as in some cases, the publisher has given<br />
the author sufficient notice of his inability to<br />
obtain the United States copyright, the author has<br />
with business promptitude carried the matter<br />
through himself. The result has generally been<br />
satisfactory. Again, publishers often delay the<br />
publication of a book quite unwarrantably in<br />
order to obtain a serial market for the work, and<br />
their whole method of procedure proves that the<br />
machinery at their offices is unsatisfactory to<br />
obtain this end ; and lastly, publishers charge from<br />
25 per cent. to 50 per cent. for doing this small<br />
agency business, and unblushingly take the sums<br />
which result while they are crying out about the<br />
extravagant charges of agents. The writer<br />
continues : “ Among the first things the literary<br />
agent set himself to do, in London at least, was<br />
to break down the old relations between authors<br />
and publishers, and to make their connection<br />
mainly a question of which publisher would bid<br />
highest.”” We do not know what this “old rela-<br />
tion” may have been—an “old relation” may<br />
sometimes be a nuisance—but here again the<br />
publisher, looking at the matter from his own point<br />
of view, has overlooked the patent fact that if<br />
“the old relations” between publisher and author<br />
had been satisfactory the agent would never have<br />
existed, but the publishers so frequently and on<br />
<br />
THE AUTHOR.<br />
<br />
so many occasions took advantage of the author's<br />
ignorance that it became necessary to have some<br />
business head intervening who could put the<br />
literary wares on the market satisfactorily. The<br />
publishers alone are to blame for the creation<br />
of the agent, and although they may not find hig<br />
methods entirely satisfactory, they must remember<br />
that the position of this middleman is due to<br />
their own fault. The agent may—as in this<br />
imperfect world nothing is perfect—bring his<br />
disadvantages with him—and the publisher may<br />
perhaps suffer more than ghe author; but, as in<br />
all cases of natural evolution, if a part is unneces-<br />
sary it atrophies, if an agent is unnecessary between<br />
the creation of the book and the public demand<br />
for it, he will gradually decay and die out ; but his<br />
continued existence tends to show that he is a<br />
necessity.<br />
<br />
“A literary agent told me that among authors<br />
the feeling is quite frequent that the publisher ig<br />
to be squeezed to the last possible cent. The<br />
agents have not been slow to please their clients<br />
by falling in with this feeling. Between them,<br />
the publisher has lately been treated merely as a<br />
corpus vilum to be exploited for money.”<br />
<br />
Though we can but guess at the meaning of<br />
corpus vilum, it is pleasing to see that at any rate<br />
the publisher has fathomed the lack of gender of<br />
the corpus, although his classical education does<br />
not seem to have carried him further, but if the<br />
agents have experimented on the publisher’s body<br />
again it must appear that the publishers are respon-<br />
sible for the situation. He goes on to talk about<br />
the publisher as “ golden goose,” and ‘‘ who are to<br />
look after the agents?” It is impossible to think<br />
that the old fallacy that the publisher is the “ golden<br />
goose” can still exist, though, of course, here again,<br />
it is not the goose but the egg that is golden—in<br />
this distinction lies the very point of the story.<br />
The ovum of the publisher’s fortune—golden or<br />
not—must come from the author, who is, if the<br />
evidence of many hundreds of contracts goes for<br />
anything, very often the goose, as far as the busi-<br />
ness incidents are concerned. As to the question<br />
of who will protect the author from the agent, in<br />
Great Britain, at any rate, the author has some<br />
kind of safeguard owing to the position of the<br />
Society of Authors, though we regret to say in the<br />
United States no such substantial body exists, able,<br />
to act promptly as legal defenders of the author<br />
and guardian of his property. It is whispered that<br />
this position arises owing to the fact that a great<br />
many of the best-known authors in the United —<br />
States are “in the pockets of the publishers.”<br />
<br />
Finally, the feelings of the publisher are poured —<br />
forth in the following quotation, in which he seems —<br />
to have burst through all restraint and to have<br />
laid bare his heart : me<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“J unhesitatingly say that in carrying his<br />
functions farther”—(this refers to the agent’s<br />
capacity as a lawyer to look over contracts and an<br />
auditor to check the accounts)—“ the agent has<br />
been the parent of most serious abuse, has become<br />
a very serious detriment to literature and a leech<br />
on the author, sucking blood entirely out of pro-<br />
portion to his later services, and has already begun<br />
to defeat himself. These are hard truths, and [<br />
shall probably find it expensive to tell them, but<br />
they need telling, and I am trying to do justice to<br />
the better side of the agent’s activities as well.”<br />
Generous publisher !<br />
<br />
So far the first portion of the article has come<br />
under consideration. :<br />
<br />
The second portion, “ Publisher and Publisher,”<br />
does not carry with it very much of interest, but<br />
the third part, ‘Publisher and the Public,” is<br />
fall of fresh statements on the advertising of<br />
hooks. Referring to the author of “ Confessions,”<br />
Mr. Holt observes: “He states about the adver-<br />
tising of books nobody knows anything,” bat<br />
proceeds to point out that the writer appears to<br />
know a great deal, and that finally he shows how<br />
there are three kinds of books from the advertiser's<br />
point of view. ‘‘ The first class do not need adver-<br />
tising, the second class cannot be helped by it, and<br />
the third class can. Much money spent on Class 1<br />
is wasted. All money spent on Class 2 is wasted.<br />
Money can be profitably spent, then, only on<br />
Class 3.”<br />
<br />
Mr. Holt then proceeds to make the following<br />
statement : “The sales of books that do not need<br />
much advertising constitute the bulk of the mis-<br />
cellaneous publishing business, and nearly all of<br />
the business done at a profit, while books, which<br />
will not return dollar for dollar spent in advertising,<br />
make up the bulk of the remainder. If this is<br />
trae, my class three, that will return a profit on<br />
advertising, cannot be a very large class.’ He goes<br />
on to quote an instance where a book was put on the<br />
market by a publisher and hardly went at all.<br />
One of the firm happened to read it ; considered it<br />
would be likely to respond to advertising, and began<br />
to advertise. The book responded ; he continued<br />
to advertise ; and the book still responded, but as<br />
soon as he abandoned the advertising the book<br />
ceased to sell, and it was found that the amount of<br />
money spent in advertising had taken away all the<br />
profits on the book from its increased sales.<br />
According to Mr. Holt’s judgment, therefore, a<br />
book of this kind ought to have died at birth<br />
because it does not pay the publisher to push it.<br />
‘This trade point of view is exceedingly interesting<br />
and important, and demonstrates the fact which<br />
must often be brought to the minds of authors and<br />
is constantly in evidence in the work of the<br />
Society, namely, that publishing is a business ; that<br />
<br />
THE AUTHOR. 155<br />
<br />
the author’s reputation is, in the majority of cases,<br />
of little account to the publisher ; and that the old<br />
worn-out statement of the ‘old relations” between<br />
author and publisher, as a general rule, cannot be<br />
substantiated.<br />
<br />
To quote another instance which often comes<br />
before us. A publisher will take a book of an<br />
author; will print about 1,500 copies ; will sell<br />
in the first three or four months about 800<br />
or 900 on the English market and 400 or 500<br />
to the United States or the Colonies; will<br />
thus turn over his money with little advertising<br />
and little effort, and secure to himself a sound per-<br />
centage on it. He will then refuse, having broken<br />
up the type, to publish another edition, finding<br />
that the further circulation is not worth the trouble<br />
that may have to be expended upon it either in<br />
money or application. The author, therefore, finds<br />
that in three or four months his book is dead, and<br />
the publishers complain of the short life of the<br />
modern novel, while, in a great many cases, their<br />
own business methods are responsible for this<br />
result.<br />
<br />
The next point which Mr. Holt makes is the rage<br />
for advertising which has seized some of the pub-<br />
lishers in the United States, and his deduction is<br />
that many publishers have been badly bitten ;<br />
have found that the excess of advertising does<br />
not pay and that a reaction is now setting in. He<br />
is inclined to think, and, no doubt, his deduction is<br />
correct, that good reviews, with a small amount of<br />
advertising, are the best things for a book. A<br />
liberal advertiser in the United States market men-<br />
tions 800 dollars for the advertisement of a book he<br />
desires to boom, but this Mr. Holt considers<br />
excessive, and thinks that very few books would<br />
stand 800 dollars. He continues:: “Let us be<br />
bold and enterprising: for that’s the present<br />
fashion, and risk 300 dollars on each book. Where<br />
do we come out? ‘Take as an example a house<br />
that advertises thirty new booksa year. As we have<br />
figured 9,000 dollars would be a very liberal amount<br />
to spend in initial advertising before books show to<br />
which class they belong.” He thinks the statement<br />
about spending 30,000 or 50,000 dollars a year<br />
must either be incorrect or a great waste of money.<br />
While stating that all figuring on the question<br />
must be based on assumption and guess-work and<br />
the results be conjectural, he figures out as<br />
follows :—<br />
<br />
«A house advertising thirty books a year may,<br />
with fair success, reach a year’s sale of about 200,000<br />
copies, of which 80,000 would be fairly apt to come<br />
in class three. Half of these, say 40,000, could<br />
reasonably be expected to pay for their advertising.<br />
A net profit on them, exclusive of advertising,<br />
would reasonably be about 15,000 dollars ; then the<br />
small publishing house would, according to the<br />
156<br />
<br />
author of ‘A Publisher’s Confession,’ have to pay<br />
out of this 15,000, from 20,000 to 40,000 dollars<br />
in advertising. Now I have proved too much, or<br />
our author has asserted an error, or our publishing<br />
house has failed. Each is probably the case.”<br />
These figures are of great importance, and Mr.<br />
Holt goes on to state that of the dozen publishers<br />
who meet at monthly lunches in New York, who<br />
are leaders of the trade, one of them never spent<br />
over 25,000 dollars in any one year, a second never<br />
spent so much, and a third, he has reason to believe,<br />
never spent half of it. It is probable, therefore,<br />
if Mr. Holt’s figures are correct, that the reaction<br />
in United States advertising must set in pretty<br />
severely or all the United States publishing houses<br />
will be ruined. He is afraid that some of the<br />
<br />
English publishing houses have been bitten by the<br />
One or two, perhaps, but<br />
<br />
same advertising mania.<br />
not more.<br />
<br />
In dealing with this subject, he quotes an amus-<br />
ing remark by Prof. Cooley, who says that com-<br />
petition varies inversely as the intelligence and<br />
character of the customers appealed to, and that<br />
competition in advertising is the same as any other<br />
competition. ‘Is it too much to say that the<br />
vulgarest things are the most widely advertised,<br />
and that wide advertising, while it has its justifica-<br />
tions, inevitably has, unless it conveys knowledge<br />
that people actually want, a note of vulgarity ?”<br />
If, therefore, his reasoning is correct, wide advertis-<br />
ing, successful as regards other utilities, is false as<br />
regards books ; and that it is so, is proved, not only<br />
by previous experience, but by the fact that reckless<br />
advertising is on the decline, but surely it is not<br />
the case, as he seems to think that this state of<br />
affairs is prompted by the passage of the International<br />
Copyright Law.<br />
<br />
From a full consideration of the arguments put<br />
forward, the following deductions may be drawn :<br />
That publishing is a business ; that if advertise-<br />
ments do not pay the publisher, books will not be<br />
advertised, although such advertising might help<br />
the author; that, as in other businesses, so in<br />
publishing, there is no sentiment ; that the “old<br />
relations” between author and publisher, except in<br />
a few cases, never really had any existence unless<br />
the author was blind to his own interests ; that<br />
good reviews are the best means of selling books ;<br />
that these are no good or very little good unless<br />
coupled with judicious advertising ; that judicious<br />
advertising does not necessarily mean a large<br />
expenditure. :<br />
<br />
There is another point which Mr. Holt has not<br />
touched upon and which may not, perhaps, be a<br />
feature in United States publishing, and that is,<br />
the advantage of a good traveller. There are some<br />
houses in England obtaining very large sales<br />
for their books owing to the fact that they have<br />
<br />
THE AUTHOR.<br />
<br />
travellers whose knowledge of the booksellers in<br />
various cities and of the clientéle of these book-<br />
sellers is “ peculiar and extensive,” and who have a<br />
correct knowledge of the contents of the book or<br />
books which they are travelling. Such a person is<br />
of more value to a publisher than many advertise-<br />
ments, for gradually the booksellers begin to trust<br />
his knowledge, and in their turn, if they are good<br />
business men, begin to push his wares among their<br />
book-buyers. It is, however, to be regretted that<br />
many of the travellers employed fail conspicuously<br />
in the knowledge of the wares in which they are<br />
dealing. Here again it is clear that the marketing<br />
of books is entirely different from the marketing of<br />
other wares. A sample in the case of merchandise<br />
is sufficient, and the retailer has his remedy if the<br />
merchandise does not come up to the sample ; but<br />
in the case of books each book has an identity of<br />
its own, and cannot, therefore, be travelled in the<br />
same way. This point of view may not occur in<br />
the United States, where distances are so large and<br />
travelling so expensive, but there is no doubt that<br />
careful attention should be paid to it in the<br />
English market—much more attention than is at<br />
present customary.<br />
<br />
Thanks must be rendered to Mr. Holt for his<br />
enlightened and elucidating article, and, no doubt<br />
those—publishers and booksellers—whose business<br />
is the sale of books, will profit by his remarks.<br />
<br />
G. H. T.<br />
<br />
—-——+——<br />
<br />
WRITERS’ YEAR BOOK.*<br />
<br />
—1—— + —_<br />
<br />
HE credit for the inception of this little book<br />
was due to Miss Irene Bastow, who, we<br />
believe, drifted into journalism from typing,<br />
<br />
instead of, as is more often the case, taking up<br />
typing after seeking in vain a market wherein to<br />
sell, and not throw away, carefully penned MSS.<br />
Miss Bastow’s scheme was a practical one. She<br />
set about obtaining information from every English<br />
periodical of standing, first, regarding the style<br />
and length of copy accepted from outside con-<br />
tributors, and secondly, the rates of payment<br />
made, when such promises would be fulfilled, and<br />
whether the contributor should send in an account.<br />
Such knowledge she compressed into a small com-<br />
pass by means of abbreviations from the letters A<br />
to Q. Not only did she economise her time and<br />
energy in a way that experienced free-lances had<br />
done before her, but she desired to let her fellow-<br />
strugglers in journalism benefit by her discoveries.<br />
This intention she carried out in a way as<br />
<br />
<br />
<br />
* « The Writers’ and Artists’ Year Book, 1906, a Directory<br />
for Writers, Artists and Photographers.” Adam & Charles<br />
Black. Is. net.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
altruistic as it was commercial, by offering the<br />
information within two green covers at the price<br />
of a shilling.<br />
<br />
Yet the book was often difficult to procure.<br />
Its date of issue was irregular. Doubtless it<br />
involved too much work for one busy person to<br />
attend to, or the then publishers had not the<br />
necessary machinery to exploit it properly. Thus,<br />
owing to the difficulty of getting the useful little<br />
green manual, in its flimsy paper wrapper, the<br />
impression had of late gone abroad that the<br />
« W. Y. B.” was dead. It is therefore pleasant to<br />
chronicle that, on the 15th ult., this scribblers’<br />
erutch rose like a phcenix from the ashes.<br />
Although it is now clad in blazing Scarlet,<br />
as befits a fiery phoenix, it bears the imprint of<br />
Messrs. Black. Albeit its blushes are vivid, they<br />
are substantial ; for its cover is of cloth, without<br />
an advance being made on the original charge of<br />
1s. Despite the fact that various press guides<br />
have appeared annually for many years with the<br />
object of obtaining advertisements for the periodi-<br />
cals noted, Miss Bastow was the first to bring out<br />
a press guide, the prime motive of which was to<br />
impart practical information to contributors, un-<br />
obtainable elsewhere. It should be gratifying to<br />
her, therefore, that this little book is likely to<br />
become a hardy annual, since it has been taken<br />
over by the old-established firm which published<br />
three editions of the Encyclopedia Britannica and<br />
bought the copyright of the Waverley Novels.<br />
<br />
THE PREFACE.<br />
<br />
Previous issues of the W. Y. B. have appealed<br />
_ to free-lances partly because the standpoint of<br />
the editor was a purely business one and there<br />
was no flummery in the introduction. We<br />
regret, therefore, on opening this reissue of the<br />
book, to read “of all pleasant forms of work<br />
few are more delightful than that (sic) which falls<br />
to the lot of the free-lance, who is fairly confident<br />
of finding a market for his work.” Apart from<br />
slipshod grammar, the sentiment conveyed savours<br />
of cheap-jack auctioneering. Made solemnly in<br />
cold print, it is calculated to augment the already<br />
too numerous army of unemployed scribblers.<br />
After its flaming red cover has fired the imagina-<br />
tion of many half-baked young men and women,<br />
the misleading words in the preface are not un-<br />
likely to cause them to relinquish some regularly<br />
paid employment in order to reduce still further<br />
the paltry remuneration too often offered to out-<br />
siders by editors.<br />
<br />
But this year the familiar W. Y. B., to be<br />
quite in the fashion, has been given a double-<br />
barrelled name. It is now called _ the<br />
“W.A. Y.B.,” or the “ Writers’ and Artists’ Year<br />
Book.” Prominence is imparted, in heavy type,<br />
<br />
157<br />
<br />
to those periodicals which accept illustrations,<br />
because this is a pictorial age. The fact that the<br />
ever-increasing host of illustrators ‘‘ bids fair to<br />
rival in numbers even the mighty army of con-<br />
tributors ” should, of itself, have sufficed to show<br />
what an ample market there is for the new Red<br />
Book, without. the need of hampering the domgs<br />
of the aforesaid mighty army by an unwieldy<br />
gang of camp followers. Good wine needs no<br />
bush. It is surely inexpedient to “puff” the<br />
wine in the W. Y. B. by making any statement<br />
calculated to do a disservice to and alienate former<br />
purchasers, or still further embarrass editors<br />
whose budgets of unsolicited communications<br />
already exceed their powers of fair examination.<br />
If a well educated quart cannot be contained<br />
within a pint measure, is it seemly to invite the<br />
semi-educated gallon to seek a bubble reputation<br />
by toppling over into the mouth of the self-same<br />
pewter, which, as every school-board prodigy<br />
knows, is only capable of admitting an eighth<br />
part of a gallon ?<br />
<br />
The copyright section of last year has been ex-<br />
cluded from the present issue. This is as well. The<br />
attempt of the compiler to give a digest of the<br />
Copyright Acts so that writers might have a hazy<br />
idea of how legally to protect their interests, was<br />
no doubt laudable. But such matters are more<br />
ably dealt with in Chap. V. of Besant’s ‘* Pen and<br />
the Book.”<br />
<br />
ALPHABETICAL List OF PERIODICALS.<br />
<br />
Out of 75 pages 50 are devoted to a list of<br />
journals and magazines issued mostly in London.<br />
This, therefore, forms the bulk of the book, the<br />
reputation of which stands, or falls, by the accuracy<br />
and utility of this section. On the whole, the<br />
periodicals noted seem to have been selected with<br />
careful discrimination. A favourable point is that<br />
the alphabetical list is not loaded unnecessarily by<br />
the enumeration of provincial papers in which local<br />
amateurs make their gratuitous débuts, and con-<br />
cerning which conditions of acceptance are easily<br />
ascertainable on the spot. Omission, however, of<br />
the former abbreviations already alluded to—<br />
regarding times of publication and various informa-<br />
tion about payment—to our mind, militates against<br />
quick identification of the precise enlightenment a<br />
writer may seek, especially if he has become accus-<br />
tomed to the letters in former issues. By their<br />
elimination, it would appear that the publishers<br />
now take the side of the editor who may advertise<br />
in the W.A.Y.B., rather than that of the free-lance<br />
who buys the book. Be that as it may, the para-<br />
graphs do not now reveal at a glance, as was<br />
formerly the case, those periodicals whose editors<br />
responded fully to the circulars and thereby showed<br />
that they welcomed the outsider. Beginning with<br />
<br />
<br />
158<br />
<br />
the letter A, it appears that the editor of the<br />
W.A.Y.B. is not an anti-vivisectionist ; for, while<br />
the “ Animals’ Friend” is given, the “ Animals’<br />
Guardian” is ostracised. ‘The weekly “ Army and<br />
Navy Gazette” is duly noted, but the monthly<br />
« Army and Navy Chronicle” is omitted. While<br />
the “Art Journal,” price 1s. 6d. appears, the<br />
shilling ‘Art Decorator” is conspicuous by its<br />
absence. Although the “ Baptist Times and<br />
Freeman”’ is notified, the older publication of<br />
the same denomination, ‘‘ The Baptist,” is over-<br />
looked. Moreover, in a manual inaugurated by a<br />
lady, it is passing strange that the twopenny<br />
monthly “Beauty and Health”? should be<br />
unrecorded. Surely, for facile and nimble pens,<br />
there is much good copy suggested by such a<br />
pretty subject. ‘To free-lances, the practice of<br />
printing the names of editors is sometimes useful.<br />
It is always interesting. It is scarcely fair, there-<br />
fore, that while the name of the editor of “ Baby,<br />
the Mother’s Magazine” should be given, that of<br />
the “ Author” is omitted.<br />
<br />
PUBLISHERS.<br />
<br />
There are numerous omissions in this list. We<br />
<br />
can well understand an old-established firm looking<br />
<br />
askance at many mushroom houses that grow up<br />
around it. But if the W.A.Y.B., as its preface<br />
implies, is intended for the free-lance, it is often<br />
the small outside publisher who gives the non-<br />
established author his first opportunity of bringing<br />
out a book. Another year, therefore, it would be<br />
well to make this section more complete. It<br />
excludes, for instance, the Art & Book Co., Ltd.,<br />
Thomas Baker, Brown, Langham & Co., Catholic<br />
Truth Society, Caxton Publishing Co., W. H. and<br />
L, Collingridge, the De la More Press, and Bertram<br />
Dobell. Space precludes further detailed investiga-<br />
tion. The fact that the business of Mr. Grant<br />
Richards continues, under the name of E. Grant<br />
Richards, is not noted.<br />
<br />
LITERARY AGENTS.<br />
<br />
Here we have only seven names instead of five<br />
times that number, no mention being made of the<br />
Cambridge Literary Agency, Central News Agency,<br />
London News Agency, National Press Agency, and<br />
so forth.<br />
<br />
In conclusion, whilst welcoming the reappear-<br />
ance of this useful manual, we venture to suggest<br />
that the excellent list of “ Pseudonyms and Pen<br />
Names” given in the ‘“ Who’s Who Year Book,”<br />
published by the same firm, might be transferred<br />
to the W.A.Y.B., as well as particulars of literary<br />
societies and clubs, in the next edition.<br />
<br />
A. R,<br />
<br />
THE AUTHOR.<br />
<br />
A NOTE ON THE WORD “ AUTHOR.”<br />
<br />
—t<br />
<br />
: E may suppose that the spelling and<br />
pronunciation of author commend them-<br />
selves to learned men. Nevertheless, both<br />
<br />
are abnormal, if not extraordinary, as may be seen<br />
<br />
by consulting the New English Dictionary.<br />
<br />
The name means “originator,” or “one who<br />
makes a work to grow”; from the Latin ace,<br />
auctorem, one who makes to grow, from augere,<br />
to wax. The old Norman form was, at first, autur,<br />
then autour; but some scribes, who were accus-<br />
tomed to the Greek th in Thomas and thyme, chose<br />
to vary the form to authour, without intending any<br />
difference in the sound ; and this misleading custom<br />
became popular. Soon people began to suppose,<br />
naturally enough, that the th was the English fh,<br />
of native origin, and pronounced the word accord-<br />
ingly; sometimes varying the form to author, with<br />
but one vw. And this is how the sound of th gob<br />
into a word of Latin origin.<br />
<br />
But Thomas and thyme have preserved their<br />
Norman ¢f to the present day, with the Norman<br />
sound of ¢; whilst the Middle English zeaére, teme,<br />
and trone have been turned into theatre, theme, and<br />
throne. All these five words are pronounced as<br />
with ¢in French; and so is the French auteur, |<br />
<br />
Water W. SKEAT.<br />
<br />
a 8<br />
<br />
CORRESPONDENCE.<br />
<br />
—-—~< ><br />
A PRovest.<br />
<br />
Srr,—No one can detest the attitude of the<br />
public-complainer more than I, but there are<br />
occasions when one has no option but to adopt it.<br />
May I have a little space in which to do so now,<br />
and to call attention to a piece of literary imitation<br />
too close to pass unnoticed. I refer to a new book<br />
called “The Footpath Way: An Anthology for<br />
Those who Travel by the Country-Side,” compiled<br />
by Alfred H. Hyatt, and published by Mr. Foulis<br />
of Edinburgh. In every way except the cover<br />
(which had already been borrowed by another firm<br />
for a book called “The Voice of the Mountains),<br />
in its title, sub-title, format, its editorial note and<br />
acknowledgment, its arrangement of headlines, its<br />
use of mottoes, and, to the extent of many pages, —<br />
in its contents, this volume copies my anthology —<br />
“The Open Road,” although neither that work<br />
nor myself is (perhaps not unnaturally) ever men-<br />
tioned ; and to add to the flattery, at the end of<br />
“The Footpath Way” an annoancement that the<br />
same editor and publisher have in preparation —<br />
“The City’s Heart: A Little Anthology of the<br />
<br />
Town ;” which also is to be divided into sections [<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
approximating to those in my recent volume “ The<br />
Friendly Town: A Little Book for the Urbane.<br />
<br />
There is no doubt plenty of room for new antho-<br />
logies both of country and town life, and I should be<br />
one of the last to complain of ordinary competition.<br />
But “The Footpath Way” bears so many traces<br />
(yet not quite enough, I am advised, for the law to<br />
interfere to protect Messrs. Methuen and myself)<br />
of a kind of competition which happily is extra-<br />
ordinary, that 1 feel compelled to draw this<br />
attention to the matter.<br />
<br />
When one man has devised a special form of<br />
book, and brought to its arrangement sufficient<br />
thought and taste to give it several original<br />
characteristics and a personal quality, it Is a<br />
menace to conscientious authors if another is<br />
encouraged in the production of imitations as close<br />
(and apparently safe) as “The Footpath Way.”<br />
<br />
I am, yours faithfully,<br />
E. V. Lucas.<br />
<br />
st<br />
<br />
Tue Literary YEAR Book, 1906.<br />
<br />
Srr,—To review a reviewer is seldom desirable<br />
and sometimes disagreeable, especially if, as in the<br />
present instance, a grateful acknowledgment of<br />
criticism in the past is resented as “very pretty<br />
blandishments.” Accordingly, whatever gratitude<br />
I may feel for your notice (in eight columns) of<br />
the current issue of my “ Year Book,” I shall,<br />
as before, endeavour to express it by improvements<br />
in the next edition. At the same time, I should<br />
like to point out that your deprecation of “ pre-<br />
judice” and “uncharitable” feeling in the final<br />
paragraph of your long review is, perhaps, a little<br />
belated. You state there, very kindly, that you<br />
“have no desire to detract from the unquestioned<br />
value of the major part of the material,” and that<br />
it is not your “intention to overlook the usefulness<br />
of much solid stuff by unduly magnifying the flaws<br />
we have come across.” Now, in regard to the<br />
ethics of reviewing, I think this principle is accepted<br />
as according with the common laws of fairness, that<br />
praise and blame should be proportionate to the<br />
good and bad elements in the book. If “ the major<br />
part of the material’ is of “ unquestioned value,’<br />
the major part of the reviewer's task should be<br />
to point out its merits. If the good and the bad<br />
are related as “inuch solid stuff” to “ flaws,’’ the<br />
preponderance of criticism should be in the scale of<br />
praise. If, as you further state, “there is much<br />
advantage to be derived ” from the book by precisely<br />
that class for whom it is intended (‘those who<br />
live dependent on the pen”), they may reasonably<br />
expect not to find its merits tucked away at the<br />
foot of the eighth column. ‘his is merely a<br />
<br />
THE AUTHOR. 159<br />
<br />
question of proportion, and I venture to think that<br />
your really helpful review is, in effect, not fair to<br />
the book, inasmuch as the general impression which<br />
you create does not accord with your favourable<br />
opinion of its “ major part,” and is not removed<br />
by the gui s’excuse s’accuse phrases at the close of<br />
the review.<br />
<br />
With regard to one or two details, 7e Rhymer’s<br />
Lexicon was not selected for review because it is<br />
published by the same firm which publishes “The<br />
Literary Year Book,” and a notice might have<br />
looked like an advertisement. In your section<br />
headed “ Publishers,’”’ you write, “The list of pub-<br />
lishers, we are informed, has been thoroughly<br />
revised at first hand. . . . But it comes as a shock<br />
to find that the section devoted to ‘ Foreign Pub-<br />
lishers’ has not been altered in any way.” The<br />
words “in any way” are incorrect, but I am more<br />
concerned to note that your reviewer overlooks<br />
the statement prefatory to the list of “ Colonial,<br />
American, and Foreign Publishers” (p. 403), which<br />
runs: “ Every effort has been made to bring these<br />
lists up to date, but, owing to the delays of<br />
correspondence and to the difficulty of eliciting<br />
information at first-hand, it has not been possible<br />
toattain to completeness.” Short of making a per-<br />
sonal tour through the Colonies, the United States,<br />
and the Continent, I fear that these lists will always<br />
fall short of absolute accuracy ; but your reviewer's<br />
indifference to the genuine hard work devoted to<br />
the British section (32 pp.), in order to haye a fling<br />
at the Foreign section (12 pp.), without regard to<br />
the editorial note, does seem to me a little—it is<br />
your own word—* uncharitable.”<br />
<br />
{ do not quite follow the fine words employed at<br />
the beginning of your review about “a ‘ Literary<br />
Year Book’ worthy of the land of Shakespeare,”<br />
and about the “saying of Sir Joshua Reynolds that<br />
‘excellence is never granted to a man but as a<br />
reward of labour.’” ‘This sounds a trifle senten-<br />
tious in reference to a literary annual, but I remem-<br />
ber that Shakespeare also says, “I have had my<br />
labour for my travail,” and that Reynolds writes<br />
in another place, ‘“ Among men united in the same<br />
body and engaged in the same pursuit, occasional<br />
differences will arise.” I am cheerfully anxious to<br />
bridge those “differences” with fresh “ labour”<br />
on my part ; is there nothing wanting on yours ?<br />
<br />
I am, very truly yours,<br />
Tue Eniror, ‘THE LITERARY<br />
YeEaR Book.”<br />
Broadway House, E.C.<br />
16th January.<br />
<br />
A REPLY TO THE ABOVE.<br />
A propos of the ethics of reviewing, two interesting<br />
points are advanced by the Editor of the “ Literary Year<br />
Book.”<br />
160<br />
<br />
(1) Praise, he maintains, should be proportionate to the<br />
good and bad elements in a book. ‘Thus, if the major part<br />
is of value, the major part of the reviewer's task should be<br />
to praise. May we be permitted to reply by parable? In<br />
any review of disciplined troops, the inspecting officer, at<br />
the conclusion of a parade when making his report,<br />
emphasises, as is his duty, the shortcomings he may<br />
have observed, in order that they may be corrected on a<br />
future occasion. If his criticisms, conscientiously given,<br />
are then cavilled at,a double exhibition of weakness is<br />
displayed.<br />
<br />
(2) As regards the objection to favourable comments<br />
coming at the end instead of at the beginning, the question<br />
raised is one of peculiar concern. When a reviewer, after<br />
examining a book, draws attention to a number of dis-<br />
crepancies, but is anxious to show the great service which<br />
the volume might render another year after revision, it<br />
may be wiser to bestow praise at the end rather than the<br />
beginning. In days when congregations enjoyed the<br />
“Fourteenthly ” in a sermon, magazine readers thought<br />
it a duty to peruse a long article from beginning to end.<br />
But now, when everyone thinks he is in a hurry, it is the<br />
fashion to turn rather to the last paragraph, and take the<br />
cue from it, before beginning to read the whole.<br />
<br />
The fear that mention of the “Rhymer’s Lexicon” on<br />
p. 857 “might have looked like an advertisement” is<br />
naive, considering that the publisher’s own firm is fittingly<br />
advertised in the body of the book on p. 397.<br />
<br />
As the Editor considers that we have been indifferent to<br />
the “genuine hard work devoted to the British section” of<br />
publishers, we take this opportunity of noting that the<br />
register in question has been padded out in the present<br />
issue by the inclusion of several publishers of music. The<br />
first insertion of a music house appeared in the 1901<br />
edition of the “ Literary Year Book,’’ and that entry<br />
has since been reprinted annually. We now find, in the<br />
1906 edition, that representatives of the music trade—<br />
extraneous to that of bona fide book selling—have been<br />
considerably augmented. These “British” music pub-<br />
lishers include a German firm under the letter A, and a<br />
well-known Italian house under R. Nevertheless, the old-<br />
established British houses of Novello & Co (genuine book<br />
publishers as well as music sellers), Curwen (publishers of<br />
many books on tonic sol-fa as well as sheet music), Ash-<br />
down, Metzler, Williams, Weekes, and so on, are not<br />
mentioned. Surely, if music publishers are inserted,<br />
musical instrument makers should also be added, because<br />
a few of these have published books, e.g., Hill & Sons,<br />
Hart, and Chanot (on the violin), Rudall Carte (on the flute,<br />
besides the ‘ Musical Directory ”), and Brinsmead (on the<br />
piano). By the way, the firm that brings out more books on<br />
music than any other in London to-day, is William Reeves,<br />
Charing Cross Road, whose name is omitted. Music pub-<br />
lishers, however, are primarily concerned with the business<br />
of music selling. It is a trade distinct from that of book<br />
printing or book publishing. To get into touch with<br />
recognised sellers of literature, Messrs. Simpkin Marshall,<br />
or other distributors, are usually employed by the music<br />
firms. There is no need unduly to increase the bulk of<br />
the “Literary Year Book.” Such entries are no more<br />
valued by the music trade than they are by purchasers of<br />
the book itself. Asa proof of this, we refer to the memo-<br />
randum at the beginning of the section. It says that<br />
those publishers “whose names are marked with an<br />
asterisk have not corrected their entries for the present<br />
issue.” Only two music publishers appear without an<br />
asterisk.<br />
<br />
<br />
<br />
Auk.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Torems ror AUTHORS.<br />
<br />
Dear Str,—May I beg for a trifle of space in<br />
which to amplify slighily my little paper on totems,<br />
which appeared in last month’s Author.<br />
<br />
It is to the necessity of simplicity in design that<br />
I wish to draw attention.<br />
<br />
The totem, to fulfil perfectly its work of<br />
identification, must have two qualities—simplicity<br />
and recognisability. Now, though, correctly<br />
speaking, a totem is a “natural object . . . one of<br />
a class,” it would be absurd for authors to be<br />
totemically pedantic when their end would be<br />
served equally well by designs representing any<br />
well-known manufactured article; therefore by<br />
the term “totem” it is understood that I mean<br />
any object, natural or manufactured, used as<br />
a means to assist identification of an author with<br />
his work.<br />
<br />
Referring back now to my opening remark on<br />
the need for simplicity, it seems to me that the<br />
ignoring of this by the inexperienced totemist will<br />
lead him into one of two difficulties. Supposing<br />
him to make use of a natural object for his totem,<br />
he will possibly allow his artist to design him quite<br />
a pretty little picture—which as a picture may be<br />
very admirable ; but as an aid to identification of<br />
his name with his work just useless. I can imagine<br />
some member of the public asking a friend if he<br />
has read Brown’s new book. And the friend asking<br />
which Brown. And after that the ineffectual<br />
struggles of the first man to describe the pretty<br />
little picture which Brown has printed always<br />
alongside his name !<br />
<br />
Again, in the case of an author making use of a<br />
manufactured article for his totem, his artist may<br />
feel it in his bones that a teapot or a pair of tongs<br />
look “‘ mighty mean”’ without a little softening of<br />
the lines, and something of a background. Result<br />
—the man in the street is never quite satisfied<br />
whether the teapot is a coffee pot, watering can,<br />
oil can, antique vase or a shaving pot. While as<br />
for the tongs, probably he goes all his days thinking<br />
they’re a pair of nutcrackers. No! if you're<br />
going to call in the assistance of the totem, let<br />
your motto be, “Simplicity and Recognisability.”<br />
Clumsy but useful. Something anyone can name<br />
at aglance. ‘Tongs ” Smith—‘ Kettle” Hyne—<br />
*Camuel” Kipling—“ Whale” Bullen! Who<br />
would forget °em? ‘They’re too readily recog-<br />
nised and too easily described to be confused or<br />
forgotten.<br />
<br />
Now, in the words of the immoral Drinquobier :<br />
“ Who is going to begin an’ make a start?”<br />
<br />
Yours faithfully,<br />
Wiut1am Hore Hopaeson. | https://historysoa.com/files/original/5/513/1906-02-01-The-Author-16-5.pdf | publications, The Author |
514 | https://historysoa.com/items/show/514 | The Author, Vol. 16 Issue 06 (March 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+06+%28March+1906%29"><em>The Author</em>, Vol. 16 Issue 06 (March 1906)</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> | 1906-03-01-The-Author-16-6 | | | | | 161–188 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-03-01">1906-03-01</a> | | | | | | | 6 | | | 19060301 | FOUNDED BY SIR<br />
<br />
Che HMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XVI.—No. 6.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<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 epinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tur 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 />
oo<br />
<br />
List of Members.<br />
<br />
Tur List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
—<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tux Trustees of the Pension Fund met at the<br />
Society’s Offices in April, 1905, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. ‘They have now pur-<br />
chased £200 Egyptian Government Irrigation<br />
Trust 4 per cent. Certificates, bringing the invest-<br />
ments of the fund to the figures set out below.<br />
<br />
Vou. XVI.<br />
<br />
Marc# Ist, 1906.<br />
<br />
<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 />
Console 24 % ee. £1000 0 0<br />
<br />
Diocal loans «242.202... es 500 0 0<br />
Victorian Government 3 % Consoli-<br />
<br />
dated Inscribed Stock ............... 291 19 Il<br />
<br />
War lo06n 2. 201. 9 8<br />
London and North Western 3 % Deben-<br />
<br />
ture SLOCK =... 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Tirnst 4 % Certificates ............--- 200 0 0<br />
<br />
Tid £2,448 9 2<br />
<br />
ee<br />
<br />
Subscriptions, 1905. £ 8. a.<br />
<br />
July 13, Dunsany, the Right Hon. the<br />
<br />
Lord : : : : 0 5 0<br />
Oct. 12, Halford, F. M. 0 5 0<br />
Oct. 12, Thorburn, W. M. 010 0<br />
Nov. 9, “ Francis Daveen’’. 0 5 0<br />
Noy. 9, Adair, Joseph Lt 8<br />
Nov. 21, Thurston, Mrs. lo<br />
Dec. 18, Browne, F. M. 0 5 0<br />
<br />
Donations, 1905.<br />
<br />
Noy. 6, Reynolds, Mrs. Fred.<br />
Nov. 9, Wingfield, H.<br />
Nov. 17, Nash, T. A. .<br />
Dec. 1, Gibbs, F. L. A.<br />
Dec. 6, Finch, Madame<br />
Dec. 15, Egbert, Henry<br />
Dee. 15, Muir, Ward ;<br />
Dec. 15, Sherwood, Mrs. A. .<br />
Dec. 18, Sheppard, A. T.<br />
Dec. 18, 8. F. G. :<br />
1906.<br />
Jan. 2, Jacobs, W. W. ‘ : :<br />
Jan. 6, Wilkins, W. H. (Legacy) .5<br />
Jan. 10, Middlemas, Commander A. C.<br />
Feb. 5, Roe, Mrs. Harcourt<br />
Feb. 5, Yeats, Jack B. :<br />
Feb. 12, White, Mrs. Caroline<br />
Feb. 13, Bolton, Miss Anna<br />
<br />
cococrorocorFCOrF<br />
on<br />
<br />
—<br />
o<br />
eocoooccooeo SCMWOCOTRMRWMOMWS<br />
<br />
cooooeon<br />
on<br />
THE AUTHOR.<br />
<br />
COMMITTEE NOTES.<br />
<br />
— 1 —<br />
<br />
HE February meeting of the managing com-<br />
mittee of the society was held on Monday,<br />
the 5th, at 4 p.m., at the offices of the<br />
<br />
society. After the minutes had been read and<br />
signed, the committee proceeded to elect those<br />
who had submitted their names for membership<br />
and associateship. Eighteen were elected, making<br />
the total for the current year forty-two. So far<br />
the number of elections is well maintained. Sir<br />
Henry Bergne and Mr. A. W. a Beckett, who<br />
respectively resigned from the chairmanship and<br />
vice-chairmanship, were re-elected to fill these<br />
positions, and accepted their re-election. The<br />
secretary reported that there was a sum of over<br />
£270 in the Life Membership Account to be<br />
invested as capital of the society. After some<br />
deliberation the committee decided to purchase<br />
West Australian 33 per cent. Inscribed Stock.<br />
The committee must congratulate the members on<br />
the increase of the invested capital of the society,<br />
which now amounts to over £1,000. The approxi-<br />
mate date of the general meeting was fixed for<br />
the end of March and of the annual dinner for the<br />
beginning of May, and the secretary was instructed<br />
to make the usual arrangements. When the<br />
actual dates have been fixed, the usual notices<br />
will be sent round giving information to all the<br />
members. ‘Three or four important cases were<br />
carefully investigated by the committee. Owing<br />
to their confidential nature, it is impossible to<br />
place the details before the members, but the com-<br />
mittee decided on one question to obtain a legal<br />
opinion from their American lawyer. Another case<br />
dealing with infringement in the Colonies was<br />
adjourned pending further information.<br />
<br />
The committee regret to say that the case which<br />
they carried through the Courts at Munich has<br />
terminated unsatisfactorily, owing to the fact that<br />
the most important witness disappeared, and the<br />
defendants have been unable to pay their creditors,<br />
and cannot be found. Acting, therefore, on the<br />
advice of the lawyers in Munich, who consider<br />
that it would be impossible for the society, even if<br />
successful, to recover either the amount they<br />
claim or the costs, the committee have decided to<br />
withdraw the action.<br />
<br />
—t—<—+<br />
<br />
Cases.<br />
<br />
Srnce the last issue of Zhe Author ten cases<br />
have passed through the secretary’s hands. It is<br />
unsatisfactory to report that of these fewer have<br />
been settled than in former months. Six were for<br />
the return of MSS., and in one of these the MS. has<br />
<br />
been returned and forwarded to the author. It<br />
should be repeated that the question of the deten-<br />
tion of MSS. is a very difficult one ; but it is hoped<br />
that the other MSS. may be returned in the course<br />
of the next month, when the results will be<br />
reported. There were two cases for accounts. In<br />
one of these the accounts have been settled, and in<br />
the other the accounts have been promised shortly.<br />
In one case for money a date has been fixed by<br />
which the magazine will forward the amount due<br />
to the author. One case referred to a dispute on<br />
an agreement. It is hoped that the society may<br />
be able to negotiate a settlement, as the question<br />
is one for amicable arrangement rather than for<br />
legal action.<br />
<br />
There were three cases remaining open from<br />
last month, two of them dealing with difficulties<br />
arising between publisher and author in America,<br />
and the third dealing with a publisher in England<br />
who, on former occasions, has ignored the requests<br />
of the society until process has been issued against<br />
him. No doubt, in this case also, when the<br />
matter is placed in the hands of the society’s<br />
solicitors a satisfactory arrangement will be made.<br />
<br />
———~< +<br />
<br />
February Elections.<br />
<br />
Arthur, Julian : .<br />
<br />
Besant, Miss Celia 18, Clovelly Mansions,<br />
Gray’s Inn Road,<br />
W.C.<br />
<br />
19, Castellain Road,<br />
Maida Vale, W.<br />
<br />
4, Radnor Road, North<br />
Kensington, W.<br />
<br />
78, Marine Parade,<br />
Brighton.<br />
<br />
4, Warwick Mansions,<br />
Gray’s Inn, W.C.<br />
National Club, 1,<br />
<br />
Whitehall Gardens,<br />
S.W.<br />
1, Alipore Lane, Cal-<br />
cutta, India.<br />
Stanton, Broadway,<br />
Worcestershire.<br />
Winforton _—_‘ Rectory,<br />
Hereford.<br />
Cottingham Rectory,<br />
East Yorks.<br />
Culham, New Eltham,<br />
Kent.<br />
<br />
14, Calverley Park,<br />
Tunbridge Wells.<br />
Pilkington, Col. Henry, Tore, Tyrrells Pass,<br />
<br />
C.B. Treland.<br />
<br />
Blanckensee, Mrs. Irma .<br />
Caleb, Arthur E.<br />
Crichton, Mrs.<br />
Delannoy, Burford .<br />
Durand, Ralph A. .<br />
<br />
Eggar, Arthur<br />
Harris-Burland, John B.<br />
Marshall, Mrs. Frances<br />
(Alan St. Aubyn)<br />
Minton, Francis.<br />
<br />
Mitford, Miss Eveline B.<br />
Omond, T. 8. ‘ :<br />
<br />
<br />
TAE<br />
<br />
Hanover ‘Terrace,<br />
Regent’s Park, N.W.<br />
Cashlauna Shelmiddy,<br />
Strete, Dartmouth,<br />
Devon.<br />
<br />
Raphael, Mrs. oes<br />
<br />
/Yeats, Jack B.<br />
<br />
Two of those elected in February do not desire<br />
either their names or addresses to be printed.<br />
<br />
—____—__—_e—_______<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
+<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and_purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
AGRICULTURE,<br />
<br />
By H. Riper HAGGARD. New<br />
Longmans. 3s. 6d.<br />
<br />
A FarMER’sS YEAR.<br />
Impression. 7} x 5}. 489 pp.<br />
ART,<br />
EARLY ENGRAVINGS AND ENGRAVERS IN ENGLAND<br />
(1545—1695). By StpNEY CoLVIN. 203 x 153. 170 pp.<br />
British Museum, £5 5s.<br />
<br />
BIOGRAPHY.<br />
<br />
PoRFIRIO DIAZ: SEVEN TIMES PRESIDENT OF MEXICO.<br />
By Mrs. ALEC TWEEDIE. 9} x 63. 421 pp. Hurst<br />
and Blackett. 21s. n.<br />
<br />
Here AND THERE: MEMoRIES, INDIAN AND OTHER.<br />
By H. G. KeEene,C.1.E. 9 x 53. 215 pp. Brown<br />
Langham. 10s. 6d. n.<br />
<br />
DRAMA.<br />
<br />
Tur Dynasts. A Drama of the Napoleonic Wars, in<br />
three parts, nineteen acts, and 130 scenes. Part II.<br />
By THomas Harpy. 7} Xx 5}. 302 pp. Macmillan.<br />
4s. 6d. n.<br />
<br />
EDUCATIONAL.<br />
<br />
UNDER READER ror BEGINNERS. By Masor F. R. H.<br />
CHAPMAN. 10 x 6}. Ill pp. Thacker. 7s. 6d. n.<br />
<br />
FICTION.<br />
<br />
Tue ForBIDDEN May. By Coralie STANTON and<br />
Hearn Hosken. 7% x5. 310 pp. White. 6s.<br />
<br />
THe PoRTREEVE. By EDEN PHILLPOTTS. 73 x 5.<br />
364 pp. Methuen. 6s.<br />
<br />
THE CHAIN OF SEVEN Lives. By HAMILTON DRUM-<br />
MOND. 72x 5. 308 pp. White. 6s.<br />
<br />
Terence O’RouRKE, GuNTLEMAN ADVENTURER. By<br />
L. J. VANCE. 7% x 5}. 393 pp. Grant Richards. 6s.<br />
<br />
TuE BENDING oF A Twic. By Desmonp F, T. CoKn.<br />
<br />
_ 43x 5. 310 pp. Chapman and Hall. 6s.<br />
<br />
Mrs. Erricker’s Reputation. By THOMAS COBB.<br />
74x 5. 308 pp. Rivers. 6s.<br />
<br />
Nature's VAGABOND AND OTHER STORIES. By Cosmo<br />
HAMILTON. 74 <5. 384 pp. Chatto and Windus, 6s,<br />
<br />
AUTHOR.<br />
<br />
163<br />
<br />
WHITE CARL<br />
327 pp. Hurst and Blackett. 6s.<br />
<br />
FATE’s INTRUDER. By FRANK SAVILE and<br />
Watson. 74x 5. 295 pp. Heinemann. 6s.<br />
<br />
THE BLUE PETER. By MORLEY ROBERTS. 7? x 5.<br />
<br />
348 pp. Nash. 6s. :<br />
<br />
THE GAMBLER. By KATERINE CECIL THURSTON. 7?<br />
x 5. 389 pp. Hutchinson. 6s.<br />
<br />
THE SCHOLAR’S DAUGHTER. By BEATRICE HARRADEN.<br />
7% x 5. 284 pp. Methuen. 6s.<br />
<br />
THE GREAT REFUSAL. By MAXWELL GRAY.<br />
381 pp. J. Long. 6s.<br />
<br />
THE HEALERS. By MAARTEN MAARTENS. 7} x 5.<br />
379 pp. Constable. 6s.<br />
<br />
THE BisHop’s APRON. By W. SomersET MAUGHAM,<br />
7x x 5. 311 pp. Chapman and Hall. 6s.<br />
<br />
THE LAPSE OF VIVIEN EApDy. By CHARLES MARRIOTT.<br />
72x 5. 311 pp. Nash. 6s. ,<br />
<br />
THE House oF SHapows. By R. J. FARRER.<br />
335 pp. Arnold. 6s.<br />
<br />
IN SILENCE. By Mrs. FRED REYNOLDS. 7} x 5}. 336<br />
Hurst and Blackett. 6s.<br />
<br />
THE HATANEE: A Tale of Burman Superstition.<br />
A. Eagar. 7} x 54. 244 pp. Murray. 6s.<br />
<br />
For LIFE AND AFTER. By Geo. R. SIMs.<br />
344 pp. Chatto and Windus. 6s.<br />
<br />
THE BuURGLAR'S CLUB: A Romance in Twelve Chronicles.<br />
By Henry A. Hertne. 8 x 54. 280 pp. Cassell. 3s. 6d.<br />
<br />
THe Hanp. By JOUBERT. 72 x 5.<br />
<br />
A. ET<br />
<br />
72 x 5,<br />
<br />
7% x 5.<br />
<br />
72 x 5.<br />
<br />
HISTORY.<br />
<br />
THe History oF ENGLAND FROM THE EARLIEST TIMES<br />
TO THE NORMAN Conqugst. By T. HopGKIn, D.C.L.,<br />
Litt.D. 9x6. 528 pp. Longmans. 7s. 6d. n.<br />
<br />
LAW.<br />
<br />
TeN YEARS’ EXPERIENCE OF<br />
SALFORD CouNTY COURTS.<br />
<br />
PARRY. 9% x 7.<br />
<br />
THE MANCHESTER AND<br />
3y His Honour JUDGE<br />
Sherratt and Hughes. 1s. n.<br />
<br />
LITERARY.<br />
How To READ ENGLISH<br />
Mitton. By LAURIE MAGNUS.<br />
Routledge. 2s. 6d.<br />
ESSAYS IN THE MAKING. By EusTACE MILES.<br />
161 pp. Rivingtons. 3s. 6d.<br />
<br />
CHAUCER TO<br />
62 x 44. 207 pp.<br />
<br />
LITERATURE :<br />
<br />
7326 51<br />
(=X OG<br />
<br />
MEDICAL.<br />
<br />
A HANDBOOK OF CLIMATIC TREATMENT, INCLUDING<br />
BALNEOLOGY. By W. R. Hueearp, M.A,, M.D.,<br />
F.B.C.P. 83x 53. 536 pp. Macmillan. 12s. 6d. n.<br />
<br />
MISCELLANEOUS.<br />
THREEPENCE A DAY FoR Foop. By Eustace MILEs.<br />
64x 4. 94pp. Constable. 1s. n.<br />
<br />
MUSIC.<br />
<br />
ORIGINAL RECITATIONS,<br />
By MARY SENIOR<br />
11 x 8}.<br />
<br />
TWENTY-FOUR CHARMING<br />
SONGS AND GAMES FOR CHILDREN.<br />
CLARK. Set to Music by GAYNOR SIMPSON.<br />
Oo. Newmann.<br />
<br />
THEOLOGY.<br />
<br />
JOHANNINE GRAMMAR. By E. A. ABBOTT. 9 x 6. 687 pp.<br />
SMALL LESSONS OF GREAT TRUTHS. A Book for<br />
Children. By A. KATHERINE Parkes. 63 x 44.<br />
92 pp. Methuen. 1s, 6d.<br />
ANIMISM : ‘THE SEED OF<br />
CLopp. 7 x 4%. 100 pp.<br />
<br />
RELIGION. By EDWARD<br />
Constable & Co, 1s. n.<br />
<br />
<br />
<br />
<br />
164<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
ROFESSOR FLINDERS PETRIE’S new<br />
work, “ Researches in Sinai,” published by<br />
Mr. Murray, gives an account of the recent<br />
expedition with a large working party, which lived<br />
in the desert excavating for some months. The<br />
oldest Egyptian sculptures known are reproduced,<br />
the geology and ancient ruins are described, the<br />
conditions of the Exodus are discussed with a new<br />
view of the Israelite census, and the life of the<br />
Bedouin of Sinai and the Egyptian desert is<br />
noticed.<br />
<br />
“The Gambler,’ Mrs. Thurston’s novel recently<br />
published by Messrs. Hutchinson & Co., has for its<br />
heroine an impulsive Irish girl who inherits a<br />
gambling propensity. ‘The scenes of the story are<br />
laid in Ireland, the Continent, and London.<br />
<br />
Miss Beatrice Harraden’s story, ‘‘ The Scholar’s<br />
Daughter,” published by Messrs. Methuen & Co.<br />
in the early part of last month, is the tale of an<br />
old country house in England, the home of the<br />
heroine’s father, who is engaged on the great work<br />
of his life, the compiling of a colossal dictionary<br />
on new lines. Like most of her former works, the<br />
present one is mainly a study of character.<br />
<br />
In his recently published work on “ Easy<br />
Mathematics, chiefly Arithmetic,” Sir Oliver<br />
Lodge’s aim has been to interest children and<br />
adults in fundamental facts of nature, to exhibit<br />
their easy reasonableness, and to remove the<br />
stigma of dulness from arithmetical teaching.<br />
Although the work is especially adapted to the use<br />
of parents and teachers and students who work<br />
by themselves, it is hoped that it can be used<br />
as a class book also. Mr. John Murray is the<br />
publisher.<br />
<br />
Mrs. Campbell Praed’s new novel, “ The Lost<br />
Earl of Ellan,” is running as a serial through the<br />
pages of the Canadian Magazine.<br />
<br />
“The Great Refusal” is the title of a new novel<br />
by Maxwell Gray, which Mr. John Long has<br />
recently published. The story depicts the conflict<br />
of character between two men of diverse tempera-<br />
ments: the father, a man of money, and his only<br />
son, a man of mind.<br />
<br />
“For Life—and After,” by Geo. R. Sims, pub-<br />
lished by Messrs. Chatto & Windus, is the romance<br />
of a woman who suffers penal servitude for life.<br />
It strongly illustrates the peril of a conviction<br />
founded entirely on circumstantial evidence.<br />
<br />
The same publishers have also issued a volume<br />
of short stories by Mr. Cosmo Hamilton, entitled,<br />
“ Nature’s Vagabond.” The first story, from which<br />
the book takes its title, deals with the gradual<br />
<br />
THE AUTHOR.<br />
<br />
decline into vagabondage of a distinguished Oxford<br />
man, and his subsequent return to respectability<br />
after experiencing a severe buffeting in the rough-<br />
and-tumble of life.<br />
<br />
“Stories from the Operas” is the title of a<br />
volume by Miss Gladys Davidson, which Mr.<br />
Werner Laurie is publishing at the price of 3s. 6d.<br />
nett. It contains twenty of the more popular<br />
tales written simply and in accordance with the<br />
operas.<br />
<br />
Dolf Wyllarde’s novel, ‘The Pathway of the<br />
Pioneer,” published by Messrs. Methuen & Co. in the<br />
middle of last month, depicts the life of a woman,<br />
gently born and educated, who has, through force<br />
of circumstances, to earn her own living.<br />
<br />
Messrs. Chapman & Hall have recently published<br />
a work by Mr. G. Ainsley Hight, entitled, “The<br />
Unity of Will,” in which the author propounds a<br />
new theory of volition and freedom of the human<br />
intellect. The published price of the work is<br />
10s. 6d. nett.<br />
<br />
Mr. Eden Phillpotts’ story, “ The Portreeve,” is<br />
one in the chain of narratives he is weaving about<br />
Dartmoor, and depicts various aspects of the life<br />
and ambitions of its folk. Messrs. Methuen & Co.<br />
have published the book, which contains a frontis-<br />
piece by Mr. A. B. Collier.<br />
<br />
The same author is also publishing in Messrs.<br />
Newnes’ Sixpenny Series a new story, entitled<br />
“The Unlucky Number.”<br />
<br />
Messrs. Hutchinson & Co. will publish in the<br />
spring a new story by the Rev. J. A. Hamilton,<br />
author of “The MS. in a Red Box,” entitled<br />
“Captain John Lister.” It is a tale of Ax-<br />
holme, and the time is the outbreak of the Civil<br />
War.<br />
<br />
Among the earliest publications of Messrs.<br />
Brown, Langham & Oo.’s Spring List is a book of<br />
reminiscences by Mr. H. G. Keene, C.1.E. Mr.<br />
Keene is one of the survivors of the old régime in<br />
India, and in this book of memories called ‘* Here<br />
and There,” there are many amusing stories of old<br />
Haileybury, and of Indian life in days before the<br />
Mutiny. The second part of the volume deals<br />
with later life spent in London and elsewhere, with<br />
gossip about some distinguished persons whom the<br />
writer had the fortune to meet on his return from<br />
exile. Mr. Keene is the author of “A Servant of<br />
John Company,” and ‘Sketches in Indian Ink,”<br />
and his reminiscences, which are published at<br />
10s. 6d. nett, with a frontispiece of the author,<br />
should appeal with special force to all who have —<br />
had experience of Indian life.<br />
<br />
The same publishers produced early last month —<br />
a new and cheaper edition of Mr. Lacon Watson’s<br />
“Christopher Deane.” In view of the interest —<br />
that has been shown lately in stories of school and<br />
college life, ‘ Christopher Deane,” which treats —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
of Winchester and Cambridge, should have con-<br />
siderable success in its present form.<br />
<br />
“Mr. Tumpsy,” written by Charles Croft, and<br />
published by Mr. Henry J. Drane, is a fairy tale,<br />
which, though appealing to children, will not, the<br />
author hopes, be found uninteresting to adults.<br />
The pieces of music which are scattered throughout<br />
the book have been specially arranged to suit the<br />
powers of those who play the piano with only one<br />
finger. The illustrations to the work are from the<br />
pen of Mr. G. E. Kriiger.<br />
<br />
The scene of Mrs. Philip Champion de Cres-<br />
<br />
igny’s new novel, which Mr. Eveleigh Nash will<br />
publish shortly, is laid in France during the 16th<br />
century. The title of the book is “The Grey<br />
Domino.”<br />
<br />
“Pictures from the Balkans,’ which Messrs.<br />
Cassell & Co. will publish shortly, is the fruit of<br />
an extensive tour of the Near East, which Mr.<br />
John Foster Fraser made last autumn. The book<br />
will be illustrated from photographs taken by the<br />
author.<br />
<br />
Miss Oliver Katherine Parr (who has, for some<br />
time, been a member of the honorary literary staff<br />
of the Royal Society for the Prevention of Cruelty<br />
to Animals) contributes a special illustrated article<br />
on the famous Mount St. Bernard Hospice to<br />
the current issue of the Animal World. Under<br />
the editorship of Mr. Edward Fairholme, this<br />
journal has inaugurated some new features. Con-<br />
tributcrs who wish for it are now paid a small<br />
remuneration, 10s. per thousand words, and<br />
monthly photographic competitions have been<br />
opened. The journal is published by Messrs.<br />
Partridge & Co.<br />
<br />
«A Huguenot Heroine,” is the title of a serial<br />
by Miss Edith C. Kenyon, which is running<br />
through the pages of Our Own Gazette. Messrs.<br />
S. W. Partridge & Co., who published Miss<br />
Kenyon’s last book, “ Love’s Golden Thread,”<br />
have commissioned her to write them a work for<br />
this year’s autumn season.<br />
<br />
«By Law Eternal,” a novel by Geraldine Kemp,<br />
has been published by Messrs. Jarrold & Sons at<br />
the price of 3s. 6d. The keynotes of the story are<br />
heredity and work, and the author deals with one<br />
of the gravest ills of life. Pauline, the principal<br />
character, inherits from her mother insanity ; from<br />
her father strength of character, nobility and<br />
intellect, combined with a sound physique. The<br />
author’s aim has been to show how, through the<br />
influence of power, will, and feeling, properly<br />
directed and rationally developed, her sorrowful<br />
heritage could be mastered.<br />
<br />
Messrs. Hurst & Blackett published, in the<br />
middle of last month, Mrs. Alec T'weedie’s Life of<br />
General Porfirio Diaz, for thirty years President of<br />
Mexico. Mrs. Tweedie has compiled this life with<br />
<br />
TAR AUTHOR.<br />
<br />
165<br />
<br />
the President’s sanction from authentic diaries<br />
and documents placed in her hands for the<br />
purpose. It is the life-history of a man who,<br />
born in obscurity, has lived a wildly exciting life<br />
as a soldier, has played an important part in the<br />
history of Maximilian and Carlota, and has now<br />
assumed the position of Perpetual President and<br />
brought his country from chaos and revolution to<br />
peace and prosperity. The volume is published<br />
at the price of 21s. nett.<br />
<br />
Mr. R. H. Sherard’s volume of reminiscences,<br />
“Twenty Years in Paris,” which Messrs. Hutchin-<br />
son & Co. published recently, has gone into a<br />
second edition. Arrangements are in progress for<br />
a French and a German translation.<br />
<br />
“A Veneered Scamp” is the title of a new<br />
novel by Miss Jean Middlemass. The story,<br />
which is of a sensational nature, is published by<br />
Mr. Jobn Long.<br />
<br />
Dr. Paget’ Toynbee’s book, “ Dante in English<br />
Literature,” will be published in the spring by<br />
Messrs. Methuen & Co. The work covers a period<br />
of 464 years, from the date of Chaucer’s second<br />
visit to Italy in 1380 to the death of Cary in 1844.<br />
Nearly 300 English writers, who make mention of<br />
Dante or quote his works during this period, are<br />
traced by Dr. Toynbee. Rather more than forty<br />
of these belong to the sixteenth century, about<br />
thirty to the seventeenth, and nearly one hundred<br />
to the eighteenth, the greater number of the<br />
remainder falling within the first forty years of the<br />
nineteenth century. The work contains a brief<br />
biography of each of the writers mentioned.<br />
<br />
Mr. Somerset Maugham’s new novel, “The<br />
Bishop’s Apron,’ published by Messrs. Chapman<br />
& Hall, presents him as a satirist and humourist.<br />
The schemes of the ambitious clerical party and<br />
the intrigues of the new nobility form the material<br />
for the work.<br />
<br />
Messrs. A. & C. Black have just published<br />
Mr. E. A. Reynolds-Ball’s handbook “ Rome, a<br />
Practical Guide to Rome and its Environs,” with<br />
illustrations in colour by Albert Pisa. Although<br />
the work is mainly intended to meet the require-<br />
ments of tourists only able to spend a few weeks<br />
in the city, it does not neglect the interests of<br />
more leisured visitors. It contains, in addition,<br />
full details on matters affecting the comfort of the<br />
tourist, such as hotel accommodation.<br />
<br />
Mr. Robert Machray has completed a new serial<br />
story dealing with a remarkable and successful<br />
case of personation, the truth regarding which is<br />
only brought to light by the merest accident.<br />
Messrs. Chatto & Windus will publish the story in<br />
book form in early autumn.<br />
<br />
Mr. Fisher Unwin will publish this month a<br />
novel by Mrs. Archibald Little, the title of which<br />
is “A Millionaire’s Courtship.” A millionaire’s<br />
166<br />
<br />
yachting tour forms the groundwork of the story.<br />
The book contains many descriptive passages<br />
which, however, are subordinated to the interest<br />
of the characters.<br />
<br />
Sir Edward Durand has written, and Mr. Sidney<br />
Appleton will publish, a work entitled “ Cyrus the<br />
Great King.” It is in the form of a poem<br />
depicting the life of the great Persian who figured<br />
in the period of war and conquest that only came<br />
to a pause with the siege and fall of Babylon.<br />
<br />
The second volume of the new edition of the<br />
Dictionary of Music contains a sympathetic article<br />
on Sir George Grove by Mr. C. L. Graves, while<br />
Mr. J. A. Fuller Maitland, who is editing it,<br />
writes on Grieg, J.iszt, and other composers.<br />
<br />
The social committee of the Pioneer Club,<br />
assisted by Rowland Grey, has arranged what<br />
should prove an interesting commemoration of<br />
Mrs. Browning’s centenary upon March 6th. Mrs.<br />
Meynell has promised to read a paper upon the<br />
poems, her relationship with Mrs. Browning<br />
making any word from the author of such sonnets<br />
as “Renouncement” of fresh interest. Miss<br />
<br />
Wynne-Matthison will recite two of the sonnets<br />
from the Portuguese, and the songs set to ‘‘ Leaving<br />
yet Loving,” ‘‘ How do I Love Thee,” “A Sabbath<br />
Evening at Sea,” will also be given in the presence<br />
<br />
of a portrait of Mrs. Browning, wreathed with the<br />
true poet’s laurel. The wreath is to be sent<br />
afterwards to Florence and laid upon her grave.<br />
<br />
The two series of “Chronicles of the Burglar’s<br />
Club,” by Henry A. Hering, which have recently<br />
appeared in Cassell’s Magazine, have just been<br />
published in volume form by Messrs. Cassell & Co.,<br />
with illustrations by F. H. Townsend. Mr.<br />
Hering’s burglars differ from other light-fingered<br />
gentry, inasmuch as they are men of position, who,<br />
having exhausted all legitimate excitemenis of<br />
civilisation, burgle for the sport of the thing, and<br />
promptly return the articles purloined.<br />
<br />
Mr. Pinero’s new play, “ His House in Order,”<br />
produced at the St. James’ Theatre on February<br />
1st, deals with the marriage of a widower with a<br />
kind-hearted irresponsible girl who, lacking the<br />
domestic abilities of her predecessor, loses the<br />
regard of her husband, and is snubbed and scolded<br />
by most of his relations. ‘The good qualities of<br />
the lady whom she has replaced are constantly<br />
brought to her notice, in order to indicate her own<br />
shortcomings. The discovery of incriminating<br />
facts relating to the past life of this “ model of<br />
propriety ” forms the pivot of the play. The caste<br />
includes Miss Irene Vanbrugh, Mr. Herbert Waring,<br />
Miss Beryl Faber and Mr. George Alexander.<br />
<br />
Miss Netta Syrett’s one act play, “The Younger<br />
Generation,’ was produced in front of “The<br />
Heroic Stubbs” at Terry’s Theatre on the third of<br />
Jast month. It deals with the disappointment of<br />
<br />
THE AUTHOR.<br />
<br />
a widow who, expecting a proposal of marriage<br />
from one of her former admirers, finds that his<br />
affections are centred on her daughter. The piece<br />
ends by the widow sacrificing her desire in favour<br />
of “The Younger Generation.” The three char-<br />
acters in the play were interpreted by Miss Irene<br />
Rooke, Miss Estelle Winwood, and Mr. G. F,<br />
Tully.<br />
<br />
Capt. Robert Marshall’s comedy, ‘‘ The Alabaster<br />
Staircase,” was produced at the Comedy Theatre<br />
on the 21st of last month. The main characters<br />
in the piece are a Tory Prime Minister, his<br />
daughter, and her lover—a wealthy “Socialist”<br />
Member of Parliament. The play indicates the<br />
change of political faith of the Premier, caused by<br />
a fall down an alabaster staircase. In consequence<br />
of this change he takes leave of his cabinet,<br />
and expresses admiration for the views of the<br />
“Socialist,” which were previously abhorrent to<br />
him. The caste includes Mr. John Hare, Mr. Leslie<br />
Faber, and Miss Lottie Venne.<br />
<br />
PARIS NOTES.<br />
<br />
><br />
<br />
IOGRAPHIES, memoirs and letters are all<br />
more in favour than ever in France, and<br />
some of the recent books of this kind are<br />
<br />
certainly quite as interesting as fiction. Among<br />
such volumes is “ Madame de Prie ” (1698—1727),<br />
by H. Thirion. The author has taken the trouble<br />
to give us in detail the whole story of the life of<br />
this extraordinary woman, who at the age of fifteen<br />
was married to the Marquis de Prie, a man twenty-<br />
six years older than she was. Later on comes her<br />
liaison with the Duc de Bourbon, and then we have<br />
all the hardships which follow this. According<br />
to M. Thirion’s documents Mme. de Prie has<br />
been basely slandered, for the account he gives of<br />
her differs widely from the idea of her usually<br />
given in histories.<br />
<br />
“Le Voyage de Sparte,” by M. Maurice Barres,<br />
is now published in volume.<br />
<br />
“Le Journal inédit du duc de Croij” is the<br />
title of the book of memoirs published by MM. the<br />
Vicomte de Grouchy and Paul Cottin. The Due<br />
de Croij (1718—1784) left manuscript memoirs<br />
enough to have completed something like forty<br />
ordinary-sized volumes, but the authors of the<br />
present publication have wisely given in two large<br />
volumes details concerned with life at Versailles<br />
and in Paris. The book is particularly interesting<br />
as a picture of the times.<br />
<br />
“Le Roman de Sainte-Beuve,” by M. Gustave<br />
<br />
<br />
<br />
<br />
Sopher NS<br />
<br />
we<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Simon, is another volume on the much-discussed<br />
question of Sainte-Beuve’s affection for Mme. Victor<br />
Hugo. ‘Les Impressions d’une Francaise en<br />
Amérique,” by Mme. Vianzone ; “ A l’autre bout<br />
du monde,” by M. Paul Varrego, treats of<br />
adventures and habits and customs in Australia.<br />
<br />
“De Sebastopol 4 Solférino,” by M. de Cham-<br />
brier ; ‘“‘Le Coup de Grice,” by the Général de<br />
Piépape ; “Les Campagnes de 1799,” by M. Edouard<br />
Gachot—three volumes of history which are each<br />
well worth reading.<br />
<br />
A volume, published by M. Louis Loviot,<br />
containing the “Lettres de Gabrielle Delzant,”<br />
with a preface by Mme. Blanc-Bentzon, gives us<br />
two types of the modern woman in the best and<br />
highest acceptance of thisterm. The letters them-<br />
selves are charming, and M. Brunetiére says of the<br />
writer of the admirable preface to the volume :—<br />
“Depuis trente ans je doute si quelque femme a<br />
fait plus ou autant pour la revendication des droits<br />
de son sexe que Mme. Th. Bentzon. On! elle n’a<br />
jamais élevé la voix! Ce n’est pas sa ‘maniére’<br />
ni celle des femmes de son monde. . . . Elle a vécu<br />
de la vie des unes et, 4 force de sympathie, elle a<br />
reconstitué ‘l'état d’ame’ des autres... . Elle a<br />
passé des mois en Russie pour y observer la femme<br />
russe. lle a fait deux ou trois fois le voyage en<br />
Amérique pour étudier la femme américaine. Je<br />
ne dis rien de |’Angleterre qu’elle connait aussi<br />
bien que la France. .. .”<br />
<br />
“Science et Libre Pensée” is the title of a<br />
volume by M. Berthelot, of the French Academy.<br />
This is the fourth volume of articles, essays and<br />
speeches published by the eminent scientist, at<br />
whose jubilee commemoration in Paris, some four<br />
years ago, savants from all parts of the world met.<br />
Among the articles contained in the present collec-<br />
tion are the following :—‘ Les Causes finales,”<br />
“Les relations entre la France et l’Angleterre,”<br />
“La Paix par la Justice,” “ Le réle des races<br />
scandinaves dans le développement de la civilisa-<br />
tion moderne,” “ La méthode scientifiques en<br />
politique,’ “ L’evolution des sciences au XIX*<br />
siécle.”<br />
<br />
“La Marine qu’il nous faut,” by M. Charles<br />
<br />
' Bos, with a preface by M. Edouard Lockroy, is a<br />
<br />
book that is now being discussed. A sketch of<br />
“Le Président Falliéres,” illustrated by photo-<br />
graphs and drawing, has been published by the<br />
author, M. Jean de la Hire, at the right<br />
moment.<br />
<br />
“ La Comédie protectioniste,” by M. Yves Guyot.<br />
The author goes back to the time of Colbert to<br />
show the economic evolution in France, and shows<br />
later on the work of Cobden and Napoleon III.<br />
destroyed by the establishment of custom duties<br />
still in vigour.<br />
<br />
“Le Mécanisme de la vie moderne,” by the<br />
<br />
167<br />
<br />
_ Vicomte d’Avenel, a volume in which the author<br />
<br />
treats of the subject of the Stock Exchange. He<br />
shows how from 1815 to 1850 the bank became an<br />
Important spring in national life, directed chiefly<br />
by men of Swiss Protestant birth. From 1850 to<br />
1870 Pereire and Rothschild came to the front, and<br />
under the cover of Turkish affairs the first syndi-<br />
cates between French and German financiers were<br />
established.<br />
<br />
“Hssai d’une psychologie de l’Angleterre con-<br />
temporaine, les crises belliqueuses,” by Jacques<br />
Bardoux.<br />
<br />
Among recent volumes of fiction are the follow-<br />
ing :— Le Coeur disséqué,” by M. Ferri-Pisani, a<br />
nephew of George Sand ; “ La Bonne Etoile,” by<br />
M. Jean Rameau ; “L’Age de Raison,” by Mme.<br />
Claire Albane; “Janua Cceli,” by Mme. Jean<br />
d’Ivray ; “ L’Inoubliable Passé,” by Mme. Ré-<br />
musat; “Ceux qu’on méprise,” by M. Georges<br />
Verdéne, with a preface by M. Anatole France.<br />
<br />
“Tia Cité des Idoles,” by M. Henri Chateau, is<br />
a curious novel based on the problem of an ideal<br />
society. The author endeavours to show how this<br />
can be evolved from contemporary society, but at<br />
the same time he shows the instability of it, when<br />
built up on the old errors and oppressions.<br />
<br />
In the Revue des Deux Mondes M. A. Bellessort<br />
writes an interesting article, “ La vie japonaise.”<br />
In the Revue de Paris M. Anatole France continues<br />
“La Bataille de Patay.”<br />
<br />
In the two last numbers of Za Revue are<br />
articles by Edmond Scherer on “ L’Invasion de<br />
Versailles’ (1870); Emile Faguet, “Un Ménage<br />
d’Ecrivains” ; Dr. Lowenthal, “Pourquoi la<br />
France se dépeuple ” ; Charles Wagner, “ A propos<br />
de la Morale sans Dieu”; G. Savitch, “ Les types<br />
littéraires de la Crise russe.”<br />
<br />
At the Frangais “ Les Cceurs timides,” by Paul<br />
Adam, is announced, and “Deux Hommes,” by<br />
Alfred Capus. Other forthcoming pieces are ‘‘ Le<br />
Ruisseau,” by Pierre Wolf, for the Gymnase ;<br />
“La Dette,” by Bernstein; “Le Bourgeon,” by<br />
Feydeau; and “Paris-New York,” by Francis de<br />
Croisset.<br />
<br />
“La Piste,” by M. Sardou, is running at the<br />
Variétés, and “Les Hannetons,” by M. Brieux,<br />
and “ Au Petit Bonheur,” by M. Anatole France,<br />
at the Renaissance. At the Théaitre Antoine a<br />
French version of “Old Heidelberg” is being<br />
played, and the Thédtre des Arts has produced a<br />
five-act piece by M. Saint Georges de Bouhélier,<br />
entitled “ Le Roi sans couronne.”<br />
<br />
ALYS HALLARD.<br />
<br />
o—~<>—-e-<br />
<br />
<br />
SPANISH NOTES.<br />
ee<br />
HE advance made by women in Spain in<br />
7 literature is seen in Dona Emelia Pardo<br />
Bazan appearing as a dramatist. Her four-<br />
act drama, “Verdad” (Truth), was given for the first<br />
time on 9th January, and the enthusiastic applause<br />
with which the performance was received, showed<br />
the welcome accorded by Spaniards to the work of<br />
a woman. Thestory of the play is based on the<br />
hero’s love of truth— Truth, truth at any price!”<br />
is his watchword, and in this spirit he confesses<br />
the murder of his first wife to her sister whom he<br />
has married. The murder had been committed in<br />
the rage induced by the confession extorted from<br />
the victim. The play shows that Truth cannot<br />
be welcome, when it reveals shameful deeds of<br />
treachery and cruelty, and the drama is another<br />
laurel to the fame of the writer, whose novels<br />
and philosophical works have long made her name<br />
celebrated.<br />
<br />
The Spanish stage has just suffered a great loss<br />
in the death of the popular actor Riquelme.<br />
Thanks to the united generous efforts of the<br />
above cited artistes, and Borras, Lucrecia Arana,<br />
Consuelo Majendia, Josefina Roca, Ruiz Tatay,<br />
Ramirez, Gonzalez, etc., the grand performance at<br />
the Apolo Theatre produced a large sum for the<br />
widow and orphans of the artist.<br />
<br />
The political world has also sustained a loss<br />
in the death of Sefor Esteve, the well-known<br />
liberal leader of Murcia, and the large conclave of<br />
10,000 people at his funeral proved his popularity.<br />
The Imparcial is publishing interesting articles<br />
on some of the leading emissaries for the conference,<br />
and it is interesting to see the appreciative tone of<br />
the remarks relating to Sir Arthur Nicolson, whose<br />
departure from the British Embassy at Madrid is<br />
so much regretted. ‘‘ Whatever disagreements or<br />
conflicts may ensue at Algeciras,” says Luis Bello,<br />
“We can count upon the beneficial effect of Sir<br />
Arthur Nicolson’s wide and generous mind, which<br />
exceeds the force of mere words and forms, and<br />
which is characteristic of his race.”<br />
<br />
An interesting meeting was held on January 7th,<br />
at the Academy of Moral and Political Science,<br />
under the presidency of H.M. King Alfonzo XIIL.,<br />
who made a short speech congratulating the society<br />
on the encouragement it affords the country in the<br />
study of the sciences. Presentation of the medal<br />
was made to Sefior Guisasola, the new member,<br />
who delivered his maiden speech on “The Prin-<br />
ciple of Authority, its Origin, Character, and<br />
Relations.” After drawing masterly distinctions<br />
between undue extensions, and undue limitations of<br />
authority, the speaker said, “ The base of authority<br />
ig a force which is in fact divine, and it is<br />
communicated in various forms to the person or<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
institution that exercises it. The force to com-<br />
mand is from God, but the form of exercising this<br />
force is determined by man.”<br />
<br />
The speech by the Marquis del Vadillo on the<br />
connection between natural and moral forces was<br />
also full of metaphysical truths.<br />
<br />
The Academy of Political and Moral Science<br />
has recently elected as a member the ex-minister<br />
Don Pio Gullen, whom Sefior Azcarate welcomed as<br />
‘¢a well-informed and discreet politician, an honest<br />
and intelligent functionary, a clever writer, and a<br />
fluent and accurate parliamentary speaker.” This<br />
distinction has been afforded to Pio Gullen in<br />
consideration of his studies of the bases and the<br />
systems of the parliamentary methods prevailing<br />
in Europe and America.<br />
<br />
“Bl Idolo” (The Idol) by the well-known<br />
dramatist, Don Manuel Linares, is a striking<br />
picture of the corruption of the Spanish parlia-<br />
mentary system, to which the hero, Don Cesar<br />
Pedroso, succumbs. For his original ideal is not<br />
proof against feminine persuasion to use his<br />
influence to her profit. As the Spanish critics of<br />
the play remark : ‘‘ The stage reflects our customs.”<br />
And it is these customs which Spanish patriots<br />
trust will be gradually reformed.<br />
<br />
The Atheneum of Madrid has just been opened<br />
to women as members, and the first to enrol them-<br />
selves are la Marquesa de Mont-Roig, la Marquesa<br />
de Ayerbe, Sefiora Carmen Figuerola de Ferretti,<br />
Sefiora Pardo Bazan, and Sefiora Blanca de los<br />
Rios.<br />
<br />
The Woman's Agricultural Times offers to publish<br />
articles from notable Spanish ladies in their own<br />
language if Colonel Figuerola Ferretti edits the<br />
contributions. This first Anglo-Spanish magazine<br />
will promote the en/ente cordiale between the women<br />
of the two countries and voice the cordial welcome<br />
awaiting Princess Ena of Battenberg as the future<br />
Queen of Spain.<br />
<br />
The Spanish agricultural magazine ( Ganaderva y<br />
industriales rurales) has moreover invited contri-<br />
butions from English women encouraging Princess<br />
Ena, when Queen, to patronize efforts to forward<br />
the lighter branches of agriculture as occupations<br />
for women.<br />
<br />
The distinguished Spanish journalist Sefior<br />
Ramiro de Maeztu has won the gratitude of his<br />
countrymen by the able way he has reported from<br />
London the methods he has marked in the recent<br />
English elections ; and he has also surprised his<br />
countrywomen by the accounts he has given of the<br />
able way many wives aided their husbands in the<br />
contest.<br />
<br />
A Spanish magazine suggests publishing Mrs.<br />
Alec Tweedie’s Life of Porfirio Diaz, the Spanish<br />
minister of Mexico, as a serial, if it be translated.<br />
<br />
by Don Manuel de Figuerola in the Foreign Office<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THK AUTHOR.<br />
<br />
at Madrid, whose success in a diplomatic mission<br />
in Paris was rewarded with the Légion d’Honneur.<br />
<br />
The great banquet recently given to the political<br />
reformer Soriano, in Madrid, was an occasion for<br />
the orator to give noble tributes to the authors<br />
Galdos and Rusifiol, who were present. He declared<br />
that he himself only aimed at being “the ambas-<br />
sador of the national conscience,’ and in this he<br />
was aided by Galdos, “ the splendid pioneer of cul-<br />
ture and morality,” and by Rusifiol, the Catalonian,<br />
“who,” to quote the speaker, “represents the<br />
intelligence which is the bond of union between all<br />
parts of the country.”<br />
<br />
The Spanish press publishes two charming<br />
poems in honour of the Infanta Dofia Paz on her<br />
departure from Madrid after the marriage of<br />
the Infanta Maria Teresa with her son Prince<br />
Ferdinand of Bavaria. The Doita Infanta de la<br />
Paz, sister of the late King Alfonzo XII, is well-<br />
known for the works of her pen. Her article<br />
comparing Cervantes to Schiller was circulated in<br />
the Royal Academy at the Don Quixote fétes. The<br />
King and Queen patronised this literary function,<br />
when the article was read which was written<br />
for the occasion by the veteran blind author, Juan<br />
Valera, who died a short time before the day of his<br />
triumph. A fine edition of the works of this<br />
great writer is now in preparation, and the first<br />
volume now out contains the ‘“ Eulogy of Saint<br />
Teresa,” “Liberty in Art,” and “The Study of<br />
Don Quixote and the Various Forms of Judging it.”<br />
<br />
The Geographical Society of Spain held an<br />
interesting meeting the other evening, under the<br />
presidency of the minister of the navy to hear<br />
the account of Colonel Delmé Radcliffe’s travels in<br />
Uganda and many parts of the Victoria Nyanza<br />
Lake district in Central Africa. The traveller gave<br />
his experiences in good Spanish, and his reports on<br />
the progress of the railway scheme of the country,<br />
the manners and customs of the natives, and the<br />
fauna and flora of the land, were listened to with<br />
<br />
great interest. RACHEL CHALLIOE.<br />
a<br />
<br />
PUBLICATION AND COPYRIGHT.<br />
<br />
——_+—<—+—__<br />
Part I.<br />
<br />
O discuss in detail the various aspects of<br />
<br />
“‘ publication” considered with reference to<br />
<br />
the law of copyright, would be to supply<br />
<br />
The Author with a great deal of matter conveying<br />
very little definite information to its readers. The<br />
text books of Mr. Copinger, Mr. MacGillivray, and<br />
of Mr. Scrutton contain many scores of pages<br />
devoted to the subject, and if the judgments upon<br />
which they found their summaries of the law, and<br />
to which they refer in footnotes, were set out at<br />
length, considerably more space would be occupied,<br />
<br />
169<br />
<br />
only to show more clearly, what alone appears to<br />
be plain, that various points which may arise at any<br />
time are undecided, and that the statutes which<br />
should provide the definitions dealing with rights<br />
that arise out of statute alone, leave a great deal<br />
to be settled by the courts at the expense of<br />
suitors. As Mr. Scrutton, K.C., observes, in an<br />
early page of his work, ‘‘ These Statutes are, with-<br />
out exception, of most involved and _ inartistic<br />
draftsmanship, and present to the Legislature a<br />
suitable, even an urgent, case for codification.”<br />
Is it too much to hope that a new government,<br />
having among its members an unusual number of<br />
well-known authors, may be able to find time to<br />
introduce and to pass a new Copyright Act, dealing<br />
exhaustively with books, and with literary and<br />
journalistic matter generally, and also with plays,<br />
lectures, engravings (a very wide-spreading branch<br />
of the subject under modern conditions), sculp-<br />
ture, paintings, drawings, photographs and music.<br />
To leave the law relating to all these to be dug<br />
out from many Acts of Parliament and the deci-<br />
sions relating to them, and to be amended by<br />
privately introduced measures drafted by bodies<br />
interested in, and acquainted with, only what<br />
concerns themselves, is to suffer the continuance<br />
of an “ungodly jumble” to the loss and incon-<br />
venience of a deserving and law-abiding section of<br />
the public, who are neglected only because they<br />
give little trouble to anybody.<br />
<br />
When we consider the important part which<br />
“publication” plays in the law of copyright, it<br />
would not be too much to suggest that it is a<br />
word that should oceupy the attention of the<br />
codifying draftsman almost as scon as he has<br />
finished his “preamble.” At present it is the<br />
dividing line which marks the passage in most<br />
cases from the common law right in the originator<br />
(to prevent others from appropriating the product<br />
of his brain), to the statutory right (copyright,<br />
strictly so called), which takes the place of the<br />
common law right directly ‘ publication” has<br />
occurred. It is also for this reason the starting<br />
point from which, in many instances, the time<br />
“begins to run,” during which copyright is to be<br />
enjoyed. Publication may therefore be said to<br />
demand a statutory definition which has never<br />
hitherto been accorded to it, or such varying<br />
definitions as will suit the various subjects of<br />
copyright.<br />
<br />
Mr. Scrutton quotes a suggested definition of<br />
publication from a case argued in the Chancery<br />
Division (Blank v. Footman, 39 Ch. D. 678),<br />
whereby it is described as “ making a thing pablic<br />
in any manner in which it is capable of being<br />
communicated to the public,” and he adds that,<br />
though not necessarily so, the subject of publica-<br />
tion is generally for sale, or, at any rate, so as to<br />
<br />
~<br />
170<br />
<br />
be accessible to all who desire to obtain it, son<br />
conditions imposed not by the author, but by the<br />
law. Publication for private circulation only, and<br />
under conditions imposed by the author, does not<br />
divest the common law right. This, it will be<br />
seen, is a very general definition, and one of<br />
which, as of some others, it may be observed that<br />
the bearings of it lie in its application. It is not<br />
difficult to deduce from it that “ the publication<br />
of a work for private purposes and private circula-<br />
tion is not a publication sufficient to defeat the<br />
common law right of the author,” but more is<br />
needed when some of the subjects of copyright<br />
are considered. Anyone would be ready to say<br />
offhand that a book or an etching of which copies<br />
printed at the author’s expense have been given or<br />
even sold to a few (or to a large number) of his<br />
<br />
ersonal friends has not been “ published.” It<br />
would be less easy for the same person not<br />
acquainted with the various judgments, to con-<br />
jecture or to reason, whether a picture which has<br />
been exhibited at the Royal Academy, or at a<br />
print-seller’s for the purpose of securing sub-<br />
scribers to an engraving, or of which process<br />
reproductions have been circulated in Academy<br />
guides, and in illustrated newspapers, has been<br />
“published ” or not. If he were to go into the<br />
matter he would find that these points and many<br />
others concerning literary, dramatic, musical, and<br />
artistic publication have been decided, as has been<br />
said, not by the Legislature in the various copy-<br />
right Acts, but by the courts of law after expensive<br />
litigation at the expense of suitors anxious to<br />
defend their rights imperilled by no fault of<br />
theirs. There has usually been someone, that is<br />
to say, anxious to make a profit out of the rights<br />
in a book, a play, a musical composition, or a<br />
work of art, and someone else endeavouring in his<br />
own interest to prevent him, and these, instead of<br />
finding the law ready made for them, have had to<br />
pay for obtaining an interpretation from a judge,<br />
which has had to be discussed on appeal. The<br />
decision thus obtained may be useful to others by<br />
laying down general principles which will govern<br />
their cases on some future occasion, but it neces-<br />
sarily will leave many points in doubt. To take<br />
at random one of the instances referred to above,<br />
the seeker after the law might satisfy himself that<br />
according to an old decision of the Irish Chancery<br />
Court, the exhibition of a picture, say at the Royal<br />
Academy, does not constitute such a publication of<br />
it as to divest the painter of his common law right.<br />
He might also be gratified to find that a recent<br />
decision in the United States had endorsed this<br />
view in a case in which it was essential to show<br />
that the picture had not been already “published ”<br />
before steps were taken to protect ib in America.<br />
He might, however, be tempted to apply the<br />
<br />
THE AUTHOR.<br />
<br />
knowledge thus acquired to the case of a piece of<br />
sculpture, and find that in the Irish case already<br />
referred to (Turner v. Robinson, 1860, 10 Tr. Ch,<br />
516), Lord Chancellor Brady said: “In the<br />
Statutes bestowing protection upon works of sculp-<br />
ture the terminus @ guo from which the protection<br />
commences is the publication of the work, that is,<br />
from the moment the eye of the public is allowed<br />
to rest upon it. Many large works in this branch<br />
of art, which decorate public squares and other<br />
places, are of course so published, but there are<br />
others not designed for such purposes which could<br />
never be published in any other way than in<br />
exhibitions ; therefore I apprehend that these<br />
works of sculpture must be considered as published<br />
by exhibition at such places as the Royal Academy<br />
and Manchester, so as to entitle them to the pro-<br />
tection of the Statutes from the date of publica-<br />
tion.”<br />
<br />
Leaving out of the question the advantages<br />
which a work of sculpture may be entitled to<br />
through “publication” of such a nature, it is<br />
evident that these rights rest at present upon the<br />
obiter dictum of a Chancellor who founded them<br />
upon somewhat insufficient grounds. The publi-<br />
cation of a statue, great or small, may date from<br />
its exhibition at the Royal Academy, but it is<br />
absurd to say that this is because it “could never<br />
be published in any other way.” A piece of<br />
sculpture can be reproduced and multiplied by<br />
castings or otherwise, just as a painting can<br />
be multiplied by engraving, or an engraving,<br />
by the taking of more impressions from the<br />
same plate; and it can be, and often is, pub-<br />
lished by sale in a limited or unlimited edition,<br />
just as easily as a mezzotint; or, if there is any<br />
inherent difference between the two classes of<br />
artistic work, it requires considerable mental<br />
subtlety to discern it.<br />
<br />
Books are published as a rule in amanner which<br />
leaves little or no doubt as to the fact of publica-<br />
tion, and as to the date on which it takes place.<br />
Under the Copyright Act, 1842, a book includes<br />
“every volume, part, or division of a volume,<br />
pamphlet, sheet of letter-press, sheet of music,<br />
map, chart, or plan separately published.” Publi-<br />
cation means distribution to the general public<br />
either gratuitously or by sale, and the doubt<br />
whether a book has been published or not at a<br />
certain time generally arises when some kind of<br />
circulation has taken place, and it is a question<br />
whether this was “ private” or not. Notes issued —<br />
to students at classes, and republished by one of<br />
them, and manuscripts circulated by a clergyman —<br />
among his parishioners, have been the subject of —<br />
legal decisions in this class of case, and have been<br />
held not to have been published.” The distri-<br />
<br />
bution of lithographed copies of music for private<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
use has, on the other hand, been held to be publi-<br />
cation. Naturally, when in the ordinary way a<br />
“publisher ” announces a forthcoming book, and<br />
on a pre-arranged day sends out the copies ordered<br />
to the trade, in order that booksellers may retail<br />
them, there can be no doubt as to publication<br />
taking place. It has to take place on British soil<br />
in all cases, but this does not affect the question<br />
what is, or is not, publication. This, in the case<br />
of books, is sometimes quite clear ; sometimes not<br />
easy to decide, and the decision is not made clear<br />
by any effort of the legislature.<br />
<br />
A dramatic piece includes every “ tragedy,<br />
comedy, play, opera, farce, or other scenic, musical,<br />
or dramatic entertainment.” Formerly, acting a<br />
play, as distinct from publishing it like a book, was<br />
not a publication of it, so that, as one result of<br />
this, a man might produce another’s play without<br />
infringing his statutory copyright. Since the Act<br />
of 1842 (sect. 20), the first public representation<br />
or performance of any dramatic piece or musical<br />
performance is “deemed equivalent” to the first<br />
publication of a book. The representation or per-<br />
formance has to be public, but how far many<br />
dramatic performances held with the intention of<br />
thereby securing copyright are “public” within<br />
the meaning of the Act need not be discussed here.<br />
In the United States the law seems to be in the<br />
same condition that it was in England before<br />
1842. Ina case decided in the Superior Court of<br />
New York in 1870, the plaintiff had bought from<br />
the author, Mr. Tom Robertson, the right to<br />
produce in the United States a certain play which<br />
had been acted in London. The defendant had<br />
taken the play down in writing when it was acted<br />
at the Prince of Wales’s Theatre, or bought the<br />
text of it from ingenious, if dishonest, persons who<br />
had done so. If the play had been published in<br />
England it would have been free for all Americans<br />
to annex, or whatever may be the appropriate<br />
term. It was argued, however, successfully that<br />
the acting in England was not a publication in the<br />
eyes of American law, so that the author had not<br />
lost his common law right, and could protect<br />
himself under it. The result, at all events, was<br />
consistent with justice. Apparently, however, if<br />
the play had been published and sold as a literary<br />
work, as well as produced on the stage, the decision<br />
would have been the other way.<br />
<br />
In England a dramatic composition is looked<br />
on from two points of view, that of a book to<br />
be read, and that of a performance to be held<br />
publicly. The copyright, strictly so called (i.e.,<br />
the right to multiply copies) dates from publication<br />
as a book, and the performing right from the first<br />
public representation, so that dispute as to what is<br />
or is not “ public”’ may arise in either case.<br />
<br />
It has been suggested above that definitions of<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
171<br />
<br />
publication are desirable ; it would perhaps be<br />
better if its importance were diminished by making<br />
the conditions of protection cease to be dependent<br />
upon it, and by making publication, where it has<br />
to be considered, a matter of compliance with<br />
specified formalities, which could easily be done<br />
in more if not all of the matters subject to<br />
copyright.<br />
<br />
ESSA ea Iara<br />
<br />
<br />
<br />
A HINT TO WRITERS UPON TECHNICAL<br />
SUBJECTS.<br />
<br />
—+—~<—+- —__<br />
<br />
T has been stated at times, by not well-informed<br />
persons, that the Society of Authors exists<br />
only to assist writers of fiction. Though, no<br />
<br />
doubt, a large number of the members of the<br />
Society are writers of fiction, there are many<br />
hundreds, dramatists, writers on technical subjects,<br />
history, theology, and so on, composers of music<br />
and illustrators of books, whose property the<br />
Society undertakes to protect. There are two<br />
chief reasons why it is advanced against the<br />
Society that its main business lies with writers<br />
of fiction. One is the fact that many of the<br />
articles in The Author refer to writers of fiction—<br />
—especially those articles which deal with the<br />
work of the agent ; and the other the fact that in<br />
examples of the cost of production, the 6s.<br />
book is generally taken as a fitting standard.<br />
This is not because the 6s. book is necessarily the<br />
work of a writer of fiction, but because, taking<br />
the market as a whole, the majority of books are<br />
published at this price, and it is, therefore, a con-<br />
venient price from which to start any calculation.<br />
Because of the prevalent impression it may, there-<br />
fore, be as well to explain how technical writers<br />
can be benefited by the work and funds of the<br />
Society. In the past year one or two examples<br />
have occurred which demonstrate clearly that<br />
writers other than writers of fiction need advice<br />
from the Society, and to quote them will be the<br />
simplest way of showing the larger scope of our<br />
work.<br />
<br />
Many years ago a member of the Society, a<br />
medical man now famous in his special branch,<br />
wrote a work dealing with his particular subject.<br />
Being then comparatively unknown to the public,<br />
he found some difficulty in placing his book, and<br />
finally published it by selling his copyright to one<br />
of the medical publishers. Hight or nine years<br />
afterwards he had advanced not only in reputa-<br />
tion before the public, but also in the skill and<br />
knowledge of his subject. He therefore came to<br />
the conclusion that his book ought to be reissued<br />
and brought up to date with the examples gathered<br />
172<br />
<br />
from his own experience and added knowledge.<br />
But on his approaching the publisher he was<br />
unable to obtain anything like satisfactory terms,<br />
and the publisher was unwilling to make the<br />
alterations required. He found himself in the<br />
following difficult position : Hither he must<br />
abandon his publication and see an imperfect work<br />
of his own placed before the public, or he must<br />
repurchase the copyright from the publisher at<br />
the publisher’s price before he could bring out the<br />
new book, as it was absolutely essential for him to<br />
use the old as the basis of the new. At this point<br />
he came to the Society of Authors, when, the<br />
position being explained to him, he decided to buy<br />
back his work and republish it himself. He was,<br />
of course, at the mercy of the publisher, who<br />
could ask practically any figure he liked for the<br />
copyright. This position is not unique ; it has<br />
occurred-on two or three other occasions. On one<br />
of these the author was not in a position to pur-<br />
chase the copyright of his original work from the<br />
publisher, and was bound, therefore, to transfer<br />
the copyright of the new edition to the same pub-<br />
lisher or not to publish at all. Whether we take the<br />
first example or the second, in either case the author<br />
is at the mercy of the publisher. To all readers<br />
of The Author it must be quite clear that this<br />
position could have been avoided if the authors<br />
had taken the advice which is put forward from<br />
time to time in these columns when criticising<br />
the agreements drafted on behalf of technical<br />
writers. As it was, the authors could only obtain<br />
the assistance of the Society to draft their new<br />
agreements and to make the best bargain on their<br />
behalf in order to get their works out of the hands<br />
of their old publishers.<br />
<br />
It has been pointed out in many places and on<br />
many occasions that publishers are essentially men<br />
of business, and if they find they can obtain a<br />
large price for any property they will naturally<br />
make the best bargain for themselves. It is usual<br />
for publishers to try to enforce more stringent<br />
terms upon authors who write on technical subjects<br />
than upon authors who write on more general sub-<br />
jects. There are two reasons for this. (1) Authors<br />
writing on technical subjects, as a general rule,<br />
have not the best knowledge of the business value<br />
of their works ; and (2) in some technical works a<br />
good part of the cost of production has sometimes<br />
to be undertaken by the author, even though his<br />
treatise may be by the greatest authority on the<br />
Sie as the subject may only appeal to the very<br />
<br />
ew.<br />
<br />
In both these cases the Society can be of assist-<br />
ance. In the first case, by showing the technical<br />
writer what is the real market value of his work<br />
under certain conditions ; and in the second, by<br />
testing for him the cost of production, and any<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
other details that may come into the agreement, if<br />
it has been made essential for him, by the pub-<br />
lisher, to pay asum towards the cost of production.<br />
<br />
Finally, it should be added that some technical<br />
works, if adopted by any of the educational<br />
centres, become very valuable property, and an<br />
author should always remember that such a chance<br />
may occur in the case of his own work.<br />
<br />
G. HE<br />
<br />
(8<br />
<br />
MUSICAL COPYRIGHT.<br />
<br />
<br />
<br />
E have watched with considerable interest<br />
the energetic measures that the music<br />
publishers have been taking against the<br />
<br />
pirates. It is their natural desire to protect the<br />
property which they have, in nearly all cases, pur-<br />
chased outright from the musical composers.<br />
<br />
Their last success was to obtain a conviction in<br />
a criminal prosecution for conspiracy. The trial<br />
lasted for eight days, but the time was certainly<br />
not wasted, as it brought again to the notice of the<br />
public the urgent need to remedy the difficulties<br />
under which the musical composers labour. Refer-<br />
ence has been made from time to time in The<br />
Author to the steps the music publishers have<br />
taken in order to protect their property and to<br />
bring in a Bill which would deal with the question<br />
in an adequate way. Their efforts have, to a limited<br />
extent, been successful ; but the first Bill which<br />
was passed was in many particulars insufficient ;<br />
and the second Bill, which they attempted to push<br />
through the House last summer to fill up the<br />
deficiencies, met with strong opposition from a<br />
few who appear to be entirely ignorant either of<br />
the ethics of the rights of property, or of the<br />
history and evolution of copyright property in<br />
particular.<br />
<br />
While, however, we are exceedingly glad of the<br />
result of the prosecution, we should like to add a<br />
few remarks regarding musical composers. The<br />
publishers who have during the past years taken<br />
these active steps in order to protect musical<br />
property, put themselves before the public as<br />
acting for the composer of music, and for the<br />
musical composer only. They pose as the generous<br />
guardians of the author of music, just as, in the<br />
old days, the publisher of literary wares did on<br />
behalf of the author of books. The public, how-<br />
ever, must not be deceived by this attitude, for the<br />
fact is, that although the musical composer is the<br />
author of the work, and is the man in whom the<br />
copyright rested originally, yet owing either to his<br />
ignorance of the value of his property or, as is<br />
more probable, to his lack of gregarious instinct,<br />
he continues to sell that most valuable asset—his<br />
<br />
<br />
<br />
<br />
<br />
<br />
‘4<br />
<br />
<br />
<br />
copyright and performing right—to the publisher,<br />
sometimes for a sum down and sometimes on a<br />
royalty basis. So the publishers are fighting<br />
rather for their own acquired rights than for the<br />
musical composers, and should openly state that<br />
this is their point of view, instead of coming<br />
forward under false colours.<br />
<br />
The efforts of the society to show to musical<br />
composers the value of their property, that is, the<br />
value of sound agreements, and to stir up some<br />
kind of opposition to the wholly illiberal and<br />
unfair contracts which are offered to them, have<br />
so far been unsuccessful. It is true that the<br />
society has a certain number of composers on its<br />
books, but a small body can bring but little<br />
pressure to bear upon the powerful publishing<br />
houses who have so long usurped the rights to<br />
which they are not entitled. Once again, it should<br />
be impressed upon the composers’ minds that not<br />
only are they getting inadequate returns for the<br />
works of their brains, but they are transferring<br />
their property without any guid pro quo.<br />
<br />
—______—~<—_e—_<_<br />
<br />
COPYRIGHT LAW IN THE<br />
UNITED STATES.<br />
<br />
—+-—— + —<br />
Tur Statutory NOTICE.<br />
<br />
HE importance of the decision in the recent<br />
case of the G. & C. Meriam Company v.<br />
United Dictionary, which was fully set out<br />
<br />
in the last number of 7he Author, can hardly be<br />
exaggerated. The effect of it is staggering to<br />
publishers and authors, and particularly to the<br />
latter in cases where by an assignment or agree-<br />
ment they have no control over the form of printing<br />
or publishing in this country.<br />
<br />
The American Courts have laid it down in<br />
effect that if a single copy of a book, duly copy-<br />
righted in the United States, is published with the<br />
consent of the proprietor of the copyright in any<br />
part of the world, without the American copyright<br />
notice inserted in it, the proprietor cannot sue for<br />
infringement in the American Courts, and the<br />
copyright in the United States is practically lost.<br />
<br />
An important feature of the case is the way in<br />
which the defendant avoided committing a breach<br />
of the law against importation. The book was<br />
<br />
originally printed in America from plates manu-<br />
factured from type set in the United States, and the<br />
plates were sent over to England for the purpose<br />
of printing an English edition, and as the prohibi-<br />
tion against the importation into the United<br />
States of American copyright books does not apply<br />
to books printed from plates manufactured in that<br />
<br />
THE AUTHOR. 173<br />
<br />
country,* the defendant did not offend against the<br />
law in that respect ; moreover, this prohibition is<br />
excepted,t where not more than two copies are<br />
purchased and imported “ for use and not for sale,”<br />
and this was another plea put forward by the<br />
defendant.<br />
<br />
It is the latter exception which makes the<br />
decision so fatal to the English publisher. No<br />
doubt many American copyright books are printed<br />
in England from plates manufactured in the<br />
United States, but this is not always the case.<br />
On the other hand there is nothing to prevent any<br />
person from buying two copies from an English<br />
publisher, which may perhaps contain no American<br />
copyright notice, and importing them “ for use and<br />
not for sale,” and so the prohibition against<br />
unlawful importation may be evaded.<br />
<br />
The harshness of the law was realised by the<br />
learned judge who tried the case, because the<br />
American copyright notice, as he pointed out, is<br />
of no importance in England and might conceiv-<br />
ably be detrimental to the sale of the book. Asa<br />
matter of common practice it is frequently dispensed<br />
with in books and periodicals which are published<br />
for sale in England. The merits of the case, the<br />
judge admitted, were entirely in the plaintiff's<br />
favour, and he regretted being driven to a legal<br />
conclusion which ignored them. ‘ The remedy,”<br />
he added, “rests with Congress and not with the<br />
courts.”<br />
<br />
The requirement of the copyright notice by the<br />
law of the United States is more than a century<br />
old, and it may be worth considering whether it is<br />
adapted to the reciprocal conditions of the present<br />
day. It first appears in the American Act of 1802,<br />
which, amending the original Copyright Act of<br />
1790, provided that no author or proprietor of<br />
copyright should be entitled to the benefit of that<br />
Act unless he inserted the copyright notice. This<br />
was slightly altered in the Act of 1831, and revised<br />
to its present form in 1870, except that the alterna-<br />
tive form of the notice was added by the Act of<br />
1874.<br />
<br />
The copyright law in the United States is at the<br />
present time undergoing revision, and it is to be<br />
hoped that Mr. Thorvald Solberg may devise a<br />
scheme which will lighten the burden of those who<br />
are at pains to secure copyright protection in the<br />
United States.<br />
<br />
The principal countries in the copyright world<br />
give protection to the American author with com-<br />
paratively little trouble. A book published in the<br />
United States can, by simultaneous publication of<br />
some copies in England—which may be printed in<br />
the United States—and registration at Stationers’<br />
<br />
<br />
<br />
* Revised Statutes, sect, 4956.<br />
+ Lbid.<br />
<br />
<br />
174<br />
<br />
Hall, acquire copyright protection without further<br />
formality, throughout the British Dominions and<br />
+n the other fourteen countries within the Copyright<br />
Union.*<br />
<br />
On the other hand, the difficulty of a foreign<br />
author in obtaining copyright protection in the<br />
United States is even greater, and the formalities<br />
more onerous, than in the Netherlands or Siam.<br />
In the first place, the author must belong to a<br />
proclaimed or treaty country before he is competent<br />
to acquire any copyright at all.t Secondly, the<br />
book must be printed from type set up in the<br />
United States and two cupies delivered to the<br />
Librarian of Congress, in addition to a printed<br />
copy of the title of the book, on or before the day<br />
of publication.{ And, further, the statutory copy-<br />
right notice must be inserted in the several copies<br />
of every edition, whether published in the United<br />
States or, according to this recent decision, in any<br />
other part of the universe.§<br />
<br />
The wording, even, of the notice must be precise,<br />
as is shown by the cases in the American courts.<br />
Tt has been held, for instance, that where the<br />
notice was<br />
<br />
« Entered according to the Act of Congress, in<br />
<br />
the year 1878, by H. A. Jackson e<br />
an action could not be maintained by the proprietor<br />
of the copyright because the notice was insufficient. ||<br />
And in another case,<br />
<br />
“Copyright, 1891. All rights reserved,”<br />
was held to be a bad notice, because the proprietors<br />
were not specified, although the name of the<br />
publishers appeared upon the title page and they<br />
were the proprietors of the copyright.4]<br />
<br />
It may be pointed out that the Canadian Act of<br />
1875 and the Newfoundland Act of 1890, which<br />
are based upon the law of the United States,<br />
contain similar requirements as to the statutory<br />
copyright notice. ‘There is an important distine-<br />
tion, however, because the Canadian and New-<br />
foundland Acts are local, and do not operate<br />
outside the limits of the respective colonies.<br />
(See International Copyright Act 1886, sec. 8, (1-)<br />
and (4.) ).<br />
<br />
A country, it is suggested, should only impose<br />
obligations within its jurisdiction, and there seems<br />
to be something anomalous in the United States<br />
legislation which compels an English publisher to<br />
observe a formality in England which is not<br />
required according to English law.<br />
<br />
Haroitp Harpy.<br />
<br />
* Berne Convention, art. 3, as amended by the Additional<br />
Act of Paris.<br />
<br />
+ Chace Act, 1891, s. 13.<br />
<br />
+ Revised Statutes, sect. 4956.<br />
<br />
§ Ibid., sect. 4962.<br />
|<br />
<br />
| Jackson v. Walkie, 29 Fed. Rep. 15.<br />
{ Osgood y. Aloe Co., 83 Fed. Rep. 470.<br />
<br />
<br />
<br />
<br />
<br />
THB AUTHOR.<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
—— 1+<br />
<br />
BLACKWOOD’S.<br />
By the Warden of Wadham.<br />
<br />
BOOKMAN.<br />
By Elizabeth Lee.<br />
<br />
Book MONTHLY.<br />
Welsh Wales: A Literary Republic unknown to Eng-<br />
land. By 8. R. John.<br />
Our Sea Poetry. By J. E. Patterson.<br />
Scott in Ireland.<br />
<br />
An Oxford Trimmer.<br />
<br />
Heinrich Heine.<br />
<br />
CONTEMPORARY REVIEW.<br />
An Agnostic’s Progress.—II. By William Scott Palmer,<br />
Scotch Education : How Ought it to be Organised. By<br />
James Donaldson.<br />
The Celtic Spirit in Literature. By Havelock Ellis.<br />
<br />
CoRNHILL.<br />
<br />
Society in the Time of Voltaire.<br />
<br />
George Eliot’s Coventry Friends.<br />
Draper.<br />
<br />
Grandeur et Décadence De Bernard Shaw. By A Young<br />
Playgoer.<br />
<br />
Freeman versus Froude.<br />
<br />
By 8. G. Tallentyre.<br />
By Warwick H.<br />
<br />
By Andrew Lang.<br />
<br />
FoRTNIGHTLY REVIEW.<br />
Critical Notes on “ As You Like it.” By H. M. Paull.<br />
Ebenezer Elliott: The Poet of Free Trade. By H. G.<br />
Shelley.<br />
INDEPENDENT REVIEW.<br />
Quo Vadis. By G. Lowes Dickinson.<br />
Sir Thomas Browne. By G. L. Strachey.<br />
Macterlinck as Moralist. By Algar Thorold.<br />
Flowers and The Greek Gods. By Alice Lindsell.<br />
Leonidas Andreieff. By Simon Linden.<br />
<br />
MACMILLAN’S MAGAZINE,<br />
<br />
The Stuarts in Rome. By Herbert M. Vaughan.<br />
Lay Canons in France. By Egerton Beck.<br />
<br />
MONTH.<br />
Religion versus Religions. By C. C. Martindale.<br />
Edmund Campion’s History of Ireland.<br />
<br />
MontTHLy REVIEW.<br />
<br />
Lord Byron and Lord Lovelace. By John Murray.<br />
<br />
‘Ancient and Modern Classics as Instruments of Educa-<br />
tion. By J. Herbert Warren.<br />
<br />
Froude and Freeman. By Ronald McNeill.<br />
<br />
A Forgotten Princess. By Reginald Lucas.<br />
<br />
NATIONAL REVIEW.<br />
Shaw and Super-Shaw. By Edith Balfour. ;<br />
The Northern University Movement. By Talbot Baines.<br />
NINETEENTH CENTURY.<br />
<br />
- An Official Registration of Private Art Collections. By<br />
Eugénie Strong.<br />
<br />
The Reading of the Modern Girl. By Florence B. Low.<br />
<br />
The Reviewing of Fiction. By Richard Bagot.<br />
<br />
TEMPLE BaR.<br />
<br />
Richard Jefferies. By Edward Thomas.<br />
<br />
(There are no articles dealing with Literary, Dramatic,<br />
or Musical subjects in Chambers's Journal or Pail Mail<br />
Magazine.)<br />
<br />
<br />
<br />
<br />
<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<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 sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
<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 />
Allother 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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
—___—_—_+—_+—____———__<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<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 />
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. 175<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.c., fixed<br />
nightly fees). ‘This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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 United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9, Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10, An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
<br />
<br />
e«—~<>°<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—_<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright, He<br />
<br />
<br />
176<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
—_—_——_e—<>—_-—__<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—-—>+<br />
<br />
VERY member has a right toask for and to receive<br />
<br />
4 advice upon his agreements, his choice of a pub-<br />
<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion. All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 41s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
THE AUTHOR.<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
+4<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
NE<br />
<br />
THE READING BRANCH.<br />
ee<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 The Author begs to remind members of<br />
<br />
I the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind;<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. lHvery 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 />
ee<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—-~—+—_<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, H.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—<br />
<br />
In last month’s issue we gave a short statement<br />
that the decision in Werckmeister v. Amerwan Litho-<br />
graphic Company had been upheld by Judge Holt<br />
of the United States Circuit Court for the Southern<br />
District of New York. In his judgment he made<br />
some very trenchant remarks on the question<br />
whether or not the Act demands a copyright notice<br />
on the original painting. The words of the section<br />
making it necessary that the notice of the copy-<br />
right shall be inscribed run as follows :—‘‘ Upon<br />
some visible portion thereof, or of the substance on<br />
which the same shall be mounted.” Judge Holt<br />
points out that the word “ thereof,” and the words<br />
“the same,” do not refer to maps, charts, &c., but<br />
refer back to “the several copies.” He continues<br />
to show that the copyright notice is not written on<br />
the original MS., or on the original map, but on<br />
the copies that are made public, and though he<br />
draws the distinction that the original painting is<br />
more often made public than the map and the MS.,<br />
yet he thinks the reason for the construction which<br />
makes the Copyright Act provide that the notice<br />
demanded by it shall be put on the copies of the<br />
copyrighted thing instead of upon the thing itself, is<br />
so weighty that such a construction should be<br />
given to the statute. He ends his judgment by<br />
saying :-—“It would seem almost a deliberate<br />
vulgarization of art if the finest specimens of<br />
painting and sculpture exhibited in the Paris<br />
Salon, the London Royal Academy, or the leading<br />
art societies in this or other countries were all<br />
ticketed with copyright notices. I cannot see why<br />
the law should require it, or that it does require<br />
1G.<br />
<br />
This judgment and this decision are very satis-<br />
factory and seem to give a sound common sense<br />
interpretation to the United States Act on this<br />
point.<br />
<br />
In addition to the Werckmeister case, another<br />
case was printed in The Author from the Pub-<br />
lishers’ Weekly of New York. We must thank<br />
Mr. A. P. Watt for calling our attention to this<br />
important decision. It deals with some legal<br />
aspects which touch nearly all authors who publish<br />
in the United States of America and Great Britain,<br />
and an article from the pen of Mr. Harold Hardy,<br />
printed this month, will, we hope, explain the<br />
position more clearly to our members.<br />
<br />
We have received from the Copyright Office of<br />
the Library of Congress the statement of its work<br />
during 1905.<br />
<br />
THE AUTHOR.<br />
<br />
gg<br />
<br />
A comparison of the figures for that year with<br />
the figures of 1904 indicates sufficiently clearly<br />
the increasing work of this office. Whereas, in<br />
1904, the sum received from every branch of the<br />
copyright business amounted to 75,520 dollars, in<br />
1905 it totalled 78,518 dollars, or an increase of<br />
2,998 dollars. Moreover this increase has not<br />
been obtained by an excess in one particular branch<br />
of its work, but has been manifested in all depart-<br />
ments. The number of titles registered, the<br />
certificates granted, the copies of records supplied,<br />
the assignments and the searches made, each shows<br />
an increase on the preceding year.<br />
<br />
The entries have risen from 106,577 in 1904 to<br />
116,789 in 1905.<br />
<br />
The largest number of entries refers to musical<br />
compositions, 25,567 coming under this category.<br />
Periodicals, with 21,925 entries, come second ; while<br />
photographs, with 16,061, come third on the list.<br />
The entries referring to books (which include<br />
pamphlets) number 15,393. In addition, there<br />
are 3,872 entries referring to booklets, leaflets,<br />
circulars, and cards, and 10,204 entries of news-<br />
papers and magazine articles.<br />
<br />
The fact that on January 4th, 1906, all appli-<br />
cations, with the exception of 273 non-certificated<br />
entries, had been acted upon, indexed, and cata-<br />
logued, is sufficient testimony to the prompt and<br />
businesslike methods of the Copyright Office, and<br />
reflects the greatest credit on Mr. Thorvald Solberg,<br />
the Registrar of Copyrights.<br />
<br />
<br />
<br />
Sm Francis Burnanp who has been for over<br />
forty years connected with Punch has now<br />
resigned the editorship. There is no need, after<br />
the many tributes from other sources, to reiterate<br />
the fact that Sir Francis Burnand has always<br />
maintained the high principles of the paper, both<br />
in his selection of artists and in his selection of<br />
authors.<br />
<br />
We must congratulate the retiring editor on<br />
his long and successful connection with the paper.<br />
We are especially pleased to do so, as he has<br />
been a prominent member of the society for some<br />
years.<br />
<br />
His successor, Mr. Owen Seaman, whose work<br />
in Punch and in other papers is so well known,<br />
will, we are sure, fill the chair worthily. The<br />
society has also been honoured by Mr. Seaman’s<br />
membership, and he is, in addition, a member of<br />
the managing committee. He has always shown<br />
great interest in the arduous duties which he and<br />
the other members so generously undertake on<br />
behalf of those who belong to the society.<br />
<br />
——_—_—_+——-_<br />
<br />
<br />
THE AUTHOR.<br />
<br />
OBITUARY.<br />
<br />
—-— + —<br />
<br />
E have, with regret, to chronicle the death<br />
of Mr. C. J. Cornish, which occurred at<br />
the end of January.<br />
<br />
The late Mr. Cornish, who was in his forty-sixth<br />
year at the date of his death, had been a member<br />
of the Society for some fifteen years, and showed<br />
during that period his practical appreciation of the<br />
Society’s work by frequently consulting it for advice<br />
relative to the marketing of his property.<br />
<br />
Most of his books dealt with natural history,<br />
sport, and outdoor life, and although his life was<br />
but a short one, he found time to write about a<br />
dozen of these works, in addition to contributing<br />
to numerous magazines articles dealing with those<br />
subjects on which he was an authority.<br />
<br />
«Life at the Zoo,” “ Wild England of To-day,”<br />
“Nights with an Old Gunner,” are a few of the<br />
works which came from his pen.<br />
<br />
—_—_—_——__+—_—_+-___—_-<br />
<br />
THE LAW OF INTERNATIONAL<br />
COPYRIGHT.<br />
<br />
1<br />
<br />
HE work on this subject, by William Briggs,<br />
which has just been published by Stevens<br />
and Haynes, is divided into five parts:<br />
<br />
(1) The Evolution of International Copyright ;<br />
(2) The Theory of International Copyright ;<br />
(3) The Berne Convention, with a chapter on the<br />
Montevideo Convention ; (4) International Copy-<br />
right in the British Dominions and Colonial<br />
Copyright ; (5) Protection of Authors in the<br />
United States.<br />
<br />
Mr. Briggs starts from the very commencement.<br />
He shows how, gradually, property rose from<br />
something physical to something metaphysical,<br />
and that property, strictly speaking, is a right not<br />
a thing; how it became subject to certain laws in<br />
each state ; and how, with the evolution of society,<br />
different kinds of property were recognised, each in<br />
its turn coming under the legislature. He draws<br />
attention to manual labour as a title to property,<br />
then to intellectual labour as a title, and, finally,<br />
to copyright based on labour. Judge Thomson,<br />
an eminent American judge, stated: “The great<br />
principle on which the author’s right rests is that<br />
it is the fruit or production of his labour, and that<br />
labour by the faculties of the mind may establish<br />
aright of property as well as by the faculties of<br />
the body. Every principle of justice, equity,<br />
morality, fitness, and sound policy concurs in pro-<br />
tecting the literary labours of men to the same<br />
extent as the property acquired by manual labour<br />
is protected.”<br />
<br />
This is the view of the great French writers om<br />
the subject, but France has always been more<br />
liberal, and has always taken a broader view than<br />
any other nation in the evolution of this kind of<br />
property. Quoting another authority, he says:<br />
“‘ Distinct properties were not settled at the same<br />
time nor by one single Act, but by successive<br />
degrees,” and he goes on to show that although<br />
copyright property only became valuable at a late<br />
date, with the introduction of printing, it is not,<br />
therefore, a whit the less a real property on this<br />
account. It has been argued that copyright pro-<br />
perty is merely the granting of a monopoly.<br />
Mr. Briggs shows the fallacy of the argument. It<br />
is argued that although for many years it was not<br />
the subject of legislative enactments, it is not the<br />
less the property of the author. It is, in truth, as<br />
he points out, “‘an antecedent right of property<br />
deriving only its legal protection from the State.”<br />
<br />
England has the distinction of passing the first<br />
copyright law in which the author’s interests were<br />
considered. This is the Act of Anne, 1709, but<br />
though England may boast of this, it is France<br />
which can boast of treating most liberally the real<br />
ideal of copyright—that is, the right of foreign<br />
authors to protection. Her example has in recent<br />
years been followed by Belgium and Luxembourg.<br />
<br />
The writer having shown conclusively that copy-<br />
right is the property of the author, then discusses<br />
the ethical side. His remarks on this point are of<br />
great interest. His chapter on this question begins<br />
as follows :—%“Though piracy at sea was at one<br />
time considered an honourable profession, general<br />
morality has so far advanced that at the present<br />
day it is a barbaric practice, is regarded as<br />
criminal, but intellectual property has not yet been<br />
acknowledged as worthy to rank with material<br />
goods in respect of international protection,” but<br />
he points out, in a subsequent chapter—the<br />
history of international copyright—how, by slow<br />
degrees, the immorality of this piracy grew on the<br />
international conscience, and sometimes for ethical<br />
reasons, and sometimes for practical reasons,<br />
nations began to enter into treaties for the pro-<br />
tection of foreigners. It is curious to note how<br />
the ethical reasons have sometimes preceded the<br />
practical development. The nation that has given<br />
the greatest freedom to foreigners does not find it<br />
more difficult to enter into treaties, but finds it<br />
less difficult to do so, and we are glad to think<br />
that the English Copyright Commission gave as its<br />
opinion that reprisals in the matter of literary —<br />
plunder were illegitimate. Piracy, in many cases,<br />
does not lead to the production of the best books<br />
of other countries in the country that upholds the<br />
piracy, and is ever disastrous to its own literature. —<br />
<br />
The whole question of international copyright, —<br />
and the arguments brought forward in its favour, —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
prove a strong indictment against the present<br />
position of the United States in the civilised<br />
world. Darras, the great- French authority, speak-<br />
ing of Russian law, says: “It seems to protect<br />
foreigners to a certain extent, but if the reality of<br />
the facts alone is taken into consideration, its<br />
place is marked side by side with the United<br />
States and Turkey.” We are pleased to think,<br />
however, as from time to time we have pointed<br />
out, and Mr. Briggs confirms this fact, that the<br />
cultured and intellectual minority in America have<br />
always been in favour of the higher evolution<br />
of international copyright and repudiated trade<br />
restriction.<br />
Having dealt exhaustively with the evolution of<br />
property generally, and copyright property in<br />
particular, Mr. Briggs then proceeds to consider<br />
the theory of International Copyright. He shows<br />
by careful argument the result of piracy on the<br />
’ literature of nations, and on this question he is in<br />
entire agreement with the views that have been<br />
expressed from time to time in 7he Author. He<br />
next treats, in some detail, the evolution of Inter-<br />
national Copyright. He shows how the movement<br />
was inaugurated by treaties between the countries.<br />
He examines the advantages and disadvantages of<br />
treaties as a means of international agreement.<br />
Treaties between individual states are, no doubt,<br />
advantageous for the protection of their writers,<br />
but when there are many countries, and the treaties<br />
dealing with the same subject are multiplied in-<br />
definitely, then confusion is likely to reign, unless<br />
some international system such as is provided by<br />
the Berne Convention is adopted. Mr. Briggs<br />
points out very strongly that the question of copy-<br />
right should not be dealt with in commercial<br />
treaties between different countries, as copyright<br />
property, owing to its peculiar nature, cannot be<br />
dealt with on the same basis as bales of cotton and<br />
other similar commodities. He goes further and<br />
deals with the question of treaties made by<br />
countries that are members of the Berne Conven-<br />
tion with countries outside the Convention, or with<br />
countries within the Convention, and discusses the<br />
advantages to be derived from these separate<br />
treaties. He is inclined to think that treaties<br />
with countries outside the Convention will tend<br />
finally to bring those countries into the Convention,<br />
and that treaties between countries in the Conven-<br />
tion will broaden and will not narrow the advan-<br />
tages which those countries derive from the Con-<br />
vention, and therefore would assist the widening of<br />
the Convention should such widening at a later<br />
date be feasible. Finally, he arrives at the Berne<br />
Convention and takes it clause by clause, and<br />
views it from the point of view of its general<br />
application. Under this chapter he also deals<br />
<br />
with the Convention of Montevideo.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
179<br />
<br />
The next division of the work, Part 4, refers to<br />
the particular application of International Copy-<br />
right to Great Britain under the Imperial Laws,<br />
and alternately, with the rights of Englishmen<br />
in foreign countries. Part 5, the last, deals with<br />
the United States and their relations with foreign<br />
countries.<br />
<br />
Thus he covers the whole range of International<br />
Copyright from end to end, showing the gradual<br />
advance of civilisation ; the gradual development<br />
of the rights of property, and, finally, of copy-<br />
right property ; how nations dealt with the newly<br />
developed property, and how the more civilised<br />
they became the more liberal became the protection<br />
which they afforded it. From beginning to end,<br />
his arguments lead to the conclusion that the<br />
United States have not yet risen to the level of the<br />
great nations of Hurope. It is hoped, however,<br />
that the consolidation of the United States Law<br />
may produce a satisfactory result.<br />
<br />
To deal with such a wide subject and in so<br />
detailed a manner necessitated the production of a<br />
large book and an enormous amount of labour.<br />
Mr. Briggs’ book covers more than 800 pages. It<br />
could not, in order to be of value to the student<br />
: — as the specialist, be very greatly reduced in<br />
<br />
ulk.<br />
<br />
The author cannot be too highly commended for<br />
his careful and laborious work, dealing as it does<br />
with the laws and technicalities in all the countries<br />
of the world, from many of which it is not always<br />
easy to obtain satisfactory and reliable informa-<br />
tion.<br />
<br />
With the exception of one or two minor slips,<br />
we have been unable to find any mistake in the<br />
facts quoted. In conclusion, we must express our<br />
gratitude to Mr. Briggs, not merely for producing<br />
a book of over 800 pages with great labour and<br />
care, but because by this production he has filled<br />
a gap which has existed in treatises on copyright<br />
property.<br />
<br />
a ———$<br />
<br />
SOME FRENCH-CANADIAN WRITERS.<br />
<br />
ee<br />
<br />
HE “Voyages” of Champlain, the “ Relations”<br />
of the Jesuit missionaries, and the epistles<br />
of Marie de l’Incarnation, will always be<br />
<br />
interesting to those who endeavour to trace back<br />
to its source the stream of French-Canadian litera-<br />
ture. In these early writings we discover the<br />
influence of those conditions under which French-<br />
Canadian litlérateurs have usually worked. With<br />
few exceptions they have been chiefly controlled by<br />
religion and patriotism. Living in a stimulating<br />
atmosphere of sunlit purity, in the midst of the<br />
most picturesque scenic surroundings, they have-<br />
<br />
<br />
180<br />
<br />
always possessed the consciousness of a not less<br />
picturesque past. In addition to this, a large pro-<br />
portion of them have enjoyed the advantage of<br />
well-bred ancestors. ‘There was something of the<br />
spirit of the Crusaders in those who went out two<br />
or three centuries ago—some of the best blood of<br />
France—to found a New France in the western<br />
hemisphere. It is true that they had the Indian<br />
fur trade in mind, together with schemes of<br />
colonization of a more or less business-like descrip-<br />
tion; but many of them had also romantic dreams<br />
of glory, while every expedition was bathed in the<br />
spirit of faith and of religious proselytism. The<br />
Church has continued to hold the position it took<br />
at the outset in the Province of Quebec, when,<br />
indeed, it was not the Province of Quebec, but<br />
New France. It had seventy thousand inhabitants<br />
at the cession to the British in 1760; these have<br />
increased to one million six hundred and fifty<br />
thousand now. But they are all Roman Catholic,<br />
and in the main their customs and their civil law<br />
have been preserved as they were under French<br />
domination. Itis one of the triumphs of the British<br />
genius for managing colonies that the French-<br />
Canadians are loyal to the Crown, contented, happy<br />
and well-to-do, and that they have not the slightest<br />
wish to change their allegiance. Less than might<br />
<br />
have been supposed have they been influenced by<br />
<br />
France. They present a unique example of a<br />
branch severed from a parent stem and starting an<br />
independent existence. Their literary separation<br />
from France has been almost as complete as their<br />
political separation. The Church has attended to<br />
their education—they have not sent their sons and<br />
daughters “ home” for their teaching. They have<br />
not felt the impact of literary transformations any<br />
more than the rebound of political revolutions.<br />
Hon. Hector Fabre has well said :<br />
<br />
“ Our society is neither French nor English, nor Ameri-<br />
can, it is Canadian. One finds in its manners, its ideas,<br />
its customs, its tendencies something of each of the peoples<br />
in the neighbourhood of which it has lived; French<br />
petulance corrected by English common-sense, British<br />
stolidity brightened by French sprightliness. The con-<br />
tinuous practice of constitutional liberty, an incessant con-<br />
tact with institutions and forms foreign to our old mother<br />
country, the almost total cessation of intimate communica-<br />
tion with her... while they permit the ineffaceable<br />
mark of origin, they have destroyed any striking re-<br />
semblance. The Canadian feels himself as much a stranger<br />
in Paris as in London, for if our language is French, our<br />
customs and tastes are so no longer. ... Itis this society,<br />
miraculously preserved in certain respects, singularly dis-<br />
figured in others, that we must paint if we seriously wish<br />
to have a Canadian literature.”<br />
<br />
It is impossible.within the compass of a short<br />
article to mention in detail every author hailing<br />
from the Province of Quebec who has produced an<br />
historical monograph, blossomed into a fewtlleton,<br />
or penned a chanson. Suffice it to say that there<br />
<br />
TAR AUTHOR.<br />
<br />
have been many amateurs of a high type of excel-<br />
lence, and that out of a total list of a hundred and<br />
seventy or a hundred and eighty respectable writers,<br />
no fewer than seventy have indulged in verse as<br />
well as prose. The poetic form in which the<br />
literary genius of a people first breaks out has not<br />
been wanting, and if it has been born to blush<br />
unseen, it has at any rate served to keep alive a<br />
certain interest in things literary, for it is cer-<br />
tainly one use of the minor poet that he helps to<br />
clear a space in which the undoubted song-birds<br />
of the first order may sing.<br />
<br />
Between the production of the early works of<br />
which mention was made at the outset, and the<br />
date which marks the beginning of the French-<br />
Canadian literature of our modern day, there lies<br />
a somewhat arid period. If the stream of literature<br />
was in existence, it was surely flowing through<br />
subterranean passages ; buried beneath the laborious<br />
details of the lives of the pioneers. Such names as<br />
Joseph Quesnel, Michel Bibaud, Réal Angers,<br />
Bartle, Turcotte, Derome and others, though they<br />
were early in the French-Canadian field, were a<br />
long way behind their somewhat archaic fore-<br />
runners. But in them, as in those forerunners,<br />
we discover that naiveté and freshness of senti-<br />
ment which is one of the marks of French-<br />
Canadian writing. It is at the very antipodes of<br />
anything like Voltairean cynicism, Gallic frivolity,<br />
or Zolaesque realism.<br />
<br />
Among the early writers in whom these charac-<br />
teristics are strongly marked, a definite place is<br />
taken by Octave Crémazie, whose “Le Vieux<br />
Soldat Canadian” has been deservedly admired,<br />
and who has by some been considered, in his poem<br />
“Les Morts,”’ the superior of Lamartine. Among<br />
other poems of his are “Castelfidardo,” and ‘ Le<br />
Drapeau de Carillon.’ Crémazie was inspired by<br />
a keen pride of race, and he was a man of more<br />
than common reading. The attractions of com-<br />
merce seem, however, to have been stronger in his<br />
case than those of poetry. Though one or two of<br />
his poems have lived, he produced but little.<br />
<br />
The name of Léon Pamphile Lemay is familiar<br />
as the translator into French, for the benefit of his<br />
compatriots in Quebec, of Longfellow’s ‘ Evan-<br />
geline,” a work which was performed by him with<br />
an ease and sympathetic insight which are worthy<br />
of remark. M. Lemay also published a volume<br />
entitled ‘‘ Essais Poétiques.” His verse is of a<br />
tender, melancholy and dreamy cast ; a dim veil<br />
of sadness and pain seems to enshroud its beauty ;<br />
yet there is in it a simplicity, a pathos, and a<br />
transfiguring of familiar objects which commend<br />
it to the appreciative reader.<br />
<br />
But these names of literary pioneers are taken<br />
somewhat at random, and it may be that to some<br />
extent accident gave them a prominence over their<br />
<br />
<br />
THE AUTHOR.<br />
<br />
compeers that was not borne out by their essential<br />
attributes. That they were admired and appreciated<br />
shows, however, that a literary taste was being<br />
developed. This was further assisted from time to<br />
time by the establishment of literary magazines.<br />
The first of these was “La Bibliotheque Cana-<br />
dienne,” which was published in Montreal, in 1825,<br />
by the poet Bibaud, already named, and edited by<br />
him. It is interesting to turn to this carefully<br />
edited periodical, the contents of which were<br />
ambitious enough to comprise not only literary, but<br />
scientific and historical, matters. It appeared up<br />
to 1830. In 1830-81 the same editor brought out<br />
a magazine called “ L’Observateur,” and in 1832,<br />
he produced two volumes entitled “ Magasin du<br />
Bas Canada.” ‘Le Repertoire National,” in four<br />
volumes, published in 1848, was compiled by J.<br />
Huston. It contains a somewhat miscellaneous<br />
collection of all the writings of the French<br />
Canadians in prose and verse from 1777 to 1850.<br />
A fine edition of this work was produced in Mon-<br />
treal in 1895. ‘La Ruche Littéraire” (1853-59)<br />
was read with great interest by French Canadians<br />
of taste and culture. For by that time literature<br />
in French Canada had set for itself more definite<br />
aims, and there had arisen a little galaxy of stars<br />
upon the Quebec firmament. Among these the<br />
<br />
most distinguished are Pierre J. O. Chauveau, a<br />
<br />
novelist of ability; Etienne Parent, journalist,<br />
philosopher, and thinker—disposed, sometimes, to<br />
kick over the traces of the Church; Abbé J. B. A.<br />
Ferland, a careful and interesting historian ; J. C.<br />
Tache, a journalist of great force of character ;<br />
Hector Fabre, from whom a quotation has already<br />
been made—a man of fine taste, a great faculty of<br />
expression, and a considerable gift in delicate<br />
satire ; Benjamin Sulte, now the President of the<br />
Canadian Royal Society, and a very capable<br />
historian ; Abbé Provencher, a master of natural<br />
history, with especial accomplishments in ornitho-<br />
logy—-a man who found plenty to occupy his clever<br />
and industrious pen in the Canadian fields, forests,<br />
and waters ; James M. Lemoine, the historian of<br />
the old families of Quebec; Professor Paul Stevens,<br />
a writer of exquisite parables and gems of polished<br />
prose that were reproduced again and again by the<br />
newspapers ; Hector Langevin, an able lawyer who,<br />
at the age of twenty-one, became the editor of an<br />
ecclesiastical journal, and never afterwards lost his<br />
taste for literature. Here were ten men who may<br />
be said to have formed a sort of epoch, and to have<br />
brought together into a focus the wandering rays<br />
of French-Canadian literary ability. ‘They repre-<br />
sented the love of literature for its own sake, and<br />
with that disregard of pecuniary reward which<br />
has always been characteristic of the French-<br />
Canadian author, they helped to create a unique<br />
atmosphere of culture. It is impossible to read<br />
<br />
181<br />
<br />
their productions without being conscious that they<br />
contain a sincere and genuine enthusiasm that is as<br />
far removed as possible from the dollar hunting<br />
proclivities of many of the authors of their continent.<br />
To these names may be added those of Abbé<br />
Faillon, a preserver of the early folk-lore of the<br />
colony, and Emile Chevallier, a writer of charming<br />
romances.<br />
<br />
No name is more deservedly celebrated in Cana-<br />
dian letters than that of Francis Xavier Garneau,<br />
author of the great work “ Histoire du Canada,”<br />
which was published in three volumes in 1848.<br />
Like many of his compatriots, Garneau had in his<br />
youth written graceful and elegant verse. He takes<br />
a front rank, not only in the hearts of his country-<br />
men, but in their critical and literary estimate of<br />
him. He was a man of initiative courage, heroic<br />
perseverance, indomitable will, disinterestedness,<br />
and self-sacrifice. His ‘ Histoire” at once took a<br />
dignified place among the distinguished chronicles<br />
of other nations, and it remains, up to the present,<br />
the chief historical work among a people who have<br />
shown that they are by no means destitute of<br />
historic genius.<br />
<br />
Garneau has not been surpassed for his discern-<br />
meni of the causes that were at the back of the<br />
facts revealed in the papers referring to the early<br />
history of the colony. He is less passionate and<br />
partial than the writers who had dealt with the<br />
subject before him; for instance, he never hides<br />
the good deeds of the British. Taking his views<br />
from an elevated standpoint, he did much to raise<br />
the tone of French-Canadian history to a high,<br />
philosophical, and fruitful level.<br />
<br />
Antoine Gerin-Lajoie had the singular good<br />
fortune to acquire a wide local fame in the pro-<br />
vince before leaving college. A tragedy and a<br />
sone—especially the song—made him famous in<br />
1842. The tragedy was based on the adventures<br />
of La Tour and his son in Nova Scotia, during the<br />
early part of the seventeenth century. The song was<br />
merely the expression of home-sickness, placed in<br />
the mouth of a Canadian exiled to a foreign land.<br />
So popular did the words of this song become<br />
among the French-speaking population, that they<br />
are now heard wherever French-Canadians have<br />
wandered on the continent of North America.<br />
<br />
The historical novel has an excellent model in<br />
“ Les Anciens Canadiens,” by M. de Gaspé, which<br />
was published at Montreal about forty years ago.<br />
It is a book that has a good place allotted to it in<br />
French-Canadian libraries. Its pages are animated<br />
by the flame of the past and the spirit of other<br />
days, for their author, who produced this work at<br />
seventy years of age, had with his own eyes seen<br />
much of what he narrates. Besides “ Les Anciens<br />
Canadiens,” two romances have had a considerable<br />
vogue. Of “ Jean Rivard’’—the work of Gerin-<br />
<br />
<br />
182<br />
<br />
Lajoie—we have already spoken as having brought<br />
an immediate fame to its clever young author. The<br />
other—* Charles Guérin ”—is the work of Pierre<br />
G. O. Chauveau. If the two heroes of these<br />
writers had met in the world they would have<br />
been friends. Both stories are true to life, inter-<br />
esting and well-planned. The people are natural<br />
and the local colour is good. “Jean Rivard” is,<br />
perhaps, the better of the two as an exact study of<br />
French-Canadian manners.<br />
<br />
Louis Honore Frechette, C.M.G., D.C.L., is<br />
greeted throughout Canada and the United States<br />
as the poet laureate of Canada. His poetry is of a<br />
high order ; it shows variety of conception and<br />
great delicacy of touch. His lines to various<br />
persons, whether distinguished in public life, or<br />
endeared to the author by private ties, are par-<br />
ticularly happy. He is a truly national poet, and<br />
his inspiration is found, not only in the past, but<br />
in the present. The grand dim old Canada, region<br />
of the savage huntsman and the pioneer, the<br />
voyageur, the trapper, and the missionary, with<br />
their all but fabulous doings, of these Frechette<br />
sometimes sings. But he sings also of a Quebec as<br />
it now stands ; of Montreal, as it now is ; the glories<br />
of Niagara ; the Sagueuay, the Thousand Isles, Cape<br />
Eternity, Beloeil Lake, Lake Beauport, Cape Tour-<br />
mente, and so on—the beautiful natural scenery<br />
which retains still its picturesque wildness. It is to<br />
people of to-day, or of yesterday, that his strophes<br />
are addressed. He sings rather of what French-<br />
Canada still has, as well as of what has passed<br />
away from her forever. He is the poet of the<br />
present, as Crémazie of the past ; the poet of joy<br />
and joyous nature, as Lemay is the poet of sadness<br />
and the autumn tints of earth. There is a whole-<br />
some warmth and freshness, a human life and joy<br />
about his poems which are truly refreshing. Among<br />
his more serious works are his drama of “ Papineau,”<br />
based on Canadian historical incidents ; his “ Dis-<br />
covery of the Mississipi,” his “ Canadian Year,” and<br />
his “ Légende d’un Peuple.” His poems fall natur-<br />
ally into two classes ; one treating of national, #.¢.,<br />
French-Canadian subjects ; the other consisting of<br />
verses which might have been written in any<br />
country, with due regard to local colours. The<br />
former perpetuate the nobler days of French-Canada,<br />
when patriotism had not degenerated into mere<br />
provincial sentiment and race-hatred ; when the<br />
antagonism between English and French was as<br />
legitimate a feeling in Canada as on the battle-<br />
fields of Blenheim and Ramilies. But they do more<br />
than this. Beginning with the solitudes of the<br />
primeval forest, broken only by the red man in<br />
pursuit of his game, they retrace, in a long series of<br />
pictures the history of a colony, brilliant even under<br />
a cloud of obscurity. As it comes down through<br />
the excessive ages, this epic in short. poems shows,<br />
<br />
THE AUTHOR.<br />
<br />
in three epochal divisions, the development of the<br />
country from wilderness into settlement ; from<br />
settlement to the strife of the occupants ; and from<br />
the victory of the English race to events still pain-<br />
fully fresh in the memory of Canadians. “O notre<br />
histoire, écrin de perles ignorées,” says the poet ;<br />
and with the most finished art he arranges the<br />
jewels of his casket, disposing each so as to bring<br />
out its best and purest glitter. Cartier, La Salle,<br />
Jolliet, Daulac, the missionary martyrs, and others,<br />
usually left ‘unnamed among the chronicles of<br />
Kings,” stand first with him; and though generals<br />
and statesmen get a share of praise, it is with<br />
humbler men that this chiefest of French-Canadian<br />
poets loves chiefly to linger.<br />
<br />
ope<br />
<br />
THE POET v. THE STONEMASON;; or,<br />
WHY NOT A NEW MARKET FOR<br />
POETRY ?<br />
<br />
+<br />
<br />
4 RADE again!” I fancy I can hear you<br />
mutter as you read my title... . Wait!<br />
You are not altogether wrong ; but I will<br />
try to show that there is much to be said in favour<br />
of a “market” even for such goods of the gods as<br />
poems, and this from a higher standpoint than<br />
merely the mercenary.<br />
<br />
To-day, poetry is, to use a term applied to<br />
grosser things, a “drug” on the literary market.<br />
No writer will doubt this; for his or her own<br />
experience will have taught them that this is an<br />
indubitable and dreary fact ; but supposing any-<br />
one to think the statement inaccurate, let them<br />
remember a remark made by one of the most<br />
prolific publishers we have of belles lettres, that<br />
he has been forced to refuse poems which half a<br />
century earlier would have brought their authors<br />
into prominence, and they will realise how appro-<br />
priate is the word “drug” when applied to the<br />
demand for poetry.<br />
<br />
Now, but a very cursory glance into the result<br />
of this lack of demand will show how the want of<br />
a “market” is proving actually destructive to our<br />
highest form of literature.<br />
<br />
Men—men with the real thing in them—dare<br />
not give to the use of their talent the time and<br />
application that is necessary to bring out all of<br />
that which is in them; for if they did so they<br />
would of a certainty go hungry. ‘This, if single,<br />
they might endure until finally the old story would<br />
have to be again re-told :—<br />
® A sepulchre was built—a dead man’s throne ;<br />
<br />
A dozen thousand pounds were spent on stone<br />
<br />
And those who in his need denied him bread<br />
Now poured their riches o’er the hapless dead<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<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, if married, their hearts would speedily cry<br />
“Nay!” when the bairns began to voice their<br />
urgent needs. Or if not, then would the voice<br />
of the wife and mother prove just as effectual ; for<br />
she would grow mightily “dispatient” to see the<br />
man and father writing poems, however beautiful,<br />
whilst the ‘‘leetle ones ” clamoured.<br />
<br />
And go, because of a lack of market for their<br />
wares, poets dare not or must nol waste (forgive<br />
the word) time upon the exercising of that which<br />
is their right and proper function. And because<br />
of this I have little doubt but that the world is<br />
losing much fine work, and losing it in a peculiar<br />
manner. For it must not be supposed that you<br />
can silence a poet, worthy of the name, even by<br />
starving his bairns. No! instead of silencing<br />
him, in too many cases the combined terror of<br />
dumbness and the sheer need of food, force him<br />
into a compromise . . . . in fact, turn the rivers<br />
of his mind into another channel—too often to him<br />
an unnatural channel. For the poet, finding that<br />
his natural form of expression—the greatest ever<br />
gifted to man—is monetarily valueless, ai least<br />
until after he is dead, turns to upon the produc-<br />
tion of that more saleable article—the novel.<br />
Now, a man may be a great poet and but a poor<br />
novelist, so that, as a result, the world gets often<br />
badly-constructed novels in place of fine poems.<br />
<br />
Have I said enough to justify from the highest<br />
standpoint my plea for the need of a market—a<br />
mart pure and simple where poems may be sold,<br />
and the poets with the proceeds of their sales<br />
enabled to buy bread whereby they may live to<br />
work undisturbed at their art, and so give to the<br />
world other, and, perhaps better poems ?<br />
<br />
Now to my idea.<br />
<br />
I have entitled this small article “The Poet<br />
y. The Stonemason.” I find now that I had<br />
done better to have put Sculptor in place of Stone-<br />
mason; for it is chiefly with the wealthy people of<br />
the world that I look to find my market—with<br />
those who can afford the artist in place of the<br />
tradesman,” and who could afford the produce of<br />
the poet instead of the graven commonplace in-<br />
scriptions which are hideous in their frozen inability<br />
to express anything of the heart sorrow that<br />
prompts the nearest and dearest to show some<br />
mark of their love by means of a fit resting place.<br />
<br />
In short, I propose that the poet should have<br />
equal chance with the sculptor in making beautiful<br />
the Last Abode. I will go even further, and sug-<br />
<br />
gest that in many cases the poet might well take<br />
the place of the sculptor, especially where the<br />
relatives of the dead are not of the wealthiest.<br />
<br />
This, then, is the market that I propose should<br />
be opened to the poet. Let the artist take the<br />
place of the inscription-monger. Only a poet can<br />
hope to express even a tithe of the things that<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
183<br />
<br />
<br />
<br />
<br />
<br />
<br />
suffocate man in sorrow. Then, obviously, the<br />
poet is the one to whom the work should be<br />
entrusted. Wherefore a fine monument and a<br />
wretched, inadequate inscription? Better a poor<br />
monument and a great inscription. Think you, if<br />
‘“Gray’s Elegy ” had been in truth written upon a<br />
tombstone, that anything less than a pyramid<br />
could have equalled it as a /asting memorial ? And<br />
the pyramids are dumb, save to the imaginative ;<br />
but the Elegy speaks even to those who lack the<br />
seventh sense.<br />
<br />
One more plea in the poet’s favour. Even<br />
people of but medium worldly means could fee the<br />
poet ; for the requiem in shape will be ever costlier<br />
than the requiem in words.<br />
<br />
In closing my little paper, I would suggest, with<br />
some humbleness of spirit, that poets need not<br />
write personal eulogies of the dead, but express<br />
rather the universal emotions of grief and despair<br />
and hope . . . and give voice to the human sense<br />
of lonesomeness and loss. For, it seems to me,<br />
that monuments and inscriptions are to comfort<br />
the living ; and nothing gives such ease as expres-<br />
sion.<br />
<br />
Such poems could be universal ; for such feelings<br />
and emotions as they would express are shared by<br />
all. In such wise might be written poems to the<br />
little child or the grown man which would prove<br />
universal treasures, appealing to the whole world<br />
with that true touch which makes us all akin.<br />
<br />
Sorrowful man bids the sculptor shape his sorrow<br />
in stone; let him call in also the poet who alone<br />
may speak heartfully of one who has passed<br />
<br />
Beyond the bellowing of Time’s aeon-surge.<br />
<br />
I feel a certain grave yet whimsical laughter<br />
as I ask my final question : Will any one open the<br />
market ?<br />
<br />
Wiiu1am Horr Hopeson.<br />
<br />
<br />
<br />
————<br />
<br />
ESSAYS ON MEDIZVAL LITERATURE.*<br />
<br />
— +<br />
<br />
LL lovers of literature, and still more all<br />
serious literary students, will be grateful to<br />
Professor Ker for having collected into a<br />
<br />
single volume his “ Essays on Mediaeval Litera-<br />
ture.” The fact that all have previously appeared,<br />
either as parts of other works, or in reviews of high<br />
standing, in no way diminishes their value as a<br />
whole. Though the publications which contain<br />
them are easy of access, it is by no means always<br />
the case that the reader interested in matters of this<br />
kind finds it convenient to be culling information<br />
<br />
<br />
<br />
7 ea<br />
* W. P. Ker: “Essays on Medieval Literature.”<br />
London: Macmillan & Co.<br />
<br />
1905.<br />
<br />
<br />
184<br />
<br />
from a number of different volumes; whilst—<br />
and this is of superlative importance—the various<br />
essays gain much in interest and significance by<br />
the light which they throw upon one another.<br />
<br />
The range is somewhat wide, from a brief<br />
treatise on Early English prose, to a notice of the<br />
late M. Gaston Paris. But the author is always<br />
keeping close to his subject, and invariably<br />
handling the topic immediately under his con-<br />
sideration with the suggestive facility of a man<br />
whose lucid and penetrating knowledge enables<br />
him to give freely out of the abundance of his<br />
information.<br />
<br />
There is nothing that Prof. Ker cannot make<br />
interesting. That means simply that he knows<br />
thoroughly what he is writing about. In a general<br />
way Harly English prose is for every reader, whose<br />
interests are not exclusively philological, a very<br />
dreary waste in which to be doomed to wander. Prof.<br />
Ker nowhere veils the peculiar kind of aridity that<br />
is a painfully leading feature in mediaeval litera-<br />
ture. On more than one occasion he makes<br />
pointed mention of this vice of most writers of the<br />
middle ages, and has interesting things to say<br />
about it. But even in the normal dulness of Early<br />
English prose his acumen discovers important<br />
merits. Where the interest of the subject is all to<br />
<br />
seek, and the art of treating it conspicuously<br />
<br />
absent, he shows the evidences of well-directed<br />
striving to reach methods of expression, that in<br />
time bore fruit of style and lucid exposition.<br />
<br />
Opinions will probably differ respecting the<br />
comparative interest of the several treatises. For<br />
our own part we must confess to a strong pre-<br />
ference for the three essays entitled “ Historical<br />
Notes on the Similes of Dante,” “ Boccaccio,” and<br />
* Chaucer.”<br />
<br />
In the first of these the author works out<br />
admirably his theme that “Dante is the first<br />
modern poet to make a consistent use, in narrative<br />
poetry, of the epic simile as derived from Homer<br />
through Virgil and the Latin poets.” The in-<br />
fluence of Dante is traced through Boccaccio<br />
to Chaucer (Prof. Ker is ever coming back to<br />
Chaucer)—and again from Chaucer onwards. One<br />
result is a revelation of how all modern poetry has<br />
its source in Dante, just as all occidental poetry<br />
has its source in Homer. Another result is the<br />
proof of ‘the vitality of classical poetry in its<br />
influence upon the moderns.” ‘Ihe essence of the<br />
Homeric simile is happily elucidated as the illus-<br />
tration that is not merely mentioned as containing<br />
a resemblance, but is further elaborated, beyond<br />
its mere parallelism, in such a manner that the<br />
picture evoked has a substantiality and value of<br />
its own.<br />
<br />
Of the immortal Boccaccio, Mr. Ker has, of<br />
course, things to say that never present themselves<br />
<br />
THE AUTHOR.<br />
<br />
to the imagination of the ordinary scribbler who<br />
blunders into writing about “John of the Tran-<br />
quillities,” under the delusion that he knows all<br />
that is to be said concerning him. The great man<br />
of letters, the great student, the great stylist, the<br />
great novelist, the great poet, the inventor of the<br />
otlava rima, the great literary discoverer, stands<br />
out in these pages in all his magnificent eminence,<br />
Most interesting is the insistence upon Boccaccio’s<br />
infallible instinct. ‘ The talents of Boccaccio for<br />
finding new kinds of literature, and making the<br />
most of them, is like the instinct of a man of<br />
business for profitable operations,” writes Prof. Ker,<br />
Nor less engaging is the elucidation of the contrast<br />
between Boccaccio and his master Petrarcha; the<br />
latter always melancholy, and the former always<br />
facing life in good spirits; Petrarcha always<br />
master, and Boccaccio always a deferential pupil ;<br />
but a pupil who saw some things with clearer, and<br />
all things with happier eyes than had been vouch-<br />
safed to his master.<br />
<br />
What Boccaccio was to Chaucer we have never<br />
seen elsewhere so clearly and fully put into words.<br />
There are always new things to be said about<br />
Chaucer—notwithstanding all that has been said<br />
about him; and some of these new things are<br />
admirably expressed in Prof. Ker’s essay.<br />
<br />
“‘ Chaucer is always at his best when he is put on<br />
his mettle by Boccaccio. . . . He learns from the<br />
Italian the lesson of sure and definite exposition.”<br />
<br />
Not that Chaucer copies or imitates Boccaccio.<br />
Prof. Ker shows that he does neither. But he learns<br />
from Boccaccio what Boccaccio had discovered for<br />
himself (for the Greek novelists where he might<br />
have found the same methods were unknown to<br />
him), the laws of construction and the art of con-<br />
ducting a story. ‘There were occasions when<br />
Chaucer took his own way, disregarded everything<br />
that he had learned from his master, and “let<br />
himself go” in the manner of the other medisevalists<br />
of his day: and then he did all the things that<br />
his master had shown him that he ought not to do,<br />
conformed with his age and its manners, and could<br />
relate in the dreariest and stalest of medizeval<br />
fashions. He gives himself a positive debauch of<br />
this kind in “The House of Fame,” and is tedious<br />
and monotonous with the dreariest. Very possibly<br />
he enjoyed it, and here and there his natural<br />
wit comes to light, and lifts him for the moment<br />
above the medizeval conventions.<br />
<br />
We have left ourselves but little space for allusion<br />
to a careful study of Gower, and an essay on<br />
Froissart (the longest in the book) in which both<br />
the course and the character of the original and of<br />
the English translation of Lord Berners are fully<br />
analysed. But we must not omit to mention the<br />
short notice of M. Gaston Paris with which the<br />
volume concludes ; an appreciation so warm and so<br />
<br />
<br />
THE<br />
<br />
sympathetic that we should commiserate the reader<br />
who could lay it down without feeling tempted to<br />
plunge into that literature of Old France to which<br />
M. Gaston Paris devoted his life.<br />
<br />
—_—___—_——_+—__+—______<br />
<br />
AN AUTHOR’S LETTER BOX.<br />
<br />
—+-—~+—<br />
<br />
(Reprinted from New York Bookman, by kind permission<br />
of the Editor).<br />
<br />
YOUNG married American woman living in<br />
London was presented to Queen Victoria,<br />
who paid her a pretty personal compliment.<br />
<br />
A couple of hours later, at a tea at the American<br />
Embassy, a daughter of the Queen conveyed an<br />
intimation to the same American lady that she<br />
would soon be invited to Windsor Castle. This<br />
unusual incident was, naturally, much the talk of<br />
society in Tondon, and I heard every particular,<br />
for I was at the time visiting the home of the<br />
young American woman and her husband. Some<br />
years later I worked the incident into a story, and<br />
it was pretty generally sneered at by reviewers as<br />
a silly example of a writer venturing into social<br />
places about which, of course, he could know<br />
nothing. I’m case-hardened against that sort of<br />
<br />
criticism, but I took notice of a polite personal<br />
<br />
letter from a college lecturer on literature, who<br />
wrote to me condemning the use of such a highly<br />
improbable invention. To him I explained. He<br />
was all right ; he wrote and delivered a lecture<br />
on the inexpediency of the use of fact in fiction!<br />
<br />
T’ve had lots of fun out of an assumption in<br />
certain places that I am Bowery-derived—an<br />
assumption which has aided some of my critics in<br />
knowing that I know nothing about polite people.<br />
I once made use, ina short story, of some adyen-<br />
tures I shared with a couple of Harvard men while<br />
travelling in the Hawaiian Islands. This made<br />
one Harvard undergraduate so angry that he could<br />
not resist the call to rebuke me. That I should<br />
presume to speak of men and measures not of the<br />
Bowery made him sad, he said ; but that I should<br />
attempt to tell what a Harvard man would do<br />
under any circumstance was a piece of imperti-<br />
nence he could not encounter without protest.<br />
His further remarks and advice conveyed the<br />
impression that Harvard, as a social institution,<br />
depended much upon his sprightly resentment of<br />
such offending as mine. Not long after that I<br />
was a guest of Harvard Union, and inquired as to<br />
my correspondent, but no one could inform me.<br />
One took the trouble, however, to pursue his<br />
search as far as the records, and reported that<br />
there was, indeed, such a person there, but that he<br />
“was a mucker no one knew.”<br />
<br />
In my youth I reported for a newspaper a trial<br />
<br />
AUTHOR.<br />
<br />
185<br />
<br />
at law, famous throughout the mining States and<br />
Territories, which revealed that a mine swindle<br />
had been perpetrated through the “salting” of a<br />
bag of ore samples by an injection of a solution of<br />
gold. The cautious expert, who had personally<br />
broken down the samples of ore, had placed the<br />
bag containing them under his pillow at night,<br />
but the needle of the syringe had got there ¢owt de<br />
méme. Well, I used that incident in a magazine<br />
story not long ago, and promptly received a letter<br />
from a man whose letter-head acclaimed him to be<br />
a metallurgist and assayer, firmly informing me<br />
that such a trick was a chemical impossibility, and<br />
adding that I should shun such technicalities in<br />
fiction. One more story of this kind and then I'll<br />
tell what I’m driving at. In Lees and Leaven<br />
there is a deed to be recorded under circumstances<br />
related to the plot, and I told how it was done.<br />
From out of the West, where that part of the<br />
<br />
story lay, I received a number of letters protesting<br />
<br />
against my highly illegal procedure. T don’t know<br />
about that, either, for I had asked a lawyer who<br />
attends to such matters for a number of important<br />
industrial corporations, and I had recorded the<br />
deed strictly in accordance with his advice.<br />
<br />
Here, then, is the point: am I alone among<br />
writers in this matter of receiving letters con-<br />
demning me for errors I have not committed ? I<br />
set down these few cases, but [ recall scores. I<br />
think that many such fault-finding letters have<br />
been rejected by some newspaper, and the writers<br />
send them to authors after failing to get them<br />
into print. They sound like “letters to the<br />
editor.’ The man who approves is usually in a<br />
state of mind milder than that which moves him<br />
who disapproves, and the latter is the one who<br />
more often feels that the world will be better if<br />
he weeps forth his feelings from a fountain pen.<br />
<br />
Harper’s Weekly once turned over to me a letter<br />
from a Cincinnati lawyer scolding that excellent<br />
repository of Mr. Harvey’s thoughts for printing a<br />
“Chimmie Fadden” sketch wherein, asserted the<br />
indignant letter writer, I had been guilty of<br />
absolute indecency in “Chimmie’s” account of a<br />
night at the opera. In dismay I turned to the<br />
<br />
rinted page and found that “ Chimmie” had<br />
related, with some such reservations as one would<br />
make in telling the story to a child, the plot of<br />
Faust! hat letter I answered, pointing out that<br />
the Faust story in some form had been able to<br />
maintain a respectable place in literature so long<br />
that my Bowdlerised edition did not deserve the<br />
scorn of even the righteous. But the letter writer<br />
was not satisfied ; he saw a low purpose on my<br />
part in thrusting such a story before the pure eyes<br />
of Harper’s readers, who, he told me, were a<br />
different sort, morally, from the godless patrons of<br />
the opera. :<br />
<br />
<br />
186<br />
<br />
I have had many, perhaps more than a just<br />
share, of letters of commendation ; but, I repeat,<br />
those who dispraise have been very busy with my<br />
hide. The answer is obvious, of course, if one<br />
were asked to give a reason—lI’ve got only what I<br />
deserve—yet I wonder if I am alone among authors<br />
in this respect.<br />
<br />
A correspondence which came from every part of<br />
the country arose from ‘my use, in the person of<br />
“Major Max,” of the lines :<br />
<br />
Is it true, O Christ in heaven! that the wisest suffer most,<br />
That the strongest wander farthest and most hopelessly are<br />
<br />
] x<br />
That ihe mark of rank in nature is capacity for pain,<br />
<br />
That the anguish of the singer lends its sweetness to the<br />
strain ?<br />
<br />
I would not dare to give an estimate of the<br />
number of letters I received asking the name of<br />
the author, what more verses, if any, there were,<br />
in what book the whole poem could be had, and<br />
similar questions. The Sun, in which that ‘‘ Max”<br />
story first appeared, found it expedient more than<br />
once, so many similar letters it received asking<br />
such information, to print replies in its answers to<br />
correspondents department.<br />
<br />
What seems to me to be the most whimsical<br />
letter I ever received was from a New York mer-<br />
chant, asking if the copyright in my books pre-<br />
vented the use of a menu one of them contained.<br />
Being assured that my menus were free to all, he<br />
explained that he wanted to give a certain chef an<br />
order to duplicate a dinner I described in Days<br />
Like These, but that a painful experience he had<br />
had with the law prompted him to ask my consent<br />
before proceeding with his dinner @ Ja Garnett.<br />
<br />
Epwarp W. TOowNSsEND.<br />
<br />
a<br />
<br />
THE TRANSFORMATION OF A GREAT<br />
NOVELIST.<br />
<br />
ere<br />
(Republished by kind permission of the Editor from the<br />
Westminster Gazette, December 30th, 1905.)<br />
<br />
7 ¥ often speak of Laurence Wilders at the<br />
Scribblers’, and always with bated breath ;<br />
for, famous as the great novelist was to<br />
<br />
the public, he seemed still greater to us fellow<br />
literary men, who could gauge his work more truly<br />
and regard it more sympathetically than could the<br />
general reader. Even Blossop lowers his voice<br />
when he refers to the dead master. Only one man<br />
among us, and he is not usually silent, has been in<br />
the habit of listening without remark ; and yet<br />
Gorham and Wilders were intimate friends.<br />
<br />
But the other evening, after we had been speak-<br />
ing of Wilders’s last book, of the many personal<br />
qualities which had endeared him to us, of his<br />
fierce outbursts of passion, his impulsive generosity,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
his almost womanly tenderness of heart, Gorham,<br />
gazing at as much of the fire as Blossop permitted<br />
to be seen, said slowly and gravely, rather as if he<br />
were communing with himself than addressing us :<br />
<br />
“Poor Wilders has been dead nearly twelve<br />
months ; I wonder whether the time has come for ts<br />
me to unseal my lips ? ” |<br />
<br />
We said with ill-concealed emphasis and eager-<br />
ness that it certainly had; and Gorham went on,<br />
still more gravely: “As you all know, I was<br />
Wilders’s most intimate friend. You were speaking<br />
just now, Millan, of the extraordinary change which F<br />
took place in him some years ago, of the cessation | ¥ \<br />
of those outbursts of passion which used to trans- — =<br />
form the gentlest of men into .<br />
<br />
‘CA frenzied lunatic,” said Millan. “ Why, yes ; ¢<br />
don’t you remember how he used to rush in here § @><br />
waving a magazine containing one of his stories, es<br />
and, striking the thing furiously with his clenched cals?<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
fist, inveigh against the artist ? I recollect on one ha<br />
occasion he actually tore the illustrations from a peu! |<br />
book of his, and, flinging them on the floor, me<br />
danced upon them, yelling, ‘ Look at this! I have (gy<br />
described this man as a gentleman ; observe the at<br />
<br />
bounder this “artist ’ has made of him!<br />
my heroine — heroine !<br />
beautiful.” I have taken pages to describe the<br />
girl. Look at: this—this hideous housemaid with<br />
her nose out of drawing, and her figure like a sack<br />
tied round the middle! ‘This, if you please, is the<br />
illustration of a scene at a lunch-party ; of course,<br />
the “artist” has put the men in evening dress !<br />
And this is a boat. A boat! The wretch has<br />
made the man rowing it stern first. The animal kw<br />
in this picture is intended for a horse. I know it ~<br />
is, because the line underneath says ‘ He bent Pd<br />
from his horse.” ’”’ bad<br />
Gorham nodded. ‘‘ Yes, poor Wilders suffered tal<br />
a great deal from the artist in his early and strug- oe<br />
gling days. Ofcourse they did not give him the<br />
best men. But when the drawing was good, how<br />
delighted, how grateful he was! And now we bot<br />
come to speak of the change in him. Later on, at or<br />
a certain period of his life, you will remember that, Flag<br />
however bad the block may have been, he never<br />
raged, never uttered even a word of complaint. fF...<br />
The change was an enigma to all of us. Itshall —<br />
be an enigma no ionger; I can explain it. The<br />
night before he died I was sitting beside his bed.<br />
He knew that death was near, but he was quite<br />
placid, and even cheerful, and his face wore a look<br />
of absolute content. It was a moonlight night ;<br />
he lay on his side looking through the window—he<br />
had asked me to pull up the blind—on the pretty FF —<br />
little garden at the back of that quaint, old- fF !<br />
fashioned house of his at Leatherhead. 5<br />
“Vou are all right—there is nothing I can do<br />
for you, old man ?’ I asked.<br />
<br />
This is Hl<br />
“Tall, slim, graceful, itn<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<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 />
“éNo’ he said, ‘nothing. I am going out<br />
quietly and comfortably with, thank Heaven, a<br />
mind and a heart at rest. For some time past I have<br />
known that my innings were drawing to a close.’<br />
<br />
“© Yes,’ I said; we have all noticed at the<br />
Seribblers’ how—how much calmer and more<br />
peaceful you have been of late.’<br />
<br />
« ¢ He turned his eyes to me and smiled. ‘ Ah,<br />
yes,’ he said, in that soft pleasant voice of his. ‘I<br />
imow what you mean. But the knowledge of my<br />
coming death was not the reason of the change.<br />
I have often thought I would tell you. I will tell<br />
you now. You are referring to the fuss I used to<br />
make over the illustrations? Yes, yes ; of course.’<br />
<br />
“* You grew resigned?’ I suggested.<br />
<br />
« «No it was not resignation ; it was action. It<br />
began this way: One night after I had been<br />
storming at the Club at one of the blocks to a<br />
story of mine in the Park Lane Magazine, | came<br />
home here, still fuming, and found the artist<br />
waiting for me. He had come to ask me some-<br />
thing about the illustration for the next number,<br />
of which he had brought a sketch. It was a<br />
horrible thing, worse even than the one which had<br />
driven me almost mad ; but the wretched man was<br />
quite complacent ; and I suppose his complacency<br />
upset me, for as he gazed at the sketch admiringly,<br />
<br />
with his head on one side and a conceited smile<br />
across his stupid face, I caught up the poker and<br />
struck him on the back of the head. He fell<br />
without a word or a groan, and, after tearing up<br />
the sketch and carefully burning it, I knelt down<br />
and examined him. He was quite dead ; oh quite.<br />
It was a great nuisance, of course, and I was very<br />
much annoyed, for I assure you, my dear fellow,<br />
that I did not intend to kill him. But the thing<br />
was done ; and as I hate any thing like a fuss—I<br />
fear that some men you and I know would have<br />
used this affair as an advertisement !—I said<br />
nothing about it; but later on, when my house-<br />
keeper and the servants had gone to bed, I dug a<br />
grave in the garden and buried him.’ ”<br />
<br />
“ Wilders was silent for amoment or two, and<br />
then he continued reflectively, with that pensive<br />
smile which made his face almost womanly in its<br />
‘softness :<br />
<br />
“<T am quite convinced, my dear boy, that we<br />
literary men don’t take enough exercise. Jor<br />
instance, up to that time I used to be a bad<br />
sleeper ; it was not exactly insomnia, you know,<br />
but I was just a bad sleeper. That night after<br />
digging the grave I slept like a top. Of course it<br />
<br />
was the healthy exercise, the good smell of the<br />
newly turned earth, the work in the fresh air, the<br />
pleasant excitement accompanying the wholesome<br />
physical exercise. Oh, of course J am not forget-<br />
ting the soothing influence of an approving con-<br />
science. We are all so selfish ; we so loathe to do<br />
<br />
<br />
<br />
187<br />
<br />
good if the doing of it should entail a little trouble.<br />
But this affair was a lesson to me, a kind of<br />
inspiration. I think scarcely a week passed<br />
without my disposing of an artist. No; I did not<br />
again use the poker. You know how I detest<br />
physical violence. A blow is crude, brutal ; and,<br />
my dear Gorham, we must consider the feelings of<br />
even the lowest types of humanity. Think of the<br />
shock of a sudden blow! No; I used to invite<br />
them up to chat over their drawings and give them<br />
a glass of wine. There is very little taste in<br />
cyanide, you know, and it works with charming<br />
celerity. I am glad to think that they never, or<br />
scarcely ever, endured a pang. And I always<br />
buried them myself. You have no idea how soon<br />
I learned to dig even a full-sized grave quickly and<br />
neatly. I have often thought that if literature<br />
failed me I shoald apply for a sexton’s place. It<br />
is a peaceful, wholesome occupation. It is the<br />
contemplative man’s vocation.’<br />
<br />
“ He was silent for a minute or two, then he said :<br />
<br />
“Do you think you could drag the bed a little<br />
nearer the window ? Thanks, thanks! Yes, lam<br />
sorry to leave my garden. It hasn’t many flowers—<br />
for obvious reasons ; but I have grown toloveit. I<br />
have “ got ” most of my books there, strolling round<br />
or sitting in that rustic seat under the plane-tree in<br />
the corner. I worked out “ Anabel-Snow ” there.’<br />
<br />
«<< The sweetest, the most pathetic, and the most<br />
tender of idylls,’ I said.<br />
<br />
«You are good to say so, dear fellow,’ he mur-<br />
mured shyly, his eyes growing moist: you know<br />
how he used to melt at a word of praise from one<br />
one of us. ‘I don’t think it could have been<br />
written anywhere. : . . [am glad [have mentioned<br />
that little matter. I—ah, well! I don’t want to<br />
talk of example and the rest of it; but, my dear<br />
lad, if at any time you should be tempted to turn<br />
aside from the performance of an obvious duty<br />
just remember the comfort and consolation, the<br />
deep and lasting peace, which the discharge of this<br />
duty of mine has brought to me.... How<br />
exquisitely the moonlight falls on the grass-plot !<br />
Tt is a little uneven; I never could succeed in<br />
relaying the sods quite level, quite as they<br />
were before. But the next man should grow some<br />
good flowers there—the soil must be rich. Will<br />
you give me a drink? Thanks, dear Gorham !<br />
T think I can go to sleep now; our talk has<br />
soothed me.’<br />
<br />
« Tt was his last sleep, as you know,” concluded<br />
Gorham, almost inaudibly.<br />
<br />
Blossop turned his face to the fire and blew his<br />
nose loudly.<br />
<br />
“He was a good man,” he said in a smothered<br />
voice ; and we nodded assent. None of us could<br />
<br />
speak, and there were tears in all our eyes.<br />
CHARLES GARVICE.<br />
THE AUTHOR.<br />
<br />
CORRESPONDENCE.<br />
<br />
—+—<—+ —_<br />
Tue UNIT or An EDITION.<br />
<br />
Srr,—Much has been gained by the distinction<br />
between an edition and an impression. The<br />
question of the unit of either is not so easily<br />
settled. Much may be said for the unit of 1,000<br />
and the designation of “half edition” or “ quarter<br />
edition” where 500 or 250 copies are printed.<br />
But there can be no difficulty in stating the actual<br />
number of the copies printed, and such a statement<br />
would, I submit, be more satisfactory to all persons<br />
interested. Perhaps the best solution is to leave<br />
the matter to be settled by the discretion of<br />
individual producers, and not to overdo the number<br />
of general rules which cannot bind anybody. A<br />
more important point, and a point so important<br />
that compulsory legislation might be brought to<br />
bear upon it, is the statement of the date of<br />
publication upon the title page.<br />
<br />
Yours obediently,<br />
J. M. Luty.<br />
<br />
1+<br />
<br />
Sir,—In The Author for January Mr. Lewis<br />
Melville writes of Trollope that he “is not dis-<br />
appearing, he has disappeared,” and that it is<br />
<br />
impossible to obtain a set of his best works,<br />
<br />
If the first of these assertions has ever been<br />
true, which I am rather inclined to doubt, it has<br />
certainly not been applicable to the United States<br />
during the past year or two. There has, indeed,<br />
been a regular “boom” in Trollope. I have found<br />
it difficult to get his best novels from the public<br />
libraries of New York and Cambridge, and the<br />
librarians informed me that they were in great<br />
demand. Paragraphs or articles about Trollope<br />
are constantly appearing in daily, weekly, or<br />
monthly periodicals, and his name turns up at<br />
social gatherings with almost as much frequency<br />
as those of present-day favourites like Mrs. Whar-<br />
ton or Miss May Sinclair. Messrs. Dodd, Mead &<br />
Co. are publishing an excellent edition of his<br />
novels.<br />
<br />
I imagine if Baron Tauchnitz were asked, he<br />
would be able to tell of a pretty steady sale of<br />
Trollope’s works. At any rate, during my present<br />
visit to the United States I have seen more<br />
Tauchnitz copies of Trollope than of any other<br />
single author ; and Tauchnitz reprints are pretty<br />
common over here.<br />
<br />
I would therefore humbly submit that Mr.<br />
Melviile’s attitude towards Trollope is rather<br />
belated, or, at any rate, insular.<br />
<br />
Yours very truly,<br />
James F, MuIRHEAD.<br />
<br />
6, Riedesel Avenue, Cambridge, Mass.<br />
<br />
A Missine Vouume.<br />
<br />
Srr,—Since my communications to The Author<br />
of November and December last, certain develop-<br />
ments, which may prove of interest to members,<br />
have occurred in connection with the old novel<br />
“ Rebecca, or the Victim of Duplicity,” whose third<br />
volume is still eagerly sought.<br />
<br />
In the first place we succeeded in tracing, through<br />
the kind offices of a gentleman in Paris, a catalogue<br />
for 1815 of the publishers of the book, Messrs,<br />
Lackington, Allen & Co., London, with a brief<br />
extract from a notice thereon, culled from The<br />
European Magazine, but without any date. This,<br />
however, was soon supplied, and the loan obtained<br />
from another friend of the volume of the magazine,<br />
January to June, 1808, in the March number of<br />
which appears an exhaustive review of “ Rebecca,”<br />
signed J. M., the initials, it is assumed, of Joseph<br />
Moser, a well-known contributor to The European<br />
und like periodicals of his time. Happily, the<br />
doubt which prevails in some minds as to any<br />
existence after all of a third volume is now quite<br />
set at rest, although we have not been so fortunate<br />
in establishing the identity of the writer. The<br />
fact, however, that ‘* Rebecca” was printed at<br />
Uttoxeter, whence was also issued, in the year<br />
1821, a work entitled ‘“* Tales Serious and Instruc-<br />
tive,” by Ann Catherine Holbrook, distinctly lends<br />
colour to the inference that this lady was the<br />
authoress. J. M. was apparently ignorant of the<br />
name of the writer, as, although he attributes the<br />
authorship to a male—we find the words “he,”<br />
“him,” “his” often employed—no other indica-<br />
tion is ever given, so he was probably unable to<br />
pierce the mask of anonymity. ;<br />
<br />
The motive of the book was to lash unmercifully<br />
the evils of some “new philosophy ” which<br />
obtained at that period, and a discourse anent<br />
which occupies much space at the commencement<br />
of a very able criticism highly appreciative of the<br />
novelist’s efforts and the power of his, or her,<br />
denunciations.<br />
<br />
The book must have created some stir in its<br />
day, and have contained scenes of a most pathetic,<br />
harrowing description, calculated forcibly to im-<br />
press upon its readers the lessons of tolerance and<br />
Christianity it was the object of the author, or<br />
authoress, to convey.<br />
<br />
It has been suggested how it would be appro-<br />
priate to reprint the novel at Uttoxeter on the<br />
occasion of its centenary. But we must first trace<br />
that missing third volume.<br />
<br />
CEcIL CLARKE.<br />
<br />
Authors’ Club, 8.W.<br />
<br />
to | https://historysoa.com/files/original/5/514/1906-03-01-The-Author-16-6.pdf | publications, The Author |
515 | https://historysoa.com/items/show/515 | The Author, Vol. 16 Issue 07 (April 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+07+%28April+1906%29"><em>The Author</em>, Vol. 16 Issue 07 (April 1906)</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> | 1906-04-01-The-Author-16-7 | | | | | 189–220 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-04-01">1906-04-01</a> | | | | | | | 7 | | | 19060401 | FOUNDED BY SIR<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Che Huthor.<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Vou. XVI.—No. 7.<br />
<br />
<br />
<br />
APRIL Isr, 1906.<br />
<br />
<br />
<br />
[Prick SrxPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<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 />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
—_+-—>— + ——<br />
<br />
List of Members.<br />
<br />
Tne List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
i<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tur Trustees of the Pension Fund met at the<br />
Society’s Offices, March 5th, 1906, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. ‘They have now pur-<br />
chased £200 Cape of Good Hope 34 per cent.<br />
Inscribed Stock, bringing the investments of the<br />
fund to the figures set out below.<br />
<br />
VoL, XVI.<br />
<br />
<br />
<br />
This is a statement of the actual stock; the<br />
money value can be easily worked out at the current<br />
<br />
price of the market :—<br />
<br />
MONRUIS 2S [6 £1000 0 0<br />
Heocal 10ans 3.2 eee. 500 0 06<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 291 19 1?<br />
Mar WOan: +662 201 9 8<br />
London and North Western 3 % Deben-<br />
ture Stock 25.5. ies 250 0 0<br />
Egyptian Government Irrigation<br />
“rust 4% Certificates 2..........<... 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
StOCK ic ce ers te ek 200 0. 0<br />
Wotal ...5.05.5... £2,643 9 2<br />
DS ee<br />
Subscriptions, 1905. £ s. a.<br />
July 13, Dunsany, the Right Hon. the<br />
Lord : : ; : : = 0. 00<br />
Oct. 12, Halford, F. M. 0 5 06<br />
Oct. 12, Thorburn, W. M. 010 0<br />
Nov. 9, ‘ Francis Daveen’’. 0 5 0<br />
Noy. 9, Adair, Joseph 11 0<br />
Nov. 21, Thurston, Mrs. 1170<br />
Dec. 18, Browne, F. M. 0-5. 0<br />
1906.<br />
March 7, Sinclair, Miss May Lb 0<br />
March 7, Forrest, G. W. 2.270<br />
March 8, Simpson, W. J. 0 5 0<br />
March 8, Browne, F. M. 0 5 0<br />
Donations, 1905.<br />
Nov. 6, Reynolds, Mrs. Fred. I i 06<br />
Nov. 9, Wingfield, H. 010 6<br />
Nov.17, Nash, T. A. . 12120<br />
Dec. 1, Gibbs, F. L. A. 010 6<br />
Dec. 6, Finch, Madame 113 6<br />
Dec. 15, Egbert, Henry ; 0 5 0<br />
Dec. 15, Muir, Ward . : Le 10<br />
Dec. 15, Sherwood, Mrs. A. . 010 O<br />
Dec. 18, Sheppard, A. T. 010 6<br />
Dec. 18, 8. I. G. ; 010 0<br />
190<br />
<br />
1906. £8. 6<br />
Jan. 2, Jacobs, W. W. ; ; :<br />
Jan. 6, Wilkins, W. H. (Legacy) 0.<br />
Jan. 10, Middlemas, Commander A. C.<br />
Feb. 5, Roe, Mrs. Harcourt<br />
<br />
Feb. 5, Yeats, Jack B. ‘<br />
<br />
Feb. 12, White, Mrs. Caroline<br />
<br />
Feb. 13, Bolton, Miss Anna<br />
<br />
Feb. 28, Weyman, Stanley<br />
<br />
March 7, Hardy, Harold<br />
<br />
March 12, Harvey, Mrs.<br />
<br />
or<br />
on<br />
<br />
0<br />
10<br />
5<br />
10<br />
10<br />
<br />
ROomoocoooleo<br />
eSseocoececseocoo-<br />
<br />
Or<br />
<br />
COMMITTEE NOTES.<br />
<br />
— to<br />
<br />
MEETING of the Committee of Management<br />
<br />
of the society was held on Monday, the 5th<br />
<br />
of March, at the offices of the society, 39,<br />
<br />
Old Queen Street, Storey’s Gate, S.W. After<br />
<br />
the minutes had been read and signed fourteen<br />
<br />
members and associates were elected, making the<br />
total number for the current year fifty-six.<br />
<br />
The secretary reported that the date of the<br />
dinner had been settled for May 9th, at the<br />
Criterion Restaurant, and the committee decided<br />
to charge 7s. 6d. for the tickets. Formal notice<br />
of the dinner will be sent round to the members<br />
of the society in due course.<br />
<br />
Two or three important cases came before the<br />
committee for discussion. One of these was<br />
adjourned for further information, till the April<br />
meeting ; another was left for decision in the<br />
hands of the solicitors of the society ; and a third<br />
was referred to the dramatic sub-committee. The<br />
committee dealt with other matters which, owing<br />
to their confidential nature, it is impossible to<br />
chronicle.<br />
<br />
After the meeting of the committee, a meeting<br />
of the trustees of the Pension Fund was held.<br />
The secretary placed before the trustees a detailed<br />
statement of the present finances, and the trustees<br />
decided to invest another £200 in the purchase of<br />
Cape of Good Hope 82 per cent. Inscribed Stock,<br />
and to recommend the payment of another pension<br />
of £35 a year to the Pension Fund Committee of<br />
the society. Formal notice of the purchase will<br />
be recorded in 7'he Author, and the Pension Fund<br />
Committee will, in due course, have the trustees’<br />
report laid before them. It will interest members<br />
of the society to see that the fund is steadily<br />
increasing.<br />
<br />
————<br />
Cases.<br />
<br />
Tux tally of cases since the issue of the last num-<br />
ber of The Author isten. Four of these dealt with the<br />
retention of MSS. by publishers or editors, and in<br />
<br />
_Machen, Arthur<br />
<br />
THE AUTHOR.<br />
<br />
three the MSS. have been forwarded to the society’s<br />
office and returned to the authors. The fourth<br />
case is rather more difficult to deal with, owing<br />
to the unbusinesslike methods of the publisher.<br />
<br />
A question of infringement of copyright is ina<br />
fair way of being completed. The case is quite<br />
clear, and the author’s right has been acknowledged,<br />
but the terms of settlement have not as yet been<br />
determined. In three cases the secretary has been<br />
forced to apply for accounts and money. One has<br />
terminated satisfactorily, and the other two will,<br />
no doubt, eventually have the same’ happy ending ;<br />
but the secretary has on previous occasions<br />
experienced considerable difficulty in dealing with<br />
the same houses. The firms neglect to render the<br />
accounts till the last minute, render explanations<br />
as tardily as possible, and pay cheques for the<br />
amount due only when the demand begins to grow<br />
persistent. In one case where money was demanded<br />
the sum has been paid and forwarded to the<br />
author. In one case where accounts alone were in<br />
dispute the matter has been settled.<br />
<br />
The back issues are gradually being cleared up.<br />
In fact there are only three outstanding. In one,<br />
accounts should be rendered, but they have not<br />
yet come to hand, although the publisher has<br />
promised to forward them. The other two are for<br />
the return of MSS.. In the latter cases the secre-<br />
tary’s demand has been partly successful, some<br />
MSS. have been returned, but there are still some<br />
MSS. outstanding.<br />
<br />
—1<br />
<br />
March Elections.<br />
<br />
Cameron, Miss Elizabeth Trinity, Duns, Scotland.<br />
Waller (Elizabeth<br />
Waller)<br />
Clark, Wm. Abercombie Hemsby, near<br />
Yarmouth.<br />
Clench, Miss Nora. . 22, Blomfield Road,<br />
Maida Vale, W.<br />
Cook, W. Victor . . 18, South Street,<br />
Chichester.<br />
Park Point,<br />
Broughton,<br />
chester.<br />
7, Cedars Road, Becken- —<br />
ham, Kent.<br />
Guilsborough<br />
Northampton.<br />
5, Cosway Street, N.W.<br />
Eversley, Bridge of<br />
Weir, Renfrewshire.<br />
<br />
Great<br />
<br />
Dickson, J. M._, Higher<br />
<br />
Man-<br />
Drage, Miss E. Alice<br />
<br />
Harvey, Mrs. Hall,<br />
<br />
Osgood)<br />
<br />
(Irene<br />
<br />
Meldrum, Miss 8. Jane<br />
(Eric Falconer ; Eliza-<br />
beth Tytter)<br />
<br />
Saleeby, C. W. M.D.,<br />
F.R.S.E.<br />
<br />
Simpson, W. J., M.D.<br />
<br />
Place, :<br />
<br />
13, Greville<br />
N.W.<br />
13, Queen Anne Street,<br />
<br />
<br />
THE AUTHOR.<br />
<br />
11, Ridgmount Gardens,<br />
Bloomsbury, W.C.<br />
Treston, J. . . 16, Mirfield Drive,<br />
<br />
Monton Green, Lan-<br />
cashire.<br />
One member does not desire his name or address<br />
printed.<br />
<br />
Sparrow, Walter Shaw .<br />
<br />
+<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
——— +<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serye to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
BIOGRAPHY.<br />
<br />
A Woman oF Wit AND Wispom. A Memoir of Elizabeth<br />
Carter, one of the “Bas Bleu” Society (1717—1806).<br />
By ALICE C. C. GAUSSEN. 8} x 5}. 263 pp. Smith<br />
Elder, 7s. 6d. n.<br />
<br />
Sir WALTER Scott. By ANDREW LANG, 7% X 5}.<br />
258 pp. Hodder and Stoughton, 3s. 6d.<br />
<br />
BOOKS OF REFERENCE.<br />
Grove’s DICTIONARY OF Music AND Mustcians. Edited<br />
by J. A. FULLER MAITLAND. In Five Volumes. Vol. II.<br />
91x 6. 794 pp. Macmillan, 21s. n.<br />
<br />
DRAMA.<br />
<br />
PARIS AND (NONE. By LAURENCE BINYON. 73 x 5}.<br />
23 pp. Constable. 1s. n.<br />
<br />
Tue Soxc oF Songs. A Lyrical Folk-Play of the<br />
Ancient Hebrews. Arranged in Seven Scenes. By<br />
Francis Courts. With illustrations by H. Ospovat.<br />
<br />
Flowers of Parnassus.) 5} x 44. 67 pp. Lane. 1s. n.<br />
pp<br />
<br />
EDUCATIONAL.<br />
<br />
Tue IMPERIAL READER. Being a descriptive account of<br />
the Territories forming the British Empire. Edited by<br />
the Hon. W. P. REEvES and E. E. SPEIGHT. 7} x 5.<br />
444 pp. Hodder and Stoughton. 2s 6d. n.<br />
<br />
Cmsar’s GALLIC WAR. Parts V. and VI.<br />
W. H. D. Rouse, Litt.D. 36 and 27 pp.<br />
Blackie. 6d. n. each.<br />
<br />
Tue PILGRIM’s Proaress. By JoHN BuNYAN. Parts<br />
LandIl. 125and128pp. EDMUND BURKE'S SPEECHES<br />
ON AMERICA. 128 pp. MacauLay’s THIRD CHAPTER.<br />
128 pp. More’s Utopia. 128 pp. THE AGE OF THE<br />
ANTONINES. 104 pp. (First three chapters of Gibbon.)<br />
Edited by W. H. D. Rouse, Litt.D. 6} x 44. Blackie.<br />
6d. each.<br />
<br />
ADVANCED ENGLISH SYNTAX. By C. T. ONTONS, M.A.<br />
74 x 5}. Second Edition, Sonneschien. 2s. 6d.<br />
<br />
ENGINEERING.<br />
<br />
PRACTICAL ELECTRO CHEMISTRY. By BERTRAM BLOUNT.<br />
Second Edition. Revisedand brought up todate. 9 x 53.<br />
394 pp. London: Constable. New York: The Mac-<br />
millan Co. 15s, n,<br />
<br />
Edited by<br />
i x ae.<br />
<br />
FICTION.<br />
Tue WAY OF THE SPIRIT. By H. RripER HAGGARD.<br />
72x 5. 344 pp. Hutchinson. 65.<br />
Kari Heryrich. By W. Meyer Foerster. Sole<br />
authorized translation from the German by GRACE<br />
<br />
191<br />
<br />
BARLOW VON WENTZEL. Gowans<br />
and Gray.<br />
<br />
A Toy TRAGEDY. By Mrs. HENRY DE LA PASTURE’<br />
Cheap Edition. 7% x5. 278 pp. Cassell. 3s. 6d.<br />
<br />
THE Porson oF ToncuEsS. By M. E. CaRR. 73 x 5.<br />
320 pp. Smith Elder. 6s.<br />
<br />
CHRISTOPHER DEANE. A Character Study at School and<br />
College. By E. H. Lacon Watson. New and cheaper<br />
Edition. 73 x 54. 317 pp. Brown Langham. 3s. 6d.<br />
<br />
CONCERING PAUL AND FIAMMETTA. By L. ALLEN<br />
HARKER. 73x 5. 252 pp. Arnold. 6s.<br />
<br />
LOAVES AND FISHES. By BERNARD CAPES,<br />
312 pp. Methuen. 6s.<br />
<br />
PRINCE CHARLIE. By BURFORD DELANNOY. 732 x 5.<br />
318 pp. Ward Lock. 3s. 6d.<br />
<br />
MirRIAM LEMAIRE, MONEYLENDER.<br />
TON and HEATH HOSKEN. 7} x 5.<br />
3s. 6d.<br />
<br />
THAT PREPOSTEROUS WILL,<br />
320 pp. Ward Lock. 6s.<br />
<br />
THROUGH THE Mists: OR LEAVES FROM THE AUTO-<br />
BIOGRAPHY OF A SOUL IN PARADISE. Recorded for<br />
the author by R. J. Lexs. New Edition. 72 x 5.<br />
385 pp. Welby. 6s.<br />
<br />
THe EpG@E or CIRCUMSTANCE. By EDWARD NOBLE.<br />
8} x 53. 136 pp. Cheap Edition. Blackwoods. 6d.<br />
Lapy Basy. By DorRoTHEA GERARD. Cheap Edition.<br />
<br />
208 pp. 8} x 54. Blackwoods. 6d.<br />
<br />
THE ForBIDDEN MAN. By CORALIE STANTON and<br />
HeatH Hosken. F.V. White. 3s. 6d.<br />
<br />
THE MAN WITH THE OPALS, By ALFRED WILSON-<br />
BARKETY and AUSTIN FRYERS. 7} x 5. 312 pp.<br />
Ward Lock. 6s.<br />
<br />
KARL GRIER: THE STRANGE STorRY OF A MAN WITH<br />
A SIXTH SENSE. By Louis TRAcy. 7} x 54. 277 pp.<br />
Hodder and Stoughton. 6s<br />
<br />
Tue GARDEN OF Mystery. By RICHARD MARSH.<br />
72 x 5. 318 pp. J. Long. 6s.<br />
<br />
Tue Rea Mrs. DAYyBROoK. By FLORENCE WARDEN.<br />
72x 5. 319 pp. J. Long. 6s.<br />
<br />
BROoWNJOHNS. By MABEL DEARMER.<br />
Smith Elder. 6s.<br />
<br />
Sea Spray. By F.T. BULLEN, F.R.G.S. 73} x 5. 313 pp.<br />
Hodder and Stoughton. 6s.<br />
<br />
THE PoisoN DEALER. By GEORGES OHNET.<br />
lated by F. ROTHWELL, 7$ X 5. 293 pp.<br />
Laurie. 6s.<br />
<br />
TRINCOLOX. By DovuGgLAs SLADEN. 184 pp. THE<br />
CoLuMN. By CHARLES MaRRioTT. 188 pp. THE UN-<br />
LUCKY NuMBER. By EDEN PHILLPOTTS. 84 X 5¥.<br />
156 pp. Newnes’ Sixpenny Novels, Illustrated.<br />
<br />
CAPTAIN JOHN ListER. A Tale of Axholme. By J. A.<br />
HAMILTON. 7% x 5. 338pp. Hutchinson. 6s.<br />
<br />
A Woman's LoyaLty. ByIzA Durrus Harpy. 7} x 5.<br />
320 pp. Digby Long. 6s.<br />
<br />
THE MOTH AND THE FoorLtigHts. By GERTRUDE<br />
WARDEN. 7x5. 295pp. Digby Long. 6s.<br />
<br />
LAW.<br />
<br />
Tue LAw or Torts. By J. F. Cuark and W. H. RB.<br />
LINDSELL. Fourth Edition. By WYATT PAINE,<br />
10 x 64. 880 pp. Sweet and Maxwell.<br />
<br />
LITERARY.<br />
<br />
By the RicgHt Hon. AUGUSTINE<br />
BirRRELL, M.P. Cheap Edition, 83 x 5}. 95 pp.<br />
Hodder and Stoughton. 6d.<br />
<br />
MILITARY.<br />
<br />
THE OFFICERS’ FIELD NoTE BOOK AND RECONNAISSANCE<br />
AtpE-MrmorrE. By Lizut.-Con. E, GuntTER, P.S.C.<br />
With diagrams and tables. 74 x 4}. 100 pp. Clowes.<br />
6s, 6d. n.<br />
<br />
7k X 5h.<br />
<br />
227 pp.<br />
<br />
72 x 5.<br />
<br />
By CORALIE STAN-<br />
271 pp. Cassell.<br />
<br />
3y L.G. MOBERLY. 7? x 5.<br />
<br />
78 x 5.<br />
<br />
312 pp.<br />
<br />
Trans-<br />
Werner<br />
<br />
OBITER DICTA.<br />
<br />
<br />
192<br />
<br />
MUSIC.<br />
<br />
STORIES FROM THE OPpRAS. With Short Biographies of<br />
the Composers. By GLADYS DavIpson. 74 x 5}.<br />
7T. Werner Laurie.<br />
<br />
ORIENTAL.<br />
<br />
Tue CLASSICS OF CONFUCIUS, Book oF History (SHU<br />
Kin@). Rendered and compiled by W. GORN OLD,<br />
M.R.A.S. (The Wisdom of the East Series.) 6% x 5<br />
67 pp. Murray. Is. n.<br />
<br />
PAMPHLETS.<br />
<br />
THe PLAY-TIME OF THE POOR.<br />
<br />
Warb. Smith Elder. 2d.<br />
PHILOSOPHY.<br />
<br />
THE UNITY OF WILL. Studies of an Irrationalist. By<br />
G. A. HieHt. 9x 6. 244 pp. Chapman and Hall.<br />
10s. 6d. n.<br />
<br />
By Mrs. HUMPHRY<br />
<br />
POETRY.<br />
<br />
THE DAWN IN BriTarn. By CHAarirs M. DouGHTY.<br />
Two Vols. 7% x 54. 217and233 pp. Duckworth. 9s, n.<br />
POLITICS.<br />
<br />
INDIVIDUALISM AND COLLECTIVISM. Four Lectures by<br />
C. W. SALEEBY. 74 x 5. 154 pp. Williams and<br />
<br />
Norgate. 28.<br />
REPRINTS.<br />
<br />
Essays, MORAL AND PonLITe, 1660—1714. Selected and<br />
edited by JoHN and CONSTANCE MASEFIELD. 5 X32.<br />
263 pp. Grant Richards. 3s. 6d. n.<br />
<br />
Poems. By CHrIstina Rosserri. With an Introduction<br />
by ALICE MEYNELL, 200 pp. 6} x 4. Blackie.<br />
3s. 6d. n.<br />
<br />
SHAKESPEARE'S Porms. Vols. I. and If. Edited by<br />
EB. D. CHAMBERS. 63 x 4. Blackie. 3s. 6d. n.<br />
<br />
Matne’s ANCIENT Law. New Edition, with Notes by<br />
SIR FREDERICK PoLLocK. 8# x 54. 426 pp. Murray.<br />
5s. 0.<br />
<br />
THEOLOGY.<br />
<br />
THE LIFE SUPERLATIVE. By SToprorD A. BROOKE.<br />
7ix 54. 314 pp. Sir Isaac Pitman. 6s.<br />
<br />
ASPECTS OF ANGLICANISM, OR SOME COMMENTS ON<br />
CKeRTAIN EVENTS IN THE “NINETIES. By Mer.<br />
Moyrs, D.D. 8 x 53. 499 pp. Longmans. 6s. 6d.n.<br />
<br />
ILLUSION IN RELIGION. By Epwin A. ABBorT, D.D.<br />
45 pp. Griffiths. 6s.<br />
<br />
To-Day. By J C. Wrigut. Demy 16mo. 1s. 6d. n.<br />
A small volume of thoughts for each day. Methuen.<br />
<br />
TRAVEL,<br />
<br />
GRANADA. Memories, Adventures, Studies and Impres-<br />
sions. By LEONARD WILLIAMS. 84 x 5}. 213 pp.<br />
Heinemann. 7s. 6d. n.<br />
<br />
Rome. A Practical Guide to Rome and its Environs. By<br />
E. A. REYNOLDS BALL. 63 x 4}. 256 pp. Black.<br />
<br />
TOPOGRAPHY.<br />
WESSEX, PAINTED BY WALKER TYNEDALE.<br />
by CLIVE HOLLAND. 9 x 64.<br />
<br />
Described<br />
280 pp. Black. 20s.n.<br />
<br />
2 ee<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—— + a<br />
ESSRS. METHUEN & CO. published on<br />
the 15th of last month, a daily text-book<br />
entitled “ To-day,” which has been edited<br />
by Mr. J. ©. Wright, whose recent book, ‘In the<br />
<br />
THR AUTHOR.<br />
<br />
Good Old Times,” appeared at the beginning of<br />
the year.<br />
<br />
Mr. J. M. Stuart-Young, will publish in the<br />
autumn of this year a new story upon which he has<br />
been engaged since 1904. The title of the story,<br />
which deals with negro character, is “ The Country<br />
of the Blind.” The same writer’s memoir of the<br />
late Oscar Wilde was published early last month.<br />
<br />
Messrs. A. & C. Black announce a colour book<br />
on Wessex, the text by Mr. Clive Holland.<br />
<br />
Lieut.-Colonel E. Gunter has published through<br />
Wm. Clowes & Son, Ltd., 238, Cockspur Street, S.W.,<br />
a new edition (eleventh) of his ‘‘ Officers’ Field<br />
Note and Sketch Book and Reconnaissance Aide-<br />
Mémoire.” In this edition, which has been<br />
brought up to date, some notes gathered from the<br />
experiences of the Russo-Japanese War, and new<br />
tables of guns, rifles, etc., have been added.<br />
<br />
“A Sovereign Remedy ”’ is the title of Mrs. Flora<br />
Annie Steele’s new story dealing with English and _<br />
Welsh life, which will be published shortly. ‘The<br />
same writer is also writing a popular history<br />
of India, which will deal in broad tones with<br />
Indian life, political and social.<br />
<br />
Messrs. Longmans will publish early this month<br />
a volume of short stories entitled “ Simple Annals,”<br />
by M. E. Francis. The stories deal mainly with<br />
the lives of working women. The same author is<br />
engaged on a novel, the scene of which is laid in<br />
Dorset,and the title of which is‘ Hardy-on-the-Hill.”<br />
A one act play by M. E. Francis has recently been<br />
accepted by the manager of a West End theatre.<br />
<br />
‘Miriam Lemaire—Moneylender,” by Coralie<br />
Stanton and Heath Hosken, authors of “‘ Chance<br />
the Juggler,” “The Forbidden Man,” ete., is a nar-<br />
ration of certain facts and episodes in the career<br />
of a very unscrupulous woman, whose life and<br />
character form a study in modern criminality.<br />
The scenes of the story are laid in London, Paris,<br />
Rome, Cairo, and the Riviera. Messrs. Cassell &<br />
Co. are the publishers.<br />
<br />
Mr. Randal McDonnell’s novel, ‘ Kathleen<br />
Mavourneen,” a memory of 1798, has gone into a<br />
fourth impression. Messrs. Gill & Son, of Dublin,<br />
are the publishers of the book, which is sold at<br />
2s. in boards, and 2s. 6d. in cloth.<br />
<br />
“In Subjection” is the title of Ellen Thorney-<br />
croft Fowler’s (Mrs. A. L. Felkin) new novel, which<br />
Messrs. Hutchinson & Co. are publishing this month.<br />
<br />
Mr. Alexander Rogers contemplates the publica-<br />
tion of the second volume of the “ History of the<br />
Province of Gujarat,” the first volume of which was<br />
published in 1886, under the editorship of the late<br />
Sir E. ©. Bayley. The proposed work embraces<br />
the whole history of the province down to com-_<br />
paratively modern times, and completes the task<br />
which the editors of the first volume commenced.<br />
The size of the volume—with which will be<br />
<br />
<br />
<br />
<br />
aE<br />
re<br />
‘ar<br />
IC<br />
Me |<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
publishedan amended map, indicating the towns and<br />
villages mentioned in the course of the history—<br />
will be demy octavo. The subscription price will<br />
be 25s. nett, and the edition will be limited to<br />
500 copies. Subscriptions to the work may be<br />
sént to Messrs. Barnicott & Pearce, Atheneum<br />
Press, Taunton. :<br />
<br />
Frank Danby’s new novel, “The Sphinx’s<br />
Lawyer,” which Messrs. Heinemann are publishing<br />
in England, and Messrs. Lippincott in America,<br />
is rather a long work, incidentally pleading for<br />
differential treatment for educated criminals. It<br />
may, perhaps, be summarised by its concluding<br />
sentences :—“ Woman is the great compromise ” ;<br />
“Teavening law with love.”<br />
<br />
Mrs. Fred Reynolds, author of ‘A Quaker<br />
Wooing,” has just published another book, through<br />
Messrs. Hurst & Blackett. It is entitled “In<br />
Silence,” and concerns the up-growing of a beau-<br />
tiful girl who is born deaf. The scene is laid in<br />
the Lake District.<br />
<br />
Miss May Sinclair, whose novel, “The Divine<br />
Fire,” was published a few months ago, 1s Now<br />
engaged on a new book which, however, will not be<br />
quite so long as its predecessor. :<br />
<br />
Mr. Ernest Thompson Seton’s new book, “ Animal<br />
Heroes,” contains the histories of a cat, a dog, a<br />
pigeon, a lynx, two wolves and a reindeer. The<br />
illustrations, which accompany the work, are from<br />
the pen of the author. Messrs. Constable & Co.<br />
are the publishers.<br />
<br />
EK. Nesbit’s novel, “The Incomplete Amorist,”<br />
which is running serially in the Philadelphia Even-<br />
img Post, will be published in book form, here and<br />
in America, about the end of June. The hero is<br />
an amateur of emotions and the heroines are twain.<br />
The scenes are laid in Kent, Fontainebleau, and<br />
among the art students of the Montparnasse<br />
quarter in Paris.<br />
<br />
The same writer will publish through Mr. T.<br />
Fisher Unwin two volumes, “ Man and Maid,” a<br />
collection of stories, and“ The Amulet,” which has<br />
been running in the Strand Magazine, illustrated by<br />
H. R. Millar; and through Wells, Gardner & Co.,<br />
“The Railway Children,” which has been running<br />
in the London Magazine ; the last work illustrated<br />
by ©. E. Brock, will be published in the autumn.<br />
<br />
E. Nesbit is also working on a new children’s<br />
serial for the Strand Magazine, and on a new novel,<br />
a story of a young couple which will appeal to those<br />
who liked the “Red House.” The “ Incomplete<br />
Amorist” is in quite a different genre, and may<br />
perhaps interest those who view life with more<br />
cynical eyes. “The Magician’s Heart” is the title<br />
of a play by this writer which will be produced in<br />
London next winter.<br />
<br />
“Stories from the Operas,” by Gladys Davidson,<br />
<br />
published by T. Werner Laurie, consists of twenty<br />
<br />
<br />
<br />
193<br />
<br />
stories taken from among the most popular grand<br />
operas constantly performed at Covent Garden and<br />
Drury Lane, the object being to present, not a mere<br />
synopsis, but all the incidents of each libretto in<br />
the clear readable form of an ordinary short story.<br />
This, it is hoped, may fill a much-felt want, since<br />
many even truly musical people have frequently<br />
only very vague ideas as to the actual sfories con-<br />
tained in their favourite operas. The book is<br />
pape, by kind permission, to the Countess de<br />
Tey.<br />
<br />
Messrs. Macmillan & Co. are just publishing a<br />
new edition of Evelyn’s “ Diary,” in three volumes,<br />
under the editorship of Mr. Austin Dobson. ‘The<br />
format will be that of the “ Diary and Letters ” of<br />
Madame d’Arblay recently issued by the same firm.<br />
The text, the spelling of which has been modernised,<br />
will follow Bray and Forster; but many minor<br />
rectifications have been made, and some unsuspected<br />
errors corrected. The book, besides containing<br />
the notes of the earlier editors, carefully revised,<br />
will include a large number of additional notes by<br />
the present editor. As in the case of the d’Arblay<br />
Diary, the new edition will be illustrated by photo-<br />
gravure portraits, contemporary views of localities,<br />
maps and facsimile title-page, and will contain a<br />
preface, introduction and full index.<br />
<br />
Mr. John Lane will publish this month a new<br />
novel by the author of “The Winding Road.”<br />
The title of the work, however, has not yet been<br />
fixed. The same writer’s book on “ Heidelberg ”<br />
will be published in the autumn by E. Grant<br />
Richards. The volume, which will be illustrated,<br />
deals with the interesting ruins of the town, and<br />
the fascinating and most important history of the<br />
Palatinate, with which Great Britain has been so<br />
largely connected.<br />
<br />
John Oliver Hobbes’ new novel,-‘ The Dream<br />
and the Business,” which is now running serially<br />
through the Grand Magazine, will be published by<br />
Mr. Fisher Unwin, probably in the spring.<br />
<br />
Monsieur Henri Devray, who has translated “ The<br />
Vineyard,” and is now translating “ Love and the<br />
Soul Hunters,” will in turn translate all John<br />
Oliver Hobbes’ works into French, and they will<br />
appear serially in the leading French journals.<br />
<br />
“ Concerning Paul and Fiammetta,” a new book<br />
about children for grown-ups, by L. Allen Harker,<br />
author of “A Romance of the Nursery,” was<br />
published last month by Mr. Edward Arnold. A<br />
preface to the work is contributed by Kate Douglas<br />
Wiggin.<br />
<br />
Ata meeting of the Quatuor Coronati Lodge,<br />
No. 2076, held in January last, it was decided to<br />
strike a medal in commemoration of the jubilee<br />
anniversary of Mr. Robert Freke Gould’s initiation<br />
into Masonry. In addition to being the founder<br />
of this lodge, Mr. Gould is also the author of<br />
194<br />
<br />
works dealing with Freemasonry, his last work on<br />
this subject being “ The Concise History of<br />
Freemasonry.” ; :<br />
<br />
The Bohemian people have paid a compliment<br />
to Mr. James Baker, the author of “The Insepar-<br />
ables,” and many books and articles on Bohemia,<br />
by electing him on the committee for the Bohemian<br />
section of the Austrian Exhibition, to be held in<br />
London this year.<br />
<br />
Mr. Richard Bagot is engaged on a new novel,<br />
which will be published in due course by Messrs.<br />
Methuen. The scene of Mr. Bagot’s new book is<br />
again laid in Italy, and the action takes place<br />
in an ancient city in the Roman province ; the<br />
author leaving Rome and Roman life and occupy-<br />
ing himself with one of those provincial dramas,<br />
which, in Italy, are apt to assume such tragic<br />
proportions.<br />
<br />
Mrs. Percy Dearmer’s novel, “The Difficult<br />
Way,” published by Messrs. Smith, Elder & Co.,<br />
has just gone into a third edition. It is a story of<br />
strong human interest, dealing with the evolution<br />
of a human soul, through suffering, to its final<br />
peace. “ Brownjohn’s,” published last month, is<br />
written in a much lighter vein. This has reached<br />
a second edition.<br />
<br />
Mrs. Dearmer will not bring out another novel<br />
<br />
until the autumn of 1907. She is at present<br />
engaged upon “A Child’s Life of Christ,” to be<br />
published by Messrs. Methuen & Co. This book<br />
aims at giving a complete life of Christ simply told<br />
for children. It will be illustrated in colour by<br />
Miss Eleanor Fortescue-Brickdale. .<br />
Mrs. Alec-T'weedie’s last volume, “ Porfirio<br />
Diaz, Seven Times President of Mexico,” which<br />
<br />
appeared a few weeks ago, has created so much |<br />
<br />
interest that German and Spanish editions are<br />
being arranged. It is a curious fact that although<br />
this great Mexican ruler has had decorations con-<br />
ferred upon him by all the important countries,<br />
Great Britain has never paid him that honour.<br />
This is all the more remarkable considering his<br />
courtesy to British subjects and the enormous<br />
amount of English capital invested in Mexico<br />
to-day.<br />
<br />
Mr. Brandon Thomas’s new comedy, “A Judge’s<br />
Memory,” was produced at Terry’s Theatre on<br />
March 13th. The main purport of the play is to<br />
indicate the manner in which an ex-convict—whose<br />
sudden acquisition of wealth obtains for him an<br />
entry into society — arranges the marriage of<br />
his son to the daughter of the judge who had<br />
sentenced him. The caste includes Mr. James<br />
Welch and Mr. James Fernandez as the judge and<br />
ex-convict respectively.<br />
<br />
Sir Arthur Conan Doyle’s military play, “ Briga-<br />
dier Gerard,” was produced at the Imperial Theatre,<br />
on March 38rd. The play deals with the recovery<br />
<br />
THE AUTHOR.<br />
<br />
of certain private papers belonging to Napoleon, the<br />
part which Brigadier Gerard played in their recovery,<br />
and the adventures which befel him in his quest.<br />
The caste includes Mr. Lewis Waller, Miss<br />
Evelyn Millard, and Mr. A. H. George. :<br />
<br />
“The Beauty of Bath” is the title of a new<br />
musical play by Mr. Seymour Hicks and Mr. Cosmo<br />
Hamilton, produced at the Aldwych Theatre on<br />
March 19th. The plot is contained in the resem-<br />
blance of an actor to a lieutenant in the Royal<br />
Navy—a resemblance so striking as to enable<br />
them to change positions and thus to create<br />
complications with which the “Beauty of Bath”<br />
is closely concerned. The caste includes Miss<br />
Ellaline Terriss, Mr. Seymour Hicks and Miss<br />
Rosina Filippi.<br />
<br />
Mr. Bernard Shaw’s play, “Captain Brassbound’s<br />
Conversion,’ played at the Court Theatre on<br />
March 20th, tells the story of a good-hearted,<br />
motherly spinster, who, with her brother-in-law, a<br />
judge, is held prisoner by a smuggling sea captain.<br />
His intention is to take vengeance on them for their<br />
treatment of his deceased mother. But in conse-<br />
quence of the kindness shown to him and to one of<br />
his crew by the spinster, he eventually abandons.<br />
his design. Included in the caste are Miss Ellen<br />
Terry and Mr. Fred Kerr.<br />
<br />
$$ —_—_<br />
<br />
PARIS NOTES.<br />
<br />
—+—<—+ —<br />
<br />
HE inauguration of the statue in memory of<br />
TT Alfred de Musset presented to the City of —<br />
Paris, by M. Osiris, has been one of the<br />
literary fétes of the month. The statue repre-<br />
sents the poet seated in a dejected attitude with<br />
his muse standing at his side. It is placed just<br />
outside the Thédtre Francais, and the inaugu-<br />
ration féte was held in the foyer of the Comédie<br />
Francaise. About two hundred guests were<br />
present, and the poet’s family was represented<br />
by M. and Mme. Lardin de Musset and Mlle.<br />
Alice Lardin de Musset. M. Claretie made the<br />
opening speech, and several most eloquent ones —<br />
followed. M. Francois Coppée spoke warmly in —<br />
praise of his brother poet. M. Marcel Prevost —<br />
referred chiefly to Musset’s prose writings. Several _<br />
delegates then added their tribute of praise and<br />
Monnet Sully recited a poem composed in honour |<br />
of Musset. ‘There was military music to openand —<br />
close the proceedings, and then the whole assembly —<br />
left the foyer to be present at the unveiling of the —<br />
statue. Mme. Bartet laid flowers on it. Alfred de —<br />
Musset’s old housekeeper was carried in an arm- —<br />
chair to witness the inauguration, and Sévérine<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
took some of the flowers from the poet’s statue to<br />
place in the hands of that of George Sand, in the<br />
foyer of the Francais. The only regret felt by many<br />
of those present was that this féte had not taken<br />
place a year previously, during the life-time of<br />
Alfred de Musset’s sister. She had watched with<br />
keen interest the progress of the statue, and had<br />
lent the sculptor her portraits of the poet. It had<br />
been her great wish to be present at this inaugura-<br />
tion. There was a gala night at the Frangais<br />
afterwards, when Alfred de Musset’s works were<br />
performed.<br />
<br />
Among recent new books are the following :<br />
“La Psychologie des individus et des Sociétés<br />
chez Taine, historien des littératures,” by Paul<br />
Lacombe. “Le Vingtieme siécle politique,”<br />
by René Wallier. “Le Président Falliéres ”<br />
(pamphlet), by Jean de la Hire. “ Histoire du<br />
travail et des travailleurs” by P. Brisson.<br />
“‘Napoléon et sa famille (VII.)” by Frédéric<br />
Masson.*<br />
<br />
Among new works of fiction “ Sous le fardeau,”<br />
by J-H. Rosny ; “ Terriens,” by Jean Revel ; “‘ Les<br />
Délices de Mantoue,’ by Jean Bertheroy; ‘“ Le<br />
Docteur Jobert,” by Henri Fauvel ; ‘‘ Les Pas sur<br />
le sable,’ by Paul Margueritte ; “ L’Ecoliere,” by<br />
M. Léon Frapié ; ‘* Les Roquevillard,” by Henry<br />
Bordeaux ; “ Cinq Contes pour les Antiquaires,” by<br />
Jean Gounouilhou; ‘“ Aimons,” by Francois<br />
Gillette.t<br />
<br />
“Sur la vaste terre,”t by M. Pierre Mille, is a<br />
volume of short stories remarkable for their<br />
realism and originality. In these days when<br />
travelling is made easy and colonisation the order<br />
of the century in which we live, we must expect<br />
to see both sides of the medal. Some English<br />
authors have shown us the effect of Indian life<br />
on Europeans. Recent French novelists have<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
OG proved to us the demoralising effect of a different<br />
tet climate and other ways and customs on Europeans,<br />
dsBte, and M. Pierre Mille now gives us some graphic<br />
Bse2: sketches of life in a French colony. Each of his<br />
<br />
<br />
<br />
stories is powerful and original.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
* “Ta Psychologie, etc.,” by Paul Lacombe (Alcan) ;<br />
“Le Vingtieme siécle politique,’ by R. Wallier (Fasquelle) ;<br />
“Le Président Falliéres,’ by J. de la Hire (Librairie<br />
Universelle) ; “ Histoire du travail, etc.,” by P. Brisson<br />
(Delagrave); “Napoléon et sa Famille (VII.),” by F.<br />
Masson (Ollendorff).<br />
<br />
} “Sous le Fardeau,” by J. H. Rosny (Plon) ; “ Terriens,”’<br />
by Jean Revel (Fasquelle) ; ‘‘ Les Délices de Mantoue,” by<br />
Jean Bertheroy (Flammarion) ; “ Le Doctor Jobert,” by<br />
Henri Fauvel (Victor Havard) ; ‘‘ Les Pas sur le sable,” by<br />
Paul Margueritte (Plon) ; “ L’Ecoliére,” by Léon Frapié<br />
(Calmann Lévy); “ Les Roquevillard,” by Henry Bordeaux<br />
{Plon); ‘Cinq Contes pour les antiquaires,’ by J.<br />
Gounouilhou (Librairie Jllustrée); ‘“ Aimons,”’ by F.<br />
Gillette (Plon).<br />
<br />
t “Sur la vaste terre,” by M. Pierre Mille (Calmann<br />
Lévy).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<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 />
195<br />
<br />
<br />
<br />
“La Rebelle’’* is the title of Marcelle Tinayre’s<br />
new novel now published in volume form. There<br />
are some charming pages in it, some very interest-<br />
ing secondary characters and two very illogical<br />
individuals in the chief réles.<br />
<br />
Great interest and curiosity is felt in Paris with<br />
regard to the books shortly to be published by Mrs.<br />
Frederika Macdonald on Jean-Jacques Rousseau.<br />
For the last twenty years the author has been<br />
collecting details, visiting the French libraries and<br />
carefully studying the archives in search of any<br />
fresh clues which might throw light on the subject<br />
she has studied with such care.<br />
<br />
Some years ago La Revue published in Paris a<br />
French article by Mrs. Macdonald with photographs<br />
of some of the documents on which she bases her<br />
theory that Jean-Jacques has been basely slandered<br />
by his enemies. The attempt to “ whitewash<br />
Rousseau” is ridiculed by all those—who know<br />
nothing about the facts on which the theory of this<br />
new book is based. Mrs. Macdonald’s book is<br />
shortly to be published in English, and there will<br />
possibly be a French edition of the work.<br />
<br />
An extraordinary little volume of poems has just<br />
been published entitled “ L’Ame Géométrique.”<br />
The author is Henri Allorge and his verses are<br />
consecrated to geometry with geometrical figures as<br />
illustrations! Camille Flammarion has written the<br />
preface to this original little book, which alone<br />
proves that the contents are not commonplace.<br />
The author himself explains his idea in the follow-<br />
ing words: “ Le poéte a voulu seulement retracer<br />
les images et dépeindre les sentiments qu’ éveillent<br />
en lui les figures de la géométrie, laquelle résume, i<br />
bien y regarder, toute la vie.”<br />
<br />
Another woman’s newspaper is soon to be floated<br />
in Paris. La Fronde was only short-lived and<br />
could not from many points of view be considered<br />
a success. The new venture is to commence as a<br />
weekly paper entitled La Francaise. Its pro-<br />
gramme is extensive, its annual subscription six<br />
francs in France and eight francs abroad, and the<br />
first number is announced for the month of May,<br />
1906.<br />
<br />
A curious case was brought into the French Law<br />
Courts this last month. M. Friedman, the author<br />
of a book published in London in 1884 entitled<br />
“ Anne Boleyn,” complains that the French trans-<br />
lation of his work completely changes the tone and<br />
the documentary nature of it and makes it into a<br />
sectarian publication.<br />
<br />
M. Friedmann is a German and a Protestant, and<br />
he claims to have written this chapter of English<br />
history in a totally unbiassed way.<br />
<br />
In the French translation, Protestant is rendered<br />
<br />
* “Ta Rebelle,”’ by Marcelle Tinayre (Calmann Lévy).<br />
<br />
<br />
196<br />
<br />
heretic, Francois J., instead of being the ally of<br />
Anne Boleyn, is her abettor, and Anne Boleyn is<br />
spoken of as the concubine instead of the Queen.<br />
Such changes as these are made throughout the<br />
whole work.<br />
<br />
The story of the translation is curious also. It<br />
was done by M. Lugné Philippon, a professor of<br />
English, for the Abbé du Lac and completed in<br />
1894. The translator agrees that the author has<br />
cause for complaint but declines all responsibility<br />
with regard to alterations after the work had left<br />
his hands. ‘he manuscript was next entrusted to<br />
M. Dauphin Meunier, who did not even know<br />
English, for “corrections of style.’ He, too,<br />
declines all responsibility. The Abbé du Lac then<br />
stated that he had studied and translated the book<br />
in question with M. Lugné-Philippon whom he<br />
considered his English professor and had paid the<br />
latter £160 for his work. M. Dauphin had ‘then<br />
edited the book and found a publisher for it. ‘The<br />
Abbé du Lac fails to see that he is responsible for<br />
any modifications which were deemed necessary.<br />
The verdict had not been given at the time of going<br />
to press.<br />
<br />
In connection with the Alliance Francaise the<br />
Alliance Littéraire Franco-Britannique has been<br />
founded with a view to encouraging the exchange<br />
of visits between literary men, savants, and artists<br />
of the two countries. A party of forty members of<br />
the English section paid a visit to Paris last month,<br />
and were entertained by the French members in<br />
various ways during the week of their sojourn here.<br />
Sir Archibald Geikie lectured at the Sorbonne to an<br />
assembly made up about equally of French and<br />
English.<br />
<br />
The London Daily Chronicle and the Chicago<br />
Daily News gave a reception last month at their<br />
offices, which are in the same building, to the<br />
representatives of the foreign press in Paris. There<br />
were about two hundred guests present, and the<br />
arrangements were admirably carried out by<br />
Mr. Donohoe and Mr. Lemar Middleton, the<br />
organisers of this interesting soirée.<br />
<br />
M. Jules Charetie is writing a libretto on a<br />
dramatic episode during the Revolution.<br />
M. Massenet will put it to music for the next<br />
season at Monte Carlo. The title is to be “La<br />
Girondine.”’<br />
<br />
Three new pieces are announced by the Théatre<br />
de l’Oeuvre, “ Le troisiéme concert” by A. Savoir,<br />
“ Le Réformateur” by Ed. Rod, and “ Le Cloaque”<br />
by Carpenter.<br />
<br />
“Glatigny,” by Catulle Mendés, is now being<br />
given at the Odéon, “Le Frisson de l’Aigle ” at<br />
the Théatre Sarah Bernhardt, ‘“ Bourgeon,” by<br />
M. Feydeau, at the Vaudeville, “ Sacha,” by Mme.<br />
Martial, at the Gymnase.<br />
<br />
Anys HALLarp.<br />
<br />
*<br />
<br />
THB AUTHOR.<br />
<br />
SPANISH NOTES.<br />
<br />
——<br />
<br />
N Romero Robledo Spain has just lost @<br />
I powerful parliamentary leader. For forty-<br />
four years he took an active part in the<br />
Government in different ministerial offices; and<br />
when I saw his commanding figure inaugurating<br />
the ceremony of the young King laying the<br />
foundation stone of the statue to his royal<br />
father, I was reminded of the influence he had<br />
used for the restoration of Alfonso XII. to the<br />
throne.<br />
<br />
The death of Pereda, whose works, especially<br />
‘Escenas Montafiesas” (‘‘ Mountainous Scenes”),<br />
have endeared him to thousands of readers, has.<br />
been the occasion of published eulogies from hig.<br />
intimate friends, Benito Galdos, Menendez Pelayo,<br />
Palacio Valdés, and Clarin. ‘“ For twenty years,”<br />
says the great novelist Galdos, “I had the pleasure<br />
of Pereda’s friendship, and this friendship com-<br />
menced with my admiration for his ‘ Escenas<br />
Montafesas.’ Pereda’s sense of humour was.<br />
attractive,” continues the writer, ‘and it was this,<br />
added to his vigorous personality, his sincerity,<br />
and his clear and wide view of things which gave<br />
force to his satirical political novels.”” Menendez.<br />
Pelayo, who wrote the prologue to the edition of<br />
<br />
Pereda’s complete works, that the author was |<br />
<br />
one of the best writers of the day, and the most<br />
original poet of the north of Spain, draws attention<br />
in his present eulogy to the charm of Pereda’s.<br />
conversations and letters, which he says would<br />
have left their mark had he never published a<br />
book. Pereda’s last letter, bearing the date of<br />
18th February, and addressed to his valued friend<br />
Palacio Valdés, runs thus :—<br />
<br />
“My DEAR FRIEND,— '<br />
“JT was agreeably surprised by your gift of<br />
<br />
your last novel, “Tristan the Pessimist,” which<br />
reached me yesterday. Excuse me only acknowledg-<br />
ing the receipt of the book at this moment. [-<br />
shall enjoy reading it as soon as I can. But you<br />
know the wretched state of my health for the last<br />
two years, and how it deprives me of many pleasures;<br />
including that of reading, especially works of<br />
imagination, which may affect me. You cam<br />
understand that for a man of my tastes no illness:<br />
could be more cruel and unwelcome. However, it<br />
is God’s will, so patience! I know the perusal of<br />
your book will delight me; and let me in the<br />
meanwhile congratulate you on your reappearance<br />
in the arena of art with another work which will<br />
certainly prove a fresh triumph. 5<br />
<br />
“ With cordial regards, I am always<br />
« Your affectionate friend and admirer,<br />
«J, M. pe PEREDA.” —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
As Palacio Valdés has also honoured me with<br />
the gift of his new novel, I can say that it isa<br />
masterly psychological study of a pessimist who<br />
makes his life wretched by imagining evil in every-<br />
body about him. His charming wife is victimised<br />
by this mania, and his advantageous circumstances<br />
turned into misery. The sad story of the pessimist<br />
is relieved by such ideal pictures as the lover of<br />
<br />
“9 Cirilo and Visita, the paralytic man and the blind<br />
‘j= girl, the noble long-suffering man, who finally<br />
<br />
wins back his erring wife, is a fine study ; and as<br />
usual the famous romantic satirist brightens his<br />
study of real life by his sense of humour especially<br />
seen in the sayings of the peasant Barragan.<br />
<br />
Don Fernando de Annton has made his début in<br />
the literary world with the ambitious project of<br />
reforming society with a series of satirical novels.<br />
* “Queralt hombre de mundé” (‘ Queralt Man of<br />
the World”) is the first of this series, and although<br />
not wanting in interest, the hero is unequal to the<br />
part which he is meant to play.<br />
<br />
The lecture which startled all Madrid with its<br />
plain and eloquent truths certainly marks a step<br />
to the reform of Spanish opinion, for the famous<br />
moralist, Don Miguel de Unamuro, was listened to<br />
with rapt attention by the large gathering assembled<br />
to hear his eloquent words in the theatre of the<br />
_ Zarzuela. With the skill of a sympathetic orator,<br />
Unamuno showed the necessity of civilians interest-<br />
<br />
aa) ing themselves in the army ; he spoke of colonisa-<br />
0 tion, on the use and abuse of the press, and he waxed<br />
»ol@ eloquent on the question of religion, pressing home<br />
1% the necessity of realising that apart from sacer-<br />
<br />
» dotalism God was to be worshipped as the Spirit<br />
» of Truth which alone can save, even as it is<br />
» eonceived in the moral sense.<br />
<br />
The recent meeting of the Ibero-American<br />
Society has also excited great interest, for it<br />
<br />
‘mj marked the great progress woman’s education is<br />
<br />
making under the protection of the society. The<br />
movement was first started, in 1868, by Don<br />
Fernando de Castro, rector of the University of<br />
Madrid, but it lacked supporters of his opinion.<br />
Colonel Fignerola Ferretti now sends the news<br />
to England that at last Sefior Castro’s hopes for<br />
the higher education of women are in some degree<br />
realised, for the salons of the Ibero-American<br />
society will now in future see classes for women in<br />
various subjects, and more than two hundred<br />
pupils have already been enrolled.<br />
<br />
The speeches of the Marquesa d’Ayerbe and<br />
Dofia Pilar Contreras de Rodriguez, which<br />
Maugurated this educative departure were<br />
eloquent. The marchioness showed that the evil<br />
of women being uneducated is often reflected on<br />
the sons of a family, who frequently find them-<br />
selves burdened with helpless sisters to support,<br />
and Dofia Contreras de Rodriguez especially advo-<br />
<br />
197<br />
<br />
cated the sphere of music as one that is suitable<br />
for women endowed with the necessary capacity.<br />
The approaching marriage of King Alphonso<br />
with Princess Ena is spoken of in the press as the<br />
hoped for commencement of a new era, when a<br />
mutual nearer acquaintance of Spain and England<br />
will introduce many British methods for the<br />
advance of education into the country, and when<br />
the welcome awaiting the British Queen will prove<br />
that the bigotry credited to Spain is a thing of the<br />
as RACHEL CHALLICE,<br />
<br />
a<br />
<br />
COPYRIGHT IN THE UNITED STATES.<br />
Parr I.<br />
HarPeR & Brotuers v. M. A. Donouur & Co.<br />
<br />
HE following is the decision of Judge San-<br />
born, of Chicago, in the United States<br />
Circuit Court for the Northern District of<br />
<br />
Illinois, Eastern Division, respecting abandonment<br />
of copyright in the case of Harper & Brothers vy.<br />
M. A. Donohue & Co., in regard to the reprinting<br />
by the defendants of the novel ‘‘The Masquerader” :<br />
<br />
Katherine Cecil Thurston, the author, is a subject<br />
of King Edward VII., and as such has the same<br />
privilege of copyright in the United States as if a<br />
citizen of this country. This is secured to her by<br />
the International Copyright Act of March 3, 1891<br />
(26 Stat. 1105), the Berne Convention, and the<br />
proclamation of the President of July 1, 1891,<br />
provided for by such Act, 27 Stat. 981. As<br />
author of the work called “‘I'he Masquerader,”<br />
or “John Chilcote, M.P.,” the literary property<br />
vested in her consisted, so far as here material, of<br />
the following rights, privileges or powers :<br />
<br />
Before publication : The sole, exclusive interest,<br />
use and control; the right to its name ; to control<br />
or prevent publication; the right of private exhi-<br />
bition, for criticism or otherwise, reading, repre-<br />
sentation, and restricted circulation ; to copy, and<br />
permit others to copy, and to give away a copy ;<br />
to translate or dramatise the work ; to print with-<br />
out publication ; to make qualified distribution ;<br />
the right to make the first publication ; the right<br />
to sell and assign her interest, either absolutely, or<br />
conditionally, with or without qualification, limita-<br />
tion or restriction, territorial or otherwise, by oral<br />
or written transfer. Such literary property is not<br />
subject either to execution or taxation, because<br />
this might include a forced sale, the very thing the<br />
owner has the right to prevent.<br />
<br />
After publication: Unrestricted publication,<br />
without copyright, is a transfer to the public to<br />
do most of the things the author might do, in<br />
common with her, except all right of transfer and<br />
sale, which remains to the author ; but without<br />
<br />
<br />
<br />
<br />
198<br />
<br />
advantage, since the work has become, by the<br />
publication, common property. :<br />
<br />
The Copyright Acts substantiaily give the fol-<br />
lowing additional rights : To copyright, and thus<br />
secure the sole privilege of unlimited multiplica-<br />
tion and sale of copies; to sell or transfer the<br />
unlimited right of reproduction, sale and publica-<br />
tion, the limited right of serial publication, the<br />
right of publication in book form, the right of<br />
translation, the right of dramatisation or one or<br />
more of these rights in specific territory, and the<br />
right to secure a copyright either generally, or in<br />
one or more countries whose laws permit it, either<br />
in the name of the author or assignee. Also the<br />
right to the author to license the sale or other<br />
restricted enjoyment of some lesser right, without<br />
the power to copyright.<br />
<br />
The author and complainant made a written<br />
contract which finally became a binding obligation<br />
September 29, 1903. It contained a grant on the<br />
part of the author of the exclusive right of serial<br />
publication of ‘“ The Masquerader” in Harper's<br />
Bazaar in the United States and Canada, and the<br />
exclusive right of printing and publishing in book<br />
form in the United States, and to supply the<br />
Canadian market. Publication in book form to be<br />
simultaneous in the United States and England,<br />
or at a date mutually satisfactory to the Harpers<br />
and Blackwood & Sons (who published the British<br />
edition). The author contracts not to publish<br />
an abridged or other edition or book of similar<br />
character tending to interfere with its sale, with-<br />
out the publisher’s consent ; and that the book<br />
does not violate copyright, or contain anything<br />
libelous, ete.<br />
<br />
The author reserved the right of translation and<br />
dramatisation.<br />
<br />
The publishers agreed to pay $2,500 for the<br />
serial publication, and a certain royalty on the<br />
book ; and to take all steps necessary under the<br />
United States Copyright Acts “ to secure their own<br />
rights and those of the author in said work.” They<br />
give no guarantee of securing copyright outside the<br />
United States, nor issue special foreign editions,<br />
nor sell translation or dramatic rights.<br />
<br />
If the book remains out of print for six con-<br />
secutive months, the right to publish in book form<br />
shall revert to the author.<br />
<br />
Harper's. Bazaar is a serial monthly magazine<br />
published in the United States. Blackwood’s<br />
Magazine is a like publication having a British<br />
and an American edition, the former published in<br />
Edinburgh and the latter in New York, which are<br />
identical, except advertising matter. The suc-<br />
cessive chapters of the book were published serially<br />
in all these magazines, during the year 1904.<br />
Blackwood published, in both the United States<br />
and Great Britain chapters 10, 13, 14, 16, 17, 18,<br />
<br />
THB AUTHOR.<br />
<br />
20, 21, 23, 24, 26, 27, 28, 29, 31, and 32, one month<br />
earlier than Harper, and chapters 19, 25, 30, 33.<br />
and 34 two months earlier. Harper & Brotherg.<br />
had no knowledge of, nor did they consent to, the<br />
publication in serial form by the Blackwoods in<br />
the United States. The work was simultaneously<br />
published by both Harper & Brothers and the<br />
Blackwoods in the United States and Great Britain,<br />
about the first of October, 1904.<br />
<br />
Harper & Brothers claim copyright on chapters 1<br />
to 27 by virtue of their publication in the Bazaar in<br />
the January to September numbers, and on the<br />
balance by publication in book form. Their<br />
deposit of titles, copyright notices, deposit of<br />
numbers and books were as follows: On June 12,<br />
1903, they deposited the title of the Bazaar thus ;<br />
“ Harper's Bazaar, Vol. xxxviii., No. 1, January,<br />
1904.” On January 2, 1904, the title “ Harper's<br />
Bazaar, Vol. xxxviii., No. 2, February, 1904,” and<br />
on the same date like titles, mutatis mutandis, for<br />
March to June, 1904 ; and on June 13, 1904, the:<br />
titles for the remaining months of 1904, in like<br />
form. And also, not later than the day of the:<br />
publication of each number deposited in the New<br />
York mail, properly addressed, two copies of each<br />
of the several monthly numbers for 1904.<br />
<br />
Complainant also printed a copyright notice on<br />
the foot of the title-page, or page next succeeding,<br />
in the January number the words “ Copyright,<br />
1903, by Harper & Brothers,” and in each suc.<br />
ceeding number the words “ Copyright, 1904, by<br />
Harper & Brothers.” On July 26, 1904, com~<br />
plainant deposited the title of the book, “ The:<br />
Masquerader,” with the Librarian of Congress, and<br />
on September 28, 1904, and not later than its first<br />
publication, it mailed the requisite copies to the<br />
librarian. The proper copyright notice was printed<br />
in every copy of “The Masquerader.”<br />
<br />
No copyright notice of any description appeared<br />
in connection with either the serial publication in<br />
Blackwood’s Magazine, or in its publication of<br />
“ John Chilcote, M.P.,” in book form.<br />
<br />
In 1905 one of the defendants purchased copies<br />
of the Blackwood edition of the book in London,<br />
and brought them to Chicago. The defendants<br />
caused the book in this form to be printed from<br />
type set in Chicago, by the title of “ John Chilcote,<br />
M.P., or, The Masqueraders,” and were proceeding”<br />
to market it, when this was prevented by a tem~<br />
porary restraining order in this suit. The question<br />
now is whether a like temporary injunction shall<br />
be entered, It was admitted at the argument that<br />
defendants did not copy the book published by<br />
complainant, but used only the Blackwood edition.<br />
There are many verbal differences between the two,<br />
but it is the same story.<br />
<br />
The copyright laws, as amended by the Inter-<br />
national Act of 1891, which took effect by its owm<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“»> terms, and partly by presidential proclamation,<br />
<br />
July 1, 1891, give any author, foreign or domestic,<br />
<br />
_ or any proprietor of any book, etc., the right to<br />
<br />
*o@ procure copyright, and thereupon have the sole<br />
“| liberty or monopoly of publication and sale, and of<br />
<br />
- translation and dramatisation. It is provided that<br />
<br />
»/. the type shall be set and plates made in this<br />
<br />
>» country ; and importation of books not printed<br />
<br />
| from such plates is prohibited. Provision is made<br />
for securing non-importation by furnishing lists of<br />
<br />
- titles to the Treasury and Postmaster-General.<br />
<br />
Conditions precedent to securing copyright are<br />
<br />
a deposit of the title of the book or periodical with<br />
the Librarian of Congress, before the day of first<br />
publication in the United States or any foreign<br />
country, and of two copies thereof not later than<br />
the day of first publication in this or foreign<br />
country.<br />
<br />
A condition subsequent is imposed, that no<br />
person shall sue for infringement of his copyright<br />
unless he gives notice thereof by including a copy-<br />
right notice in each copy published. A penalty is<br />
imposed for printing notice of a book not copy-<br />
righted, and its importation prohibited.<br />
<br />
' Each number of a periodical shall be considered<br />
<br />
ee as an independent publication, subject to the pre-<br />
©» scribed form of copyrighting.<br />
<br />
By the proclamation of July 1, 1891, it appears<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
; that Great Britain permits the same rights to<br />
fh American citizens in that country as those here<br />
ig given.<br />
<br />
ke It is first insisted for defendants that Harper &<br />
<br />
| Brothers had no right to take out a copyright in<br />
their own names under the contract ; or, if the<br />
“(9 copyright is valid, it is held in trust for the author.<br />
* Jt is said that her rights could not be secured<br />
~~ except by copyright in her name ; that if the book<br />
be out of print her rights shall revert ; that trans-<br />
lation and dramatisation are included in copyright,<br />
and as the contract reserves them the parties must<br />
have intended not to grant that power; and that<br />
the publication of an abridgment or other edition<br />
by the author would infringe complainant’s copy-<br />
right, so that provision of the contract is incon-<br />
-sistent with the grant of copyright power.<br />
<br />
But the contract expressly provides that the<br />
publishers should secure their own and the author’s<br />
rights by copyright. Now it seems clear that the<br />
publishers’ rights could not possibly be secured<br />
-except by copyrighting in their own names. If the<br />
copyright had been taken in the author’s name<br />
any publication by her in Great Britain, in any<br />
form, omitting notice of copyright, would have<br />
destroyed, not secured, all of the publishers’ rights.<br />
Such publication has just been held to destroy the<br />
copyright by Judge Kohlsaat in G. & C. Merriam<br />
Go. v. United Dictionary Co., U. 8. Circuit<br />
Court Northern District of Illinois, opinion filed<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
199<br />
<br />
December 18, 1905. The publication of the work<br />
without copyright by Blackwood & Son shows that<br />
Harper & Brothers’ rights would have been valueless<br />
with the copyright in the authors’ name. Copyright<br />
in the names of the publishers was thus vital to their<br />
rights, and also fully protected the rights of the<br />
author. That the contract is fairly so to be con-<br />
strued see Belford, Clarke & Co. v. Charles Scribner<br />
& Oo., 144 U.S. 488 ; Miglin v. Dutton, 190 U.S.<br />
259; and Pulle v. Derby, 5 Mch. 328, Fed. Cas.<br />
11,465.<br />
<br />
While there is force in the grounds of construc-<br />
tion urged by defendants’ counsel, yet I think their<br />
interpretation would be destructive of all rights<br />
given to the publishers by the contract, and should<br />
not be sustained.<br />
<br />
It is further urged that the copyrighting of<br />
Harper's Bazaar, as a magazine, without special<br />
copyright of the serial numbers of ‘The Mas-<br />
querader,” was ineffectual within the decisions of<br />
the Supreme Court in Mifflin v. White and Mifflin<br />
vy. Dutton, 190 U. 8. 260, 265, 47 L. Ed. 1040,<br />
1043. These are the cases involving “ The Pro-<br />
fessor at the Breakfast Table” and “‘ The Minister’s<br />
Wooing.” ‘The first ten parts of ‘‘ The Professor”<br />
were published serially in the Adlantic Monthly<br />
without claim of copyright, and the remaining<br />
parts by a copyright notice covering the entire<br />
magazine, in the name of Ticknor and Fields, its<br />
publishers. Afterwards, Dr. Holmes, the author,<br />
published the work in book form, containing proper<br />
copyright notice in his own name. It appeared<br />
also that the author never authorised Ticknor and<br />
Fields to copyright in their own names. In the<br />
other case Mrs. Stowe, the author, gave to the<br />
publishers of the Atlantic Monthly “the sole and<br />
exclusive right to publish the work in this country.”<br />
They published the first ten numbers without any<br />
copyright claim whatever. She then took proper<br />
steps to secure a copyright in her own name, and<br />
published the novel in book form. Afterwards the<br />
publishers brought out the remaining chapters<br />
with a copyright notice on the magazine as a<br />
whole, in their own names. It was held in the<br />
Circuit Court of Appeals that the author abandoned<br />
her copyright on the volume by publishing such<br />
remaining chapters serially without proper notice<br />
of copyright.<br />
<br />
In the “ Professor’ case the Supreme Court held<br />
that Dr. Holmes never assigned the right to copy-<br />
right the book, but only gave the right to print,<br />
publish and sell. ‘The publishers were not autho-<br />
rised to copyright either in their own names or his.<br />
The fact that Dr. Holmes himself took out a copy-<br />
right makes it apparent that the parties had no<br />
such intention. The copyright of the magazines<br />
containing the final chapters, together with the<br />
author’s copyright of the book, did not secure a<br />
<br />
<br />
<br />
<br />
200<br />
<br />
valid copyright, since the object of the notice is to<br />
warn the public against the republication of a certain<br />
book by a certain author, and no person reading<br />
the two copyright notices would know that they<br />
related to the same work ; on their face they would<br />
seem to cover a totally different purpose. It was<br />
held that the entry of a book under title by the<br />
publishers cannot validate the entry of another<br />
book of a different title by another person.<br />
<br />
A fair inference from this decision is that if the<br />
magazine copyright had been in the name of Dr.<br />
Holmes, the publication of the final chapters would<br />
have been protected ; but because the whole work<br />
was published serially without any lawful copyright<br />
notice whatever, the right to exclusive publication<br />
was lost.<br />
<br />
In the case of “The Minister’s Wooing,” the<br />
final chapters were put out with a notice proper so<br />
far as the magazine itself was concerned, but by<br />
persons not authorised to copyright the work ; and<br />
this was done after Mrs. Stowe had published the<br />
whole book under proper copyright. As already<br />
stated, the appellate court held the magazine pub-<br />
lication to have been an abandonment. The<br />
Supreme Court held that so far as the first twenty-<br />
nine chapters were concerned, they, at least, became<br />
public property. Mrs. Stowe’s copyright of the<br />
balance would have been valid if it had not after-<br />
wards appeared in the magazine. Mrs. Stowe not<br />
having given notice, in the succeeding numbers of<br />
the magazine, of her copyright, such publication<br />
vitiated it; the publisher’s copyright not having<br />
given notice of the author’s rights.<br />
<br />
In both cases the court expressed reluctance at<br />
being obliged to so decide, and we may well believe<br />
a different result would have followed if the maga-<br />
zine copyright had been taken in the authors’<br />
name. Besides, the court was construing the law<br />
of copyrights as it was in 1860, and before the<br />
important amendment of 1891, hereafter referred to.<br />
<br />
The almost uniform practical construction of the<br />
copyright law has been to give notice in connection<br />
with each number of a magazine, and this has<br />
been often sustained : Drone on Copyright, 144 ;<br />
Howell’s Annotated Statutes of Michigan was held<br />
copyrightable in Howell v. Miller, 91 Fed. 129,<br />
including all in the book which might fairly be<br />
deemed the result of the compiler’s labours,<br />
Reports of judicial decisions, so far as head notes<br />
or other original matter is concerned. Callaghan<br />
v. Myers, 128 U.S. 617. Newspapers, Harper v.<br />
Shoppell, 26 Fed. 519, 28 Fed. 613; London<br />
Punch held copyrightable. Bradley v. Hatten,<br />
L. R.,8 Exch. 1. The provisions of the copyright<br />
law are to be broadly and liberally construed to<br />
insure to the author the product of his brain.<br />
Jenkins. J., in Holmee v. Donaghue, 77 Fed. 179.<br />
<br />
In Tribune Co. v. Associated Press, 116 Fed.<br />
<br />
THE AUTHOR.<br />
<br />
126, the Chicago 7ribume attempted to copyright,<br />
under contract, some special telegraphic matter of<br />
the London Z%mes, by depositing in the Chicago<br />
Post Office, on the evening before publication, the:<br />
general title of the newspaper, with serial number<br />
and date, and by like deposit, immediately upomw<br />
<br />
publication, of copies of the newspaper; each<br />
<br />
addressed to the Librarian of Congress. It was<br />
held by Judge Seaman that it was at least ques-<br />
tionable whether a copyright can thus be secured<br />
for a newspaper. But as the defendant did not<br />
copy from the Tribune, but directly from the<br />
London Zimes after its publication in England,<br />
and as the matter published by the Z%mes and’<br />
<br />
Tribune was not identical, there was no infringe- —<br />
<br />
ment, nor was any copyright thus obtained.<br />
In England it was at first held that a newspaper<br />
<br />
was not a book or periodical in Cox v. Land and — :<br />
Water Journal Co., 39 L. J. Rep. 152, but the 7<br />
<br />
contrary was decided in Walter v. Howe, 50 L. J.<br />
Rep. 621, in Cate v. Newspaper Co., 58 L. J. Rep.<br />
288, and finally by the Court of Appeals in Trade<br />
Auviliary Co. v. Protection Association, 58 L. J.<br />
Rep. 293.<br />
<br />
Whatever may have been the true construction<br />
of former copyright acts, and whether or not a<br />
newspaper is entitled to copyright, I think the<br />
International Copyright Act of 181 has set the<br />
question at rest so far as periodicals like Harper's<br />
Bazaar are concerned. Section 11 of the Act<br />
provides as follows :<br />
<br />
“Bach number of a periodical shall be con-<br />
sidered as an independent publication, subject to-<br />
the form of copyrighting as above.” 26 Stat..<br />
1165.<br />
<br />
The closing words evidently refer to the condi-<br />
tions prescribed for securing and retaining copy-<br />
right, that is the deposit of title of the periodical,.<br />
the two copies thereof, and the notice of copyright<br />
to be given on the title-page or page immediately<br />
following. If the notice of copyright is to be<br />
given in connection with each separate article<br />
published in a magazine, and not once for all<br />
contained in it, the language used to prescribe the:<br />
<br />
duty of giving notice is not well adapted to the —<br />
<br />
object sought; for how is it possible to insert a<br />
notice on the title-page, not of a periodical, but of<br />
an article? The latter may have a title, but hardly<br />
a title-page ; while the former has both. :<br />
<br />
Did the publication of the story in Blackwood’s<br />
Magazine, both in Great Britain and the United —<br />
States, or of the British edition of the book, alli<br />
without notice of copyright, constitute a forfeiture: —<br />
<br />
or abandonment of complainant’s copyright ?<br />
This is purely a question of copyright, and not.<br />
of the underlying literary property.<br />
<br />
ment, forfeiture, public dedication of the exclusive:<br />
right of copy may be presented in several aspects :.<br />
<br />
Abandon- —<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Ue<br />
<br />
bit<br />
<br />
<br />
<br />
(1) Abandonment or public dedication by the<br />
owner of a limited domestic copyright ; (2) Acts<br />
of abandonment by the owner of foreign copyright ;<br />
(3) Acts of abandonment by the owner of the re-<br />
mainder of the literary property left after the grant<br />
of limited domestic copyright, and which do not<br />
infringe on the latter ; (4) Acts of the latter kind<br />
which do so infringe.<br />
<br />
I think that domestic copyright is forfeited or<br />
abandoned only in the first, and not in the other<br />
cases; and that this conclusion follows clearly<br />
from the Copyright Act of 1874, and from the<br />
decisions on abandonment.<br />
<br />
It is insisted by counsel for defendants that the<br />
acts of the author of abandonment, in the case<br />
here, by publishing in England and America with-<br />
out notice of copyright, were binding on Harper &<br />
Brothers, depriving them, without their own act,<br />
of their copyright. It is so argued because the<br />
author could not confer upon Harper & Brothers<br />
any greater right than she herself possessed ; and<br />
assuming that they had the power to copyright in<br />
their own name, yet that right would be subject to<br />
all subsequent conditions imposed upon the author.<br />
But the statute does not require the awthor to give<br />
the copyright notice. It provides that “ No person<br />
shall maintain an action for the infringement of<br />
his copyright unless he shall give notice thereof by<br />
inserting in the several copies of every edition<br />
published,” the form prescribed. It is the owner<br />
of the copyright who is to give the notice, and he<br />
must insert it in every copy published by himself.<br />
The statute did not attempt the impossible or<br />
impracticable by compelling him to insert the<br />
notice in other publishers’ editions, but only those<br />
controlled by himself. As said by the Supreme<br />
Court, in Thompson v. Hubbard, 131 U.S. 123:<br />
‘The plain declaration of the statute is that no<br />
person shall maintain an action for the infringe-<br />
ment of is copyright unless he shall give notice<br />
thereof by inserting the prescribed words in the<br />
several copies of every edition published. This<br />
means every edition which he, as controlling the<br />
publication, publishes.”<br />
<br />
Harper & Brothers had no control over the acts<br />
of Blackwood & Son, either in Scotland or the<br />
United States, and were ignorant of the publi-<br />
cation in New York of the American edition<br />
of Blackwood. How could they abandon their<br />
own copyright without their own volition? For-<br />
feitures are strictly construed. It would be a<br />
harsh rule which would compel a publisher to<br />
insist in his contract with the author on having<br />
his own copyright notice inserted in every copy of<br />
the work published by all other persons. This<br />
might be highly impracticable, and difficult of<br />
execution. The statute should not be given such<br />
a construction unless imperatively required by its<br />
<br />
THE AUTHOR. 201<br />
<br />
language ; which, as we have seen, means nothing<br />
of the kind.<br />
<br />
In the case of G. & C. Meriam Oo. v. United<br />
Dictionary Co., already cited, the owner of the<br />
copyright, after publishing the book in this country,<br />
took the plates to England and there printed and<br />
published additional copies ; omitting, however,<br />
the notice of American copyright. Judge Kohlsaat<br />
very properly held this to be an abandonment of<br />
the copyright.<br />
<br />
To constitute abandonment there must be a<br />
clear, unequivocal and decisive act of the person<br />
entitled, showing a determination not to have the<br />
right relinquished. 1 Cye., 5.<br />
<br />
Publication in a foreign country without the<br />
consent of the author is not an abandonment.<br />
Boucicault v. Woods, 2 Biss. 34. Or without the<br />
consent of the owner of the exclusive right to<br />
publish in this country. Goldmark v. Kreling,<br />
35 Fed. 661. See also Haggard v. Waverly Pub.<br />
Co., cited in George H. Putnam’s work on copy-<br />
rights (U.S. C.C. Dict. N. J.). American Press<br />
Ass'n v. Daily Story Pub. Co., 120 Fed. 766. The<br />
case of Werckmeister v. Am. Lith. Co., 117 Fed<br />
360, decides a contrary rule, but one which I think<br />
should not be followed.<br />
<br />
The publication in Blackwood’s American edition<br />
seems to have been an infringement on Harper &<br />
Brothers, not an abandonment by them ; but it is<br />
not necessary to decide this point.<br />
<br />
It is further insisted that as it is admitted<br />
defendants’ publication is not taken from com-<br />
plainant’s book, but from the authorised English<br />
edition, published without notice of copyright, the<br />
case fails. This position is supported by quotation<br />
from Drone on Copyright, 399—400, and Johnson<br />
y. Donaldson, 3 Fed. 22. The Chicago 7'ribune<br />
case is also in point here, since the defendant in<br />
that case received and published telegraphic dis-<br />
patches from the London Times covering extracts<br />
from its columns; and it was held that the 7ribune<br />
could not prevent this by copyrighting its own paper,<br />
covering other extracts or articles from the 7'%mes.<br />
<br />
But I think the rule inapplicable to this case,<br />
because defendants did something expressly pro-<br />
hibited by the copyright law. Section 4956, as<br />
added to in 1891, provided :<br />
<br />
“During the existence of such copyright the<br />
importation into the United States of any book so<br />
copyrighted, or any edition or editions thereof, or<br />
any plates of the same, mot made from type set<br />
<br />
. within the limits of the United States, shall<br />
be and it is hereby prohibited.”<br />
<br />
Defendants did just what is here prohibited.<br />
They imported a substantial copy of “The<br />
Masquerader” not made from type set in this<br />
country. They are therefore within the condem-<br />
nation of the law. They cannot be allowed to<br />
<br />
<br />
<br />
<br />
200<br />
<br />
valid copyright, since the object of the notice is to<br />
warn the public against the republication of a certain<br />
book by a certain author, and no person reading<br />
the two copyright notices would know that they<br />
related to the same work ; on their face they would<br />
seem to cover a totally different purpose. It was<br />
held that the entry of a book under title by the<br />
<br />
ublishers cannot validate the entry of another<br />
book of a different title by another person.<br />
<br />
A fair inference from this decision is that if the<br />
magazine copyright had been in the name of Dr.<br />
Holmes, the publication of the final chapters would<br />
have been protected ; but because the whole work<br />
was published serially without any lawful copyright<br />
notice whatever, the right to exclusive publication<br />
was lost.<br />
<br />
In the case of “The Minister's Wooing,” the<br />
final chapters were put out with a notice proper so<br />
far as the magazine itself was concerned, but by<br />
persons not authorised to copyright the work ; and<br />
this was done after Mrs. Stowe had published the<br />
whole book under proper copyright. As already<br />
stated, the appellate court held the magazine pub-<br />
lication to have been an abandonment. ‘The<br />
Supreme Court held that so far as the first twenty-<br />
nine chapters were concerned, they, at least, became<br />
public property. Mrs. Stowe’s copyright of the<br />
balance would have been valid if it had not after-<br />
wards appeared in the magazine. Mrs. Stowe not<br />
having given notice, in the succeeding numbers of<br />
the magazine, of her copyright, such publication<br />
vitiated it; the publisher’s copyright not having<br />
given notice of the author’s rights.<br />
<br />
In both cases the court expressed reluctance at<br />
being obliged to so decide, and we may well believe<br />
a different result would have followed if the maga-<br />
zine copyright had been taken in the authors’<br />
name. Besides, the court was construing the law<br />
of copyrights as it was in 1860, and before the<br />
important amendment of 1891, hereafter referred to.<br />
<br />
The almost uniform practical construction of the<br />
copyright law has been to give notice in connection<br />
with each number of a magazine, and this has<br />
been often sustained: Drone on Copyright, 144 ;<br />
Howell’s Annotated Statutes of Michigan was held<br />
copyrightable in Howell v. Miller, 91 Fed. 129,<br />
including all in the book which might fairly be<br />
deemed the result of the compiler’s labours,<br />
Reports of judicial decisions, so far as head notes<br />
or other original matter is concerned. Callaghan<br />
vy. Myers, 128 U.S. 617. Newspapers, Harper v.<br />
Shoppell, 26 Fed. 519, 28 Fed. 613; London<br />
Punch held copyrightable. Bradley v. Hatten,<br />
L. R.,8 Exch. 1. The provisions of the copyright<br />
law are to be broadly and liberally construed to<br />
insure to the author the product of his brain.<br />
Jenkins. J., in Holmee v. Donaghue, 77 Fed. 179.<br />
<br />
In Tribune Co. v. Associated Press, 116 Fed.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
126, the Chicago Tribune attempted to copyright,<br />
under contract, some’ special telegraphic matter of<br />
the London Times, by depositing in the Chicago<br />
Post Office, on the evening before publication, the:<br />
general title of the newspaper, with serial number<br />
and date, and by like deposit, immediately upom<br />
publication, of copies of the newspaper; each<br />
addressed to the Librarian of Congress. It was<br />
held by Judge Seaman that it was at least ques-<br />
tionable whether a copyright can thus be secured |<br />
for a newspaper. But as the defendant did not.<br />
copy from the Tribune, but directly from the<br />
London Times after its publication in England, ©<br />
and as the matter published by the Times and’<br />
Tribune was not identical, there was no infringe-<br />
ment, nor was any copyright thus obtained.<br />
<br />
In England it was at first held that a newspaper<br />
was not a book or periodical in Cox vy. Land and<br />
Water Journal Co., 39 L. J. Rep. 152, but the<br />
contrary was decided in Walter v. Howe, 50 L. J.<br />
Rep. 621, in Cate v. Newspaper Co., 58 L. J. Rep.<br />
288, and finally by the Court of Appeals in Trade<br />
Auciliary Co. v. Protection Association, 58 L. J-<br />
Rep. 293.<br />
<br />
Whatever may have been the true construction<br />
of former copyright acts, and whether or not a<br />
newspaper is entitled to copyright, I think the<br />
International Copyright Act of 1891 has set the<br />
question at rest so far as periodicals like Harper's:<br />
Bazaar are concerned. Section 11 of the Act<br />
provides as follows :<br />
<br />
“Bach number of a periodical shall be con- —<br />
sidered as an independent publication, subject to — lw<br />
the form of copyrighting as above.” 26 Stat. | ut<br />
1165.<br />
<br />
The closing words evidently refer to the condi- — i<br />
tions prescribed for securing and retaining copy- we<br />
right, that is the deposit of title of the periodical,. hy<br />
the two copies thereof, and the notice of copyright. nt<br />
to be given on the title-page or page immediately nel<br />
<br />
<br />
<br />
following. If the notice of copyright is to be be<br />
given in connection with each separate article: et<br />
published in a magazine, and not once for all has<br />
contained in it, the language used to prescribe the: | 9<br />
duty of giving notice is not well adapted to the: i<br />
<br />
object sought; for how is it possible to insert a | #)<br />
notice on the title-page, not of a periodical, but of | ly<br />
an article? The latter may have a/itle, but hardly Gi<br />
a title-page ; while the former has both.<br />
<br />
Did the publication of the story in Blackwood’s:<br />
Magazine, both in Great Britain and the United<br />
States, or of the British edition of the book, all:<br />
without notice of copyright, constitute a forfeiture:<br />
or abandonment of complainant’s copyright ?<br />
<br />
This is purely a question of copyright, and not: |<br />
of the underlying literary property. Abandon- | =<br />
ment, forfeiture, public dedication of the exclusive: |<’<br />
right of copy may be presented in several aspects :.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
(1) Abandonment or public dedication by the<br />
owner of a limited domestic copyright ; (2) Acts<br />
of abandonment by the owner of foreign copyright ;<br />
(3) Acts of abandonment by the owner of the re-<br />
mainder of the literary property left after the grant<br />
of limited domestic copyright, and which do not<br />
infringe on the latter ; (4) Acts of the latter kind<br />
which do so infringe.<br />
<br />
I think that domestic copyright is forfeited or<br />
abandoned only in the first, and not in the other<br />
cases; and that this conclusion follows clearly<br />
from the Copyright Act of 1874, and from the<br />
decisions on abandonment.<br />
<br />
It is insisted by counsel for defendants that the<br />
acts of the author of abandonment, in the case<br />
here, by publishing in England and America with-<br />
out notice of copyright, were binding on Harper &<br />
Brothers, depriving them, without their own act,<br />
of their copyright. It is so argued because the<br />
author could not confer upon Harper & Brothers<br />
any greater right than she herself possessed ; and<br />
assuming that they had the power to copyright in<br />
their own name, yet that right would be subject to<br />
all subsequent conditions imposed upon the author.<br />
But the statute does not require the author to give<br />
the copyright notice. It provides that “ No person<br />
shall maintain an action for the infringement of<br />
his copyright unless he shall give notice thereof by<br />
inserting in the several copies of every edition<br />
published,” the form prescribed. It is the owner<br />
of the copyright who is to give the notice, and he<br />
must insert it in every copy published by himself.<br />
The statute did not attempt the impossible or<br />
impracticable by compelling him to insert the<br />
notice in other publishers’ editions, but only those<br />
controlled by himself. As said by the Supreme<br />
Court, in Thompson v. Hubbard, 131 U.S. 128:<br />
“‘The plain declaration of the statute is that no<br />
person shall maintain an action for the infringe-<br />
ment of Ais copyright unless he shall give notice<br />
thereof by inserting the prescribed words in the<br />
several copies of every edition published. This<br />
means every edition which he, as controlling the<br />
publication, publishes.”<br />
<br />
Harper & Brothers had no control over the acts<br />
of Blackwood & Son, either in Scotland or the<br />
United States, and were ignorant of the publi-<br />
cation in New York of the American edition<br />
of Blackwood. How could they abandon their<br />
own copyright without their own volition? For-<br />
feitures are strictly construed. It would be a<br />
harsh rule which would compel a publisher to<br />
insist in his contract with the author on having<br />
his own copyright notice inserted in every copy of<br />
the work published by all other persons. This<br />
might be highly impracticable, and difficult of<br />
execution. The statute should not be given such<br />
aconstruction unless imperatively required by its<br />
<br />
THB AUTHOR.<br />
<br />
201<br />
<br />
language ; which, as we have seen, means nothing<br />
of the kind.<br />
<br />
In the case of G. & C. Meriam Co. v. United<br />
Dictionary Co., already cited, the owner of the<br />
copyright, after publishing the book in this country,<br />
took the plates to England and there printed and<br />
published additional copies ; omitting, however,<br />
the notice of American copyright. Judge Kohlsaat<br />
very properly held this to be an abandonment of<br />
the copyright.<br />
<br />
To constitute abandonment there must be a<br />
clear, unequivocal and decisive act of the person<br />
entitled, showing a determination not to have the<br />
right relinquished. 1 Cyc., 5.<br />
<br />
Publication in a foreign country without the<br />
consent of the author is not an abandonment.<br />
Boucicault v. Woods, 2 Biss. 34. Or without the<br />
consent of the owner of the exclusive right to<br />
publish in this country. Goldmark vy. Kreling,<br />
35 Fed. 661. See also Haggard v. Waverly Pub.<br />
Co., cited in George H. Putnam’s work on copy-<br />
rights (U. 8. C.C. Dict. N. J.). American Press<br />
Ass'n v. Daily Story Pub. Co., 120 Fed. 766. The<br />
case of Werckmeister v. Am. Lith. Co., 117 Fed<br />
360, decides a contrary rule, but one which I think<br />
should not be followed.<br />
<br />
The publication in Blackwood’s American edition<br />
seems to have been an infringement on Harper &<br />
Brothers, not an abandonment by them ; but it is<br />
not necessary to decide this point.<br />
<br />
It is further insisted that as it is admitted<br />
defendants’ publication is not taken from com-<br />
plainant’s book, but from the authorised English<br />
edition, published without notice of copyright, the<br />
case fails, This position is supported by quotation<br />
from Drone on Copyright, 399—400, and Johnson<br />
y. Donaldson, 3 Fed. 22. The Chicago Z’ribune<br />
case is also in point here, since the defendant in<br />
that case received and published telegraphic dis-<br />
patches from the London Times covering extracts<br />
from its columns; and it was held that the Tribune<br />
could not prevent this by copyrighting its own paper,<br />
covering other extracts or articles from the Times.<br />
<br />
But I think the rule inapplicable to this case,<br />
because defendants did something expressly pro-<br />
hibited by the copyright law. Section 4956, as<br />
added to in 1891, provided :<br />
<br />
“During the existence of such copyright the<br />
importation into the United States of any. book so<br />
copyrighted, or any edition or editions thereof, or<br />
any plates of the same, not made from type set<br />
<br />
. within the limits of the United States, shall<br />
be and it is hereby prohibited.”<br />
<br />
Defendants did just what is here prohibited.<br />
They imported a substantial copy of “The<br />
Masquerader” not made from type set in this<br />
country. They are therefore within the condem-<br />
nation of the law. They cannot be allowed to<br />
<br />
<br />
<br />
<br />
202<br />
<br />
<br />
<br />
found legal rights on acts made unlawful by being<br />
prohibited.<br />
<br />
In the dictionary case above referred to, defen-<br />
dant imported the books, as did defendants here,<br />
but they were made from plates in this country.<br />
It did nothing prohibited, and was, with some<br />
reluctance on the part of the court, justified in so<br />
doing. - : :<br />
<br />
On the question of prohibited importation a<br />
case of the bringing in of a piece of music pub-<br />
lished in Germany, on which there was an English<br />
copyright, was presented in Pitts v. George &<br />
Go. 66 L. J. Ch. 1; 75 L.-T. Rep. N.S. 820,<br />
where such importation was held unlawful. The<br />
International Copyright Act there in question<br />
was however quite different from the American<br />
copyright law. :<br />
<br />
The motion for temporary injunction should be<br />
granted.<br />
<br />
A. L. Sanporn, Judge.<br />
<br />
[Owing to the two judgments in the Amercan<br />
Courts (the first printed in the February issue, (.<br />
<br />
C. Merriam Co. v. United States Dictionary Co., the .<br />
<br />
second printed in the present issue), having given<br />
rise to diverse opinions in this country and the<br />
United States, it has been decided to obtain the<br />
opinion of an eminent United States copyright<br />
lawyer on the difficulties involved.<br />
<br />
Pending a final decision of the questions at issue,<br />
either by a judgment of the Supreme Court of the<br />
United States or by an amendment of the law,<br />
members would act wisely in arranging for the<br />
insertion of the “ Copyright notice”’ in all editions<br />
of their books, that is, not only editions intended<br />
for circulation in the United Kingdom, but also<br />
Continental and Colonial issues and translations.<br />
<br />
The correct form of the notice required by<br />
American law is as follows :—Copyright 190——<br />
by in the United States of America.<br />
<br />
<br />
<br />
Ep.]<br />
<br />
Parr II.—ComMENT.<br />
<br />
This case is of considerable importance as<br />
‘showing the limitation contained in the judg-<br />
ment in Veriam Co. v. United Dictionary, which<br />
at first sight might appear to be inconsistent<br />
with it. The two cases, however, are quite distinct,<br />
and no fault can be found with the more recent<br />
decision.<br />
<br />
Messrs. Harper Bros., the proprietors of the<br />
<br />
American copyright in Mrs. Thurston’s story”<br />
<br />
«The Masquerader ” (the American title of “John<br />
Chilcote, M.P.”’), published it in Harper's Bazaar<br />
and in book form in the United States, being<br />
careful to insert the statutory copyright notice.<br />
Messrs. Blackwood and Sons, the proprietors of<br />
<br />
THER AUTHOR.<br />
<br />
the English copyright, published the story entitled<br />
“ John Chilcote, M.P.,” in Blackwood’s Magazine,<br />
which circulated in the United States, and in book<br />
form in England, without the American copyright<br />
notice. One of the defendants purchased some<br />
copies of “John Chilcote, M.P.,” in England and<br />
took them to Chicago and proceeded to issue an<br />
edition printed from these copies until they were<br />
restrained by an injunction.<br />
As in the Meriam case, the absence of the<br />
copyright notice was set up as a defence to the<br />
action, but in this case it failed for the following<br />
reasons :—<br />
(1.) The owners of the American copyright,<br />
Messrs. Harper Bros., had not authorised or<br />
consented to any publication of the story with-<br />
out the copyright notice.<br />
In the Meriam case, the owner of the American<br />
copyright was directly responsible for the publi-<br />
cation of the English edition in which the copy-<br />
right notice was not inserted.<br />
The distinction is a sensible one, because it<br />
is the owner of the American copyright who is<br />
primarily interested in being able to sue in the<br />
United States, and it would be manifestly unjust<br />
that he should lose his copyright in that country<br />
by reason of anything done by the author or<br />
owner of the English copyright in England (see<br />
also Falk v. Gast, 54, F. R. 890).<br />
Fortunately, the author had assigned the<br />
American copyright to Messrs. Harper Bros., and<br />
they had registered it under the contract in their<br />
own name ; because, if it had been registered in<br />
the author’s name, any publication authorised by<br />
her in England, omitting the copyright notice,<br />
might have been fatal to an action for infringe-<br />
ment in the United States.<br />
British authors, therefore, should bear this in<br />
mind. It is safer to assign the American copy-<br />
right and to have it registered in the assignee’s<br />
name, because the American owner will take good<br />
care that the copyright notice is duly inserted in<br />
every edition authorised by him; but if the author<br />
registers the American copyright in his own name,<br />
he may lose his rights in the United States if at<br />
any time any copies are published under his<br />
authority in England without the American<br />
copyright notice.<br />
(2.) The defendants were guilty of a breach<br />
of the law against the importation of American<br />
copyright books.<br />
Tt will be remembered that in the Meriam case<br />
(see last month’s Author j the defendant was careful<br />
not to infringe the law in this respect. The<br />
copies he imported were printed from plates<br />
manufactured in the United States, and this<br />
is an exception to the prohibition against<br />
importation.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Further, he pleaded that he purchased ‘‘ two<br />
copies for use and not for sale,” and this is<br />
another exception to the rule.<br />
<br />
In the Harper case, on the other hand, the<br />
importation by the defendants did not come<br />
within either of these exceptions, and the Court<br />
very justly observed that they could not -be<br />
allowed to found legal rights on acts which were<br />
unlawful.<br />
<br />
HarotD Harpy.<br />
<br />
Se<br />
<br />
PUBLICATION AND COPYRIGHT.<br />
<br />
—+- =< —<br />
<br />
Part II.<br />
<br />
T may be remarked that the importance of a<br />
I date of publication as a period for the compu-<br />
tation of the duration of the right in literary<br />
works does not exist in most foreign countries. The<br />
usual and simpler plan for computing copyright is<br />
the life of the author, plus a given number of years.<br />
In England copyright does not begin until publica-<br />
tion, and though before that there is the common<br />
law right, publication marks the beginning of the<br />
statutory right.<br />
<br />
It would simplify matters considerably if copy-<br />
right lasted with us for a given number of years<br />
after the author’s death, and if kis published works<br />
and his unpublished works alike were protected by<br />
statute. If the rights of a dramatic author were<br />
protected by statute from both methods of infringe-<br />
ment, without the necessity for publication, or for<br />
the formal “ copyright performance,” no one would<br />
be any the worse except the dishonest person who<br />
looks out for the opportunity to infringe, and<br />
authors and others would be saved trouble and<br />
expense.<br />
<br />
The law in France forbids the public representa-<br />
tion of plays, whether they have been printed or<br />
not, without the consent of the author or of those<br />
who stand in his shoes, and does not require that<br />
any public representation should be held in order<br />
to prevent future ones. When the play has been<br />
“ published” it has to be protected by deposit like<br />
any other book.<br />
<br />
- The law in Hungary, Spain, Sweden and Italy, is<br />
much the same, that is to say, the author as such<br />
can prevent his play from being acted without his<br />
authority, and does not have to date the rights<br />
given to him by the legal codes of his country<br />
from a first public performance or from any other<br />
form of publication.<br />
<br />
Lectures, sermons, and speeches, delivered in<br />
public or to more or less private audiences have<br />
caused a considerable amount of litigation when<br />
persons who have had the advantage of being able<br />
<br />
203<br />
<br />
to write shorthand have taken them down and<br />
published them in print. They are the subject of<br />
copyright when printed and published by the<br />
authors, but merely delivering them publicly and<br />
to an audience in uo sense a private one, seems to<br />
have the effect of rendering them public property<br />
without securing to them the copyright protection<br />
which publication in print confers. The difficulties<br />
arising with regard to lectures, sermons, and<br />
speeches, however, involve the whole question as<br />
to how far they are subjects of copyright, and as<br />
to how they might be better protected for the<br />
benefit of those who compose and deliver them.<br />
<br />
Engravings are protected for twenty-eight years<br />
from the date of first publication provided that this<br />
date is fixed by means of the “ publication line” as<br />
it is usually called which contains, besides the date,<br />
the name of the proprietor. The regular print-<br />
publishers and print-sellers are aware of the law,<br />
and, no doubt, comply, as a rule, with all the<br />
required formalities. Probably, however, a certain<br />
number of engravings of minor importance are, in<br />
fact, “‘ published” by their authors in every year<br />
without compliance with this condition, and with-<br />
out more protection than is afforded by an interested<br />
person possessing the plate. How far sales to any-<br />
one who chooses to ask the engraver or his agent to<br />
sell him a proof constitute a publication may at any<br />
time become the subject of litigation.<br />
<br />
With regard to engravings, the danger to the<br />
unwary appears to lie in this, that publication may<br />
take place, in fact, without the person who publishes<br />
realising that he is losing the benefit of protection<br />
of the common law, and that he is not obtaining<br />
(by complying with the necessary conditions), the<br />
protection which statute law would affordhim. In<br />
France, engravers, as well as painters, are on the<br />
same footing as authors ; that is to say their copy-<br />
right is for the life of the artist and fifty years<br />
after his death. Three copies of the engraving<br />
desired to be protected have to be deposited by the<br />
printer in the national library. In Germany copy-<br />
right is for the life of the artist and thirty years<br />
after his death ; but certain forms of publication,<br />
such ag imitation in the productions of manufactur-<br />
ing industries, and reproduction in periodicals,<br />
entail consequences which artists have to consider<br />
before allowing them to take place.<br />
<br />
The Act of 1867, which confers upon artists<br />
their rights in what they produce, is silent as to<br />
the period from which these rights date. Mr.<br />
Copinger expresses the opinion that the date of the<br />
making of the work of art must fix the time, saying,<br />
“The alternative suggestion is that the statutory<br />
copyright commences on publication, but the<br />
statute lends no support to this view.” The diffi-<br />
culty of deciding what constitutes publication of<br />
works of art does not, therefore, affect the duration of<br />
<br />
<br />
204<br />
<br />
legal rights in England. Where, however, American<br />
<br />
rights are concerned, the question whether a picture<br />
<br />
has been published, and if so the further question<br />
<br />
whether it has been so published as to be duly<br />
rotected, are of considerable importance.<br />
<br />
With regard to sculpture, Mr. Copinger thus<br />
sums up the requisite conditions in order to secure<br />
copyright in sculpture in England. The sculptor<br />
apparently must “conform strictly to the letter of<br />
the acts and engrave on the model, as well as on<br />
every cast or copy thereof, his name, and the day<br />
of the month and year when the model is first<br />
shown or otherwise published in his studio, or else-<br />
where, and such date must never be altered.” The<br />
difficulty as to the interpretation of “ publication ”<br />
in the case of statuary has been referred to. In<br />
France, the law with regard to artistic copyright<br />
follows as closely as circumstances will permit that<br />
which governs literary matter, but the formality of<br />
deposit of copies is not necessary in the case of<br />
sculptured work. The time of publication is of<br />
importance in England in the case of sculpture as<br />
the starting point of the term of protection, and<br />
the condition of placing the name and date on the<br />
work is not a very irksome one to comply with.<br />
<br />
In conclusion, whether publication has taken<br />
place or not is at present a question of fact which<br />
in many possible instances is not easy to answer.<br />
It is a question of importance to many who claim<br />
to be owners of copyrights, both in relation to<br />
their rights abroad and to their rights in England.<br />
Its simplification by statutory definition, and by<br />
the laying down of forms to be followed which will<br />
be deemed equivalent to publication, may well be<br />
practicable, and it may be suggested that the<br />
possibility of this should be considered whenever<br />
copyright legislation takes place. At the same<br />
time, the importance of ascertaining the date of<br />
publication in order to determine the duration of<br />
copyright might usefully be done away with by<br />
making the possession and duration of copyright<br />
as far as possible independent of what is after all<br />
but a circumstance of the “invention” which<br />
should confer the exclusive right upon the inventor.<br />
<br />
BE. A. A.<br />
<br />
——————_+—_ > —___—_<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
ee nel<br />
<br />
BLACKWOOD’s.<br />
<br />
Drake: An English Epic. By Alfred Noyes.<br />
<br />
Musings Without Methods: The Drama in the Village :<br />
What Ails the Stage: Lord Byron and a Forgotten<br />
Scandal.<br />
<br />
BoOoKMAN.<br />
<br />
The Schoolboy in Fiction. By W. E. W. Collins.<br />
Tobias Smollett. By Ranger.<br />
<br />
THE AUTHOR.<br />
<br />
{. On the Scientific Attitude to Marvels.<br />
<br />
Book MONTHLY.<br />
<br />
A Literary Alliance : Viscount Hayashi on English and<br />
Japanese Books and Authors. By James Milne.<br />
Our Chief Singer: An Appreciation of Mr. Swinburne<br />
and His Poetry. By Arthur Waugh.<br />
The Paris Bookshop and How Its Methods Strike an<br />
English Book-Buyer. By Alphonse Courlander.<br />
Books Women Like : A Woman’s Thoughts on Tempera-<br />
ment and Reading. By Georgiana Bruce,<br />
<br />
CHAMBERS’ JOURNAL.<br />
<br />
English Public School Education from a Colonial Point<br />
of View. By A Victim,<br />
<br />
CONTEMPORARY REVIEW.<br />
<br />
Revivalism and Mysticism. By W. F. Alexander.<br />
The German Drama of To-Day. By Count 8. C. de<br />
<br />
Soissons.<br />
CoRNHILL.<br />
<br />
Judgment of Ginone. By R. A. K.<br />
<br />
FORTNIGHTLY REVIEW.<br />
<br />
Boston. By Henry James.<br />
<br />
By Sir Oliver<br />
Lodge.<br />
<br />
William Pitt. By J. A. R. Marriott,<br />
<br />
Mr. Bernard Shaw's Counterfeit Presentment of Women.<br />
By Constance A. Barnicott.<br />
<br />
The Press in War Time. By A Journalist.<br />
<br />
William Sharp and Fiona Macleod. By Katherine<br />
Tynan.<br />
<br />
INDEPENDENT REVIEW.<br />
<br />
Satire and Poetry at Olney. By Sidney T. Irwin.<br />
<br />
King Lear at the Theatre Antoine. By M. Strachey.<br />
<br />
Ibsen’s Letters. By G. Lowes Dickinson.<br />
<br />
Our Road Lay up the Apennine. By Herbert Trench.<br />
<br />
MACMILLAN’S MAGAZINE.<br />
Stevenson at Fontainbleau. By Robert B. Douglas.<br />
<br />
MONTH.<br />
Dead Languages and Living Interest.<br />
Bellantis.<br />
The Chester Plays. By Darley Dale.<br />
Catholics at the National Universities,<br />
D. O. Hunter-Blair, Bart., 0. S. B.<br />
<br />
By L. E.<br />
<br />
By The Rey. Sir<br />
<br />
MONTHLY REVIEW.<br />
<br />
Wolfgang Amadeus Mozart. By A. E. Keeton.<br />
<br />
A Servant of the Crown. By Theodore Andrea Cook.<br />
<br />
Lord Lovelace and Lord Byron. By Rowland EH,<br />
Prothero.<br />
<br />
NATIONAL REVIEW,<br />
<br />
Edmund Burke. By The Archbishop of Armagh.<br />
<br />
Christian Tradition and Popular Speech. By the Rey,<br />
R. L. Gabes.<br />
<br />
The Cup of Judgment. By Clotilde Graves.<br />
<br />
NINETEENTH CENTURY.<br />
<br />
The Dance in Ancient Greece, By Marcelle Azra<br />
<br />
Hincks.<br />
<br />
“The First Gentleman of Europe.’’ By Ellen L. Dillon.<br />
<br />
TEMPLE Bar.<br />
The Laureate of the ‘‘ Beefstakes.” By ‘‘Thormanby.”<br />
Kwannon, By Marjorie L. C. Pickthall.<br />
<br />
(There are no articles dealing with Literary, Dramatic,<br />
or Musical subjects in Zhe Pall Mall Magazine.)<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<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 sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
ll. 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 />
tights.<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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It isnow<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in 7’he Author.<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 Seczetary 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. Weare advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
’ (3,) Always avoid a transfer of copyright.*<br />
<br />
————__+—_+___—__<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 />
205<br />
<br />
_ 3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(0.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of g7vss receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (é.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect, The<br />
other safeguards set out under heading (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 United States 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 information<br />
are referred to the Secretary of the Society.<br />
<br />
—_——_—_<>—_o____—_-<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. ‘The musical composer has very often the two<br />
rights to deal with—performing right and c pyright. He<br />
206<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
——————o ro ——__—_——_<br />
t<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. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel's opinion. All this<br />
<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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 endeayour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members_can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
THE AUTHOR.<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
9<br />
<br />
HE Society undertakes to stamp copies of music om<br />
behalf of its members for the fee of 6d. per 100 or<br />
<br />
_. part of 100, The members’ stamps are kept in the<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to-<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
——_—__—_ <> -______<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 />
<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience, The<br />
fee is one guinea.<br />
——$$o—— 9 ———___<br />
NOTICES.<br />
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 />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made te<br />
return articles which cannot be accepted.<br />
<br />
oe<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 />
crosstd Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
Or<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
AUTHORITIES.<br />
<br />
———<br />
<br />
E have been informed by the Registrar of<br />
<br />
AY Copyrights at the Public Library at<br />
<br />
Washington that the third session of the<br />
<br />
conference on copyright was held in the library<br />
<br />
at Washington during last month, commencing on<br />
March 13th.<br />
<br />
It is hoped that the copyright bill may then be<br />
agreed to and settled by the various interests<br />
represented at that meeting so as to be in readiness<br />
to submit to Congress.<br />
<br />
The French and German authors have urged<br />
the extension of the interim term of protection<br />
granted by the Act of March 3rd, 1905, for books<br />
in foreign languages.<br />
<br />
‘As soon as it is possible to obtain a copy of the<br />
bill for public discussion, it will be laid before the<br />
committee of the Society.<br />
<br />
<br />
<br />
THIRTEEN AS TweELVE.—This is one of the<br />
most insidious ways devised by publishers to<br />
squeeze out a little extra profit. In the good<br />
old days the royalties were paid on every copy<br />
of the book sold. All the calculations as to<br />
authors’ profits which were made by the Society<br />
were made reckoning that on the one hand<br />
the publisher paid a royalty on every copy sold,<br />
and on the other hand that he sold thirteen<br />
as twelve to the booksellers in the majority of<br />
cases. However, the old custom of paying royalty<br />
on every copy sold is going out, as the publisher<br />
asserts to the author that in the majority of<br />
instances he sold thirteen as twelve, and therefore<br />
jn fairness could only pay on that number, and the<br />
author, ignorant of the usual methods of sale,<br />
and, therefore, unable to deny the publisher’s<br />
statement, yielded to what amounts to over 8 per<br />
cent. reduction. Having advanced so far, the<br />
publisher proceeded to reckon thirteen as twelve<br />
on his sales to America, and this has been very<br />
strongly pressed by one or two publishers who<br />
have their own houses in the United States, but<br />
although it may be clear that there is a custom by<br />
which on the English market in certain circum-<br />
stances the bookseller purchases thirteen as twelve,<br />
it must be emphatically asserted that there is no<br />
such custom in the American market. We have<br />
made enquiries of those acquainted with the United<br />
States book market, and are informed that there<br />
is no evidence whatever of such a practice. If,<br />
therefore, an English publisher in the future<br />
insists upon reckoning the royalty on sales to<br />
America at thirteen as twelve, this should be<br />
strenuously opposed by the author, especially if<br />
the publisher asserts that this is a trade custom,<br />
for he should not by the aid of a falsehood<br />
<br />
207<br />
<br />
endeavour to obtain an advantage of the author.<br />
: - United States thirteen copies are not sold as<br />
welve.<br />
<br />
We have received from the publishers “The<br />
English Catalogue of Books for 1905, 69th year<br />
of issue, London : The Publishers’ Circular, Ltd.”<br />
This annual has been before the public for so<br />
long, and is so universally known and so justly<br />
esteemed, that any praise of it on our part is<br />
superfluous. Commendation cannot go beyond<br />
saying that the new volume is in every respect a<br />
worthy continuation of its invaluable predecessors.<br />
It seems almost impossible to imagine that any<br />
man of letters is ignorant of the merits of this<br />
practically indispensable book. But if any are to<br />
be found, we can only recommend them to make<br />
the acquaintance of the work at the earliest<br />
possible opportunity. In its index of authors and<br />
titles, under one alphabet, they will find that they<br />
have a summary of English literature brought up<br />
to date, that will save the scholar and student the<br />
fatiguing labours of searching to discover what<br />
has been done, and will prove no less helpful and<br />
suggestive to the general reader. :<br />
<br />
_ We have much pleasure in printing an interest-<br />
ing article from the pen of an editor of a well-<br />
known review.<br />
<br />
Although we do not agree entirely with the legal<br />
opinions expressed, which deal with the respon-<br />
sibility and the rights of the editor, yet we cannot<br />
but think that it will prove a useful hint to many<br />
authors, and will lead them to take more careful<br />
consideration before they send in their contribu-<br />
tions to magazines. A little foresight will not<br />
only save the editor a great deal of trouble, but<br />
will save the author a great deal of worry.<br />
Audi alteram partem is not merely a sound legal<br />
motto, but it is equally applicable to ordinary<br />
business.<br />
<br />
———_+——_+—_____—__<br />
<br />
A BALLADE IN SPRING.<br />
<br />
—<br />
<br />
\ Aes Spring’s kind hands with unguents<br />
meet<br />
<br />
The wounds of cruel winter tend,<br />
<br />
And sunny rays with loving heat<br />
For bitter frost do make amend,<br />
<br />
Then hark ! the thrush’s notes ascend,<br />
With pride of heart his music’s set,<br />
<br />
And boastful trills his throat distend<br />
On topmost bough a silhouette.<br />
THE AUTHOR.<br />
<br />
(No pedlar in the village street<br />
Could more persistently defend<br />
The value of his wares and beat,<br />
The inverted tub whose upturned end<br />
His counter is: while oil lamps lend<br />
With guttering light their flare and fret<br />
To mark his bodies forward bend<br />
On topmost tub a silhouette).<br />
<br />
To speckle breast no calm retreat,<br />
<br />
No bosky grove—where others blend<br />
In misty chorus dimly sweet—<br />
<br />
Their shady paths will e’er commend.<br />
His tunes however clear offend<br />
<br />
(He scorns the modest chansonette)<br />
And all our finer feelings rend<br />
<br />
On topmost bough a silhouette.<br />
<br />
L’Envotr.<br />
Authors who wearily have penned<br />
Your own and life’s dull novelette,<br />
<br />
Take heed, nor emulate our friend<br />
On topmost bough a silhouette.<br />
A. B.C.<br />
<br />
—_——_ + +—__—_——_-<br />
<br />
UNITED STATES NOTES.<br />
<br />
—+— +<br />
<br />
HAT he is justified in terming ‘ some very<br />
pleasing conclusions ” have resulted from<br />
the editor of the Bookman’s survey of the<br />
<br />
American fiction of 1905, as compared with that of<br />
previous years. There is more evidence of the indi-<br />
vidual note; he finds, and the possibility of creating<br />
great sales “through sheer exploitation,” has, he<br />
thinks, become an impossibility for publishers.<br />
The lists show a renewed interest in the books of<br />
English authors. The six most popular novels<br />
of last year “were divided equally in authorship,<br />
-both as to sex and nationality ” ; whereas in 1904,<br />
only two out of the thirty favourite works were<br />
English, and one Canadian.<br />
<br />
We must congratulate the Bookman upon the<br />
new educational department which it has inaugu-<br />
rated this year. This should be of value to many<br />
readers.<br />
<br />
The bi-centenary of the great diplomatist and<br />
man of science, who in his last will and testament<br />
wrote himself down “ Benjamin Franklin, printer,”<br />
has been celebrated in more ways than one. An<br />
exhibition at the Boston Public Library ; a dinner<br />
at the New Grand Hotel, New York; and—a<br />
strike! The demand of the International Typo-<br />
graphical Union was for an eight-hours day with<br />
nine hours pay, and a “close shop”; and it was<br />
speedily conceded, with some reservations, by<br />
Harper, Funk and Wagnal, Munsey, and other<br />
houses. The question of the “close” or “open<br />
<br />
shop” seems to have had more to do with the<br />
movement than that of the reduction of hours.<br />
A copyright treaty between the United States.<br />
and Japan, on the lines laid down by the inter-<br />
national conference, was ratified by the Senate on<br />
the last day of February.<br />
_ The acquittal of Norman Hapgood, who was<br />
indicted for telling the truth about Justice Joseph<br />
M. Deuel’s connection with a low-class society<br />
paper, is highly satisfactory. The directors of<br />
Collier’s Weekly have performed a public service,<br />
for which they are entitled to the greatest credit.<br />
Mrs. Wharton’s “ House of Mirth ” is still pro-<br />
voking discussion. No other American work of<br />
anything like its calibre has appeared since it was<br />
published. In fact the only book of any consider-<br />
able note that has seen the light since the beginning<br />
of 1906 is Miss Ellen Glasgow’s ‘‘The Wheel of<br />
Life.” Some of this lady’s admirers are inclined<br />
to think that she has made a mistake in leaving<br />
<br />
those southern fields in which she has won distinc--<br />
<br />
tion ; but, at the worst, the novel is a courageous<br />
experiment. Like “The House of Mirth,” it.<br />
is another study of the seamy side of smart.<br />
New York society. Curiously enough the older<br />
work is now at the top of the ‘best sellers,” whilst<br />
its successor takes the last place among them.<br />
The second on the list is a book which is chiefly<br />
remarkable for the eccentricity of its title, Meredith<br />
Nicholson’s ‘The House of a Thousand Candles,’”<br />
though we notice that a journal of the far west<br />
makes bold to call it “ the best romance since the<br />
good old (?) days of Stevenson.”<br />
<br />
Another recently published story, A. B. Ward’s.<br />
“The Sage-Brush Parson,” has a certain merit on<br />
account of its faithful conveying of the atmosphere:<br />
of the west and the sympathetic presentation of its.<br />
hero ; and Herbert Quick’s ‘‘ Double Trouble ” is.<br />
a diverting tale of the dual-personality order.<br />
<br />
“ Barbara Winslow, Rabel,” by Elizabeth. Ellis,.<br />
may also be mentioned as a romance of rather more<br />
than average merit, if of a somewhat conventional<br />
type.<br />
<br />
Like Miss Glasgow, Mr. Nelson Lloyd has.<br />
deserted his usual field for New York. His.<br />
“Mrs. Radigun” attacks the problem from the<br />
humorous side, and is in its way effective enough..<br />
<br />
David Graham Phillips’s new book, ‘‘ The Social<br />
Secretary,” has Washington as its locale.<br />
<br />
The author of that highly popular romance,<br />
“The Helmet of Navarre,” has made a new depar--<br />
ture. “The Truth about Tolna” deals, like so-<br />
many other books we have alluded to, with the life-<br />
of contemporary New York. But she has treated<br />
the subject in the spirit of comedy rather than satire.<br />
<br />
The last piece of fiction which we need mention<br />
is a new book by the author of the ‘‘ The Grafters.’”<br />
The period of Mr. Lynde’s story is some twenty<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 209<br />
<br />
years after the Civil War, and its scene Paradise<br />
Valley, Tennessee. The development of one Tonie<br />
Gordon, son of the owner of an iron furnace and<br />
an old soldier, is its chief theme.<br />
<br />
We had, however, forgotten Frances Hodgson<br />
Burnett’s new book, “The Dawn of a To-morrow,”<br />
which is issued by Messrs. Scribner. It. is a story<br />
of the London poor.<br />
<br />
The first publication of a new series called<br />
« American Public Problems,’ which the Holt<br />
Company are issuing, under the editorship of Dr.<br />
Curtis Ringwalt, will have an interest for the<br />
inhabitants of more than one continent. Prescott<br />
F. Hall’s “ Immigration and its Effects upon the<br />
United States,” deals among other things with the<br />
Chinese problem.<br />
<br />
George S. Meriam has reprinted from the<br />
Springfield Republican his scholarly presentation of<br />
the negro question, “The Negro and the Nation.”<br />
<br />
There will doubtless not be wanting a public for<br />
<br />
Olive Green’s “ Everyday Luncheons,” although a<br />
little philosophy is provided by way of hors d’wuvre<br />
to Messrs. Putnam’s confections, the menus of which<br />
are as the days of the year in number.<br />
- Mention of the house of Putnam brings to mind<br />
an amusing matter. That enterprising, well-edited<br />
and beautifully illustrated periodical, The Critic,<br />
recently brought from the grave and reanimated<br />
the corpse of the eminent sculptor, William Wetmore<br />
Story in order that he might figure as the author<br />
ofa poem. Now here is enterprise indeed !<br />
<br />
Among the most interesting publications outside<br />
fiction of the spring season will be J. H. Hazleton’s<br />
account of the inner history of the Declaration of<br />
Independence. Another study of the same period,<br />
‘‘ Americans of 1776,” comes from the pen of James<br />
Schouler, and is issued by the same house, Messrs.<br />
Dodd, Mead & Co. A memoir of Jacques Cartier,<br />
with Bibliography and a facsimile of the manu-<br />
script of his voyage (1534), comes also from the<br />
same publishers, Dr. James Phinney Baxter being<br />
the editor.<br />
<br />
The “Studies in American Trade Unionism,”<br />
edited by two professors in the John 8. Hopkins<br />
University, may be of some interest to European<br />
students of public affairs. Specialists write upon<br />
each particular trade organisation: the Knights of<br />
Labour, the Cigar Makers’ Union, the Machinists’<br />
Union, the railway and building trades are among<br />
those treated, and we note that the Typographic<br />
Union has two sections devoted respectively to<br />
“government” and ‘collective bargaining.”<br />
Employers’ associations are also dealt with.<br />
<br />
A privately printed compilation of 1905, which<br />
has just come to hand, the “Chronicles of a<br />
Connecticut Farm,” from 1769 to date of issue,<br />
may appeal to agriculturists, and possibly, to some<br />
others too.<br />
<br />
Another private issue is the Grolier Club’s<br />
Catalogue of the Franklin Exhibition held by them<br />
this January.<br />
<br />
Mr. Bernard Shaw’s pugilist hero, Cashel Byron,<br />
has been impersonated over here by a real pro-<br />
fessional, no less than Jem Corbett himself. But:<br />
there is no fight in the play !<br />
<br />
Mr. Carnegie is supposed to be engaged upor<br />
his autobiography, which should be good reading:<br />
when finished.<br />
<br />
It is refreshing to hear of an author who chooses:<br />
to remain anonymous from weariness of hearing<br />
herself praised. This, we are told, was the reason:<br />
why Mrs. Mabel Osgood Wright «abstained from<br />
putting her name to “ The Garden of a Commutor’s<br />
Wife.” And yet the American ‘‘ Who’s Who,” for<br />
1906, contains two thousand new biographies.<br />
<br />
A statue of Charles Dickens, with a figure of<br />
Little Nell standing below him on the upper steps of<br />
the pedestal, has lately been erected in Philadelphia.<br />
Is this, as has been stated, the first monument<br />
raised to his memory in the United States ?<br />
<br />
Mr. Lippincott has, it is stated, suspended the<br />
preparation of his projected English dictionary on<br />
account of the persona! strain involved in the work.<br />
As, however, a considerable portion of the under-<br />
taking had been completed, it is hoped that, if he<br />
is unable to resume it himself, the enterprise may<br />
be carried through by another house.<br />
<br />
Messrs. Harper are bringing out a series entitled<br />
the “Mark Twain Library of Humor.” The<br />
great man himself is editor, so that he will give it<br />
something more than his name. The undertaking<br />
appears, from all accounts, to have been planned in<br />
a most catholic spirit.<br />
<br />
The chief loss that American literature has<br />
suffered since I penned my last notes is that of<br />
Paul I.aurence Dunbar. The negro poet died at<br />
Dayton, Ohio, on February 9th, in his thirty-fourth<br />
year. He worked as an elevator-boy and obtained<br />
little recognition till Mr. Howells drew attention<br />
to his “Majors and Minors.” Thenceforth, the<br />
author of “Lyrics of Lowly Places” became most<br />
prolific. The death of Miss Susan B. Anthony,<br />
historian of the Woman’s Suffrage Movement as<br />
well as an active worker in it, took place only the<br />
other day.<br />
<br />
pe<br />
<br />
AMERICAN COPYRIGHT LAW OF<br />
MARCH 3, 1905.<br />
<br />
—_-——+—.<br />
<br />
HE January number of the Droit d’ Auteur<br />
contains an interesting article upon the<br />
question whethera foreign play first published<br />
<br />
outside the United States comes within the pro-<br />
visions of the law of March 8rd, 1905. The writer:<br />
‘210<br />
<br />
points out that the American copyright statutes<br />
contain no definition of a “‘ book,” and as the new<br />
law only refers to books, it may be doubted whether<br />
a play published in printed form comes within the<br />
scope of its provisions.<br />
<br />
Anyone acquainted with the American copyright<br />
statutes might well be excused for asking the<br />
conundrum, “ When is a book not a book ?” and<br />
the answer surely should be, “ When it is a dramatic<br />
composition published in book form”; bat even<br />
then it is in some respects a book.<br />
<br />
It is manifest from the history of the Chace<br />
Act that “ dramatic compositions ’’ were purposely<br />
exempted from the requirement of the “ manufac-<br />
turing clause” as to books; and the case of<br />
Littleton v. Oliver Ditson Co. shows that a<br />
dramatic composition published in book form is<br />
not a book in respect of that requirement—that<br />
the two copies delivered to the Librarian of Con-<br />
gress, in the case of a dramatic composition, need<br />
not be printed in the United States. A dramatic<br />
composition published in book form, therefore, zs<br />
not a “ book” within section 4956.<br />
<br />
On the other hand, the section (4962) which<br />
requires the copyright notice to be inserted in<br />
“books” appears to include dramatic compositions ;<br />
because the next section (4963) which makes it an<br />
offence to insert falsely “such copyright notice ”<br />
contains the phrase, “in any book, map, chart,<br />
dramatic or musical composition.” The word<br />
“dramatic” was added when the section was<br />
amended, and this addition was in fact the only<br />
amendment madé. It seems to follow, therefore,<br />
that the previous section, requiring the copyright<br />
notice to be inserted, includes under the term<br />
“books”? dramatic compositions, which are not<br />
specifically mentioned. Accordingly, a dramatic<br />
composition published in printed form 7s a “book”<br />
under section 4962.<br />
<br />
It will be seen, therefore, that under the<br />
American copyright statutes a play published in<br />
printed form is in some respects a “book,” and in<br />
other respects it is not a ‘ book.”<br />
<br />
The new law of March 8rd, 1905, only deals<br />
with books, and whether the author chooses to<br />
regard his play under it as a “ book,” or under the<br />
earlier provisions as a “dramatic composition,”<br />
appears to be optional. In exercising his discretion,<br />
however, it would be well for the author to com-<br />
pare the formalities and privileges, in order that<br />
he may fully realise the effect of his decision.<br />
<br />
For example, the author of a French play first<br />
published in book form in France will lose his<br />
rights in America, unless he complies with the<br />
formalities as to registration, etc., in the United<br />
States. Two courses appear to be open to him :—<br />
<br />
(1.) He may regard the work as a “dramatic<br />
composition’? and comply with the ordinary<br />
<br />
TAR AUTHOR.<br />
<br />
formalities of registration, etc., on or before the<br />
day of publication; or<br />
<br />
(2.) He can regard the work as a “‘book” and<br />
obtain an interim protection within thirty days of<br />
publication, and so be allowed twelve months<br />
within which to comply with the ordinary<br />
formalities.<br />
<br />
In case (1) he must fulfil the following con-<br />
ditions :—<br />
<br />
(a) Deliver ‘a printed copy of the tile of the<br />
work to the Librarian of Congress on or before the<br />
day of publication.<br />
<br />
(b) Deliver two copies of the work to the<br />
Librarian of Congress not later than the day of<br />
publication.<br />
<br />
These copies need not be printed in the United<br />
States as is required in case of a “book.”<br />
<br />
(c) Insert the copyright notices in all copies<br />
published.<br />
<br />
On compliance with the above formalities the<br />
author protects his copyright, dramatic rights, and<br />
rights of translation in the United States for<br />
twenty-eight years, with a possible extension for<br />
fourteen years more.<br />
<br />
In case (2) nothing need be done before publica-<br />
tion. Within thirty days after publication, however,<br />
the author must send to the Librarian of Congress<br />
a copy of the book containing a reservation of his<br />
rights under the law of March 3rd, 1905, More-<br />
over, within twelve months after publication he<br />
must comply with the ordinary formalities as to<br />
registration, and as he will have to describe the<br />
work as a “‘ book,” the two copies to be delivered<br />
will have to be printed in the United States.<br />
<br />
It is advisable, therefore, that the author should,<br />
in such a case, adopt the first method of registering<br />
his play as a “dramatic composition,’ and so<br />
escape the liability of having the play printed in<br />
the United States, which is the ultimate effect of<br />
adopting the alternative method under the new law.<br />
<br />
If, on the other hand, the author is out of time<br />
at the date of publication, it appears to be open to<br />
him to take advantage of the new law and obtain<br />
within thirty days the interim protection, and<br />
subsequently (within twelve months) comply with<br />
the ordinary formalities as to books.<br />
<br />
Harotp Harpy.<br />
<br />
Ce Sn a<br />
<br />
THE GENERAL MEETING OF THE<br />
INCORPORATED SOCIETY OF AUTHORS.<br />
<br />
ot<br />
<br />
N March 27th, the annual general meeting<br />
of the society was held as usual in the Hall<br />
of the Royal Medico-Chirurgical Society in<br />
<br />
Hanover Square. The attendance was not so large<br />
as in some former years, but if the numbers present<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 211<br />
<br />
do not increase in proportion to the growing list<br />
of members of the society, this is no doubt due to<br />
a settled feeling of satisfaction as to its prosperity,<br />
and to a diminished desire to question or criticise<br />
its management.<br />
<br />
Punctually at 4 p.m., Sir Henry Bergne, K.C.B.,<br />
K.C.M.G., chairman of the committee of manage-<br />
ment, who presided over the meeting, rose to pro-<br />
pose the election of a member of the committee<br />
of the Pension Fund, and, on his motion, Mr.<br />
Morley Roberts, whose resignation in accordance<br />
with the rules created the vacancy, was re-elected<br />
unanimously, no other candidate being put forward.<br />
{n proceeding to introduce the report and accounts<br />
of the committee of management already in the<br />
hands of the members, the chairman referred with<br />
satisfaction to the continued growth and prosperity<br />
of the society, as shown by an increased member-<br />
ship of 116 since the last general meeting. During<br />
the past twelve months there had been elected<br />
238 members and associates, a record number<br />
exceeding that of the preceding year by five.<br />
Against these elections there had been the loss of<br />
122 members by death, resignation, and other<br />
causes, leaving the balance mentioned. Among<br />
the deaths, Sir Henry Bergne made special refer-<br />
ence to the loss sustained by the society in Sir<br />
Henry Irving and Mr. Edward Rose, but added<br />
that there were distinguished names also to be<br />
found among the new members enrolled.<br />
<br />
The aims of the society he summed up as the<br />
insisting upon the maintenance of the just rights<br />
of authors without supporting claims of a frivolous<br />
nature ; the line might not always be easy to draw,<br />
but cases were always carefully examined by the<br />
committee in order that justice might be done<br />
and support afforded to members of the society ;<br />
he would, however, like, by way of warning, to say<br />
that no author should ask the committee to take<br />
up his case unless he were prepared to go into<br />
court to support it. If the society were to con-<br />
tinue to make terms on behalf of members who<br />
became involved in disputes, it must be known<br />
that such disputes would certainly be fought out<br />
if necessary. Sir Henry Bergne next made allusion<br />
to the importance of the society’s action in the<br />
field of international copyright, pointing to the<br />
cases referred to in the report in illustration of this.<br />
He called attention to the relations also men-<br />
tioned in the report as existing between the society<br />
and the Canadian Authors’ Society, saying that<br />
the absence of complete understanding with the<br />
Colonies had hitherto stood in the way of effective<br />
action to amend the English law of copyright, and<br />
that in its absence no amendment of the law could<br />
be introduced effectively, while premature action<br />
without it would be undesirable. Turning again<br />
to the immediate concerns of the society, he alluded<br />
<br />
to its financial position as being thoroughly satis-<br />
factory, the heavy costs in the case of Aflalo v.<br />
Lawrence and Bullen having been paid, and the<br />
assets of the society showing a substantial surplus<br />
available after due allowance for all liabilities. In<br />
conclusion, he urged members to bring about the<br />
enrolment of all authors wherever possible in the<br />
society’s list of members.<br />
<br />
At the conclusion of Sir Henry Bergne’s address,<br />
which was received with applause, none of the<br />
members present desired to raise any question or<br />
to ask for any further explanation, and Mr. A.<br />
& Beckett rose to propose a vote of thanks to the<br />
chairman. In doing so, he referred incidentally<br />
to the status of dramatic authorship, and to the<br />
work being done by the dramatic committee of the<br />
society with regard to it. Upon this committee,<br />
as he pointed out, appeared the names of such<br />
representative dramatists as Mr. Pinero, Mr. Arthur<br />
Jones, and Mr. Sydney Grundy, as well as that of<br />
Sir Francis Burnand, to whose long and honourable:<br />
connection with Punch, recently terminated, he<br />
made special reference.<br />
<br />
In seconding the vote of thanks to the chairman,<br />
Mr. Rider Haggard declared that among the records<br />
of past chairmen, none was to be found who had<br />
done better work for the society than Sir Henry<br />
Bergne, the result of whose labours was to be seen<br />
in the report before the meeting.<br />
<br />
Himself a member of more years than he cared<br />
to recall, if not an original one, Mr. Haggard viewed<br />
with satisfaction its increase in members, in utility,<br />
and in prosperity. Its finances were in good order,<br />
and when it desired to make itself heard it was<br />
listened to. To this state of things Sir Henry<br />
Bergne had contributed not a little.<br />
<br />
After the vote had been put to the meeting<br />
and carried with enthusiasm, Sir Henry made<br />
a brief speech in acknowledgment, saying that if<br />
the chairmanship of the committee of management<br />
had given him at times trouble and anxiety, this<br />
was compensated by the pleasure which the conduct<br />
of its affairs had also afforded him.<br />
<br />
At the conclusion of the proceedings, in reply to<br />
a question, the date of the annual dinner was<br />
mentioned (May 9th), and the change of venue to<br />
the Criterion Restaurant.<br />
<br />
There were present on the platform, besides the<br />
chairman and the secretary (Mr. G. H. Thring),<br />
Mr. A. W.a Beckett, Mr. H. Rider Haggard, and<br />
Mr. Anthony Hope Hawkins. Other members<br />
present included Sir Robert Ball, Mr. KE. A. Arm-<br />
strong, Mr. T. P. Armstrong, Miss E. Baker,<br />
Mr. P. Warwick Bond, Miss Lottie Brook, Mr.<br />
E. E. Charlton, Miss Ellen Collett, Mr. Charles<br />
Daly, Mr. Basil Field, solicitor to the Society,<br />
Mrs. Wynne Foulkes, “ Rowland Grey,” Mrs.<br />
Julian. Mrs. Lechmere, Mr. Mowbray Marris,<br />
‘212<br />
<br />
Miss McPherson, Miss A. Moore, Miss Agnes M.<br />
Murphy, Miss Olive Katharine Parr. Mr. C. Pendle-<br />
bury, The Rev. C. E. Pike, Canon Haslock Potter,<br />
Mrs. E. Romanes, Mr. Victor Spiers, and Mr. L. C.<br />
“Wharton, etc., etc.<br />
<br />
ee<br />
<br />
CONTRIBUTORS AND THEIR LITTLE<br />
WAYS.<br />
<br />
By an Epiror.<br />
<br />
HE writer of this article found himself, a few<br />
years ago, seated in the editorial chair of a<br />
magazine, which had for its object the<br />
<br />
dissemination of new ideas, and especially of<br />
arousing fresh and enlightened interest in public<br />
affairs. The last thing in the world that the<br />
proprietors of the magazine desired was that it<br />
should become a refuge for hack writers or a<br />
‘collection of useless trifles. This attitude was<br />
expressly explained in widely-circulated docu-<br />
ments, and the Press was good enough to give<br />
great publicity to it.<br />
<br />
Obviously, the general policy of the editor in such<br />
‘circumstances was to make the expert, and especi-<br />
ally the young expert, place his stores of knowledge<br />
at the disposal of the public in a form intelligible<br />
to the ordinary layman. The fact that the expert<br />
‘did not want to write was not to be allowed to<br />
weigh against the public interest. He must be<br />
made to write. New ideas are generated by the<br />
marriage of knowledge with enthusiasm. There<br />
can be no greater fallacy than to suppose that they<br />
are ever the product of ignorance, even of intelli-<br />
gent ignorance.<br />
<br />
To avoid raising false hopes, each number of<br />
the magazine was made to contain, in a conspicuous<br />
position, the request that no manuscripts should be<br />
‘sent in without previous communication with the<br />
editor. It is needless to point out the advantages<br />
‘of such an arrangement in the saving of time,<br />
expense, inconvenience and disappointment both<br />
to editor and contributors.<br />
<br />
It would not have been surprising to find that,<br />
in the circumstances, the magazine was besieged<br />
by the advocates of extreme causes ; and to these<br />
<br />
the management was perfectly prepared to lend a<br />
‘sympathetic ear. Oddly enough, with the excep-<br />
tion of the indefatigable spelling-reformer, such<br />
‘applicants were neither frequent nor persistent.<br />
In fact, there was a rather disappointing scarcity<br />
of Utopians.<br />
<br />
On the other hand, there was a rush of would-be<br />
contributors, whose only claim to a hearing was,<br />
apparently, that they were anxious to write on<br />
<br />
THE AUTHOR.<br />
<br />
something, no matter what. Many of them seemed<br />
to think that the magazine had been founded for<br />
their express benefit, and were furious at not being<br />
engaged as regular contributors. They chose the<br />
most obvious subjects, and their contributions<br />
were, to put it gently, not characterised by<br />
originality. To judge by the appearance of the<br />
MSS., many of them had been the round of various<br />
editorial offices, a fact which a little pains would<br />
have disguised. Many of them were only legible<br />
with difficulty, and a substantial proportion con-<br />
sisted of loose sheets, bearing no name or other<br />
mark of identification. In length they varied from<br />
afew pages to asmall volume. Neither the limita-<br />
tions of a periodical publication, nor the difficulty<br />
of keeping in order a large mass of unidentified<br />
copy, appeared to have entered into the considera-<br />
tion of their authors. The few who sent addressed<br />
envelopes for return did not seem to realise that a<br />
MS. has to be removed from its envelope for<br />
examination, and that the absence of any mark<br />
connecting it with its particular envelope added to<br />
the editor’s troubles.<br />
<br />
In spite of the warning in the magazine, the<br />
editor did his best to return the MSS. to their<br />
owners ; but in one or two cases, in spite of all<br />
reasonable care, mistakes were made, and then,<br />
needless to say, the indignation of the injured con-<br />
tributors was extreme. One of them formulated<br />
the theory that the editor was responsible for the<br />
loss. It is well that contributors should realise<br />
that such a theory is baseless. A man who opens<br />
a butcher’s shop might as well be held responsible<br />
for carcases sent to him without order — per-<br />
haps the consignors would have a stronger claim<br />
in that case, for the butcher might protect himself<br />
by refusing to take in the goods, while it is obvious<br />
that an editor cannot reject a postal packet until<br />
he has ascertained its contents, especially when<br />
he has given formal notice, by the only means in<br />
his power, that he does not desire unsolicited con-<br />
tributions ; he has aright to assume that intending<br />
contributors will take the trouble to look at his<br />
publication to ascertain his conditions. To inform<br />
an editor indirectly that you do not consider his<br />
journal worth perusal, is hardly calculated to<br />
operate as a promising introduction to business.<br />
<br />
If it were not an obvious suggestion, an editor<br />
might venture to hint that a careful study of the<br />
pages of his magazine might substantially increase<br />
the chances: of intending contributors. Perhaps<br />
the following simple rules might be of service :—<br />
<br />
1. Ascertain the general character and objects<br />
of the magazine, and be sure that your contribu-<br />
tion falls within them.<br />
<br />
2. Try to choose a subject within this scope,<br />
which has not. been recently handled by the<br />
magazine.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 213<br />
<br />
3. (As a corollary of No, 2.) Do not, when an<br />
article on a particular subject has recently appeared,<br />
in that or a rival periodical, offer another on the<br />
same subject.<br />
<br />
Another curious delusion on the part of contri-<br />
butors is that a personal interview adds to the<br />
chances of acceptance. The most fascinating<br />
talker in the world may be a poor writer; and,<br />
conversely, a really brilliant writer may be an<br />
absolutely offensive personality, and may arouse<br />
in the editorial breast, already annoyed by the<br />
intrusion upon busy time, a desire to get rid of<br />
the interviewer as quickly as possible, and a rigid<br />
determination never to admit the interviewer's<br />
contribution. Even the gift of a photograph is a<br />
doubtful step. An editor does not in the least<br />
care whether his contributors are ugly as sin, or<br />
beautiful as Venus. But, being mortal, he may be<br />
prejudiced against the donor by the very gift<br />
which was intended (presumably) to win his good<br />
opinion. Invitations to lunch and dinner stand on<br />
much the same footing as photographs.<br />
<br />
One other consideration may be suggested to the<br />
intending, as distinguished from the accepted, con-<br />
tributor. There are certain subjects which demand<br />
serious study as a primary condition, even of<br />
understanding, to say nothing of forming opinions.<br />
The land question is an example. No one who<br />
has not studied that question seriously for at least<br />
ten years is entitled to have an opinion upon it,<br />
much less to adopt the attitude of a reformer or<br />
critic. Yet the writer has received dozens of<br />
contributions, worth less than the paper on which<br />
they were written, which professed to offer practical<br />
and invulnerable schemes of reform. ‘The fact that<br />
the writers did not realise that the first lawyer’s<br />
clerk they might happen to meet could easily<br />
knock holes in the bottom of their schemes was, of<br />
course, in itself fatal to theirchances. If the land<br />
question could be settled by well-meaning amateurs<br />
it would have been settled years ago. Another<br />
ludicrous example of the amateur expert was the<br />
author of an article on the Far Eastern question,<br />
sent in at a crucial stage of the Russo-Japanese<br />
war. Somewhat struck by the fact that the writer,<br />
though dating from a remote Scottish island, dis-<br />
played an apparently remarkable acquaintance with<br />
the details of Eastern politics, the editor wrote to<br />
ask him how recent was his experience of the facts<br />
he professed to adduce. To his amusement, the<br />
editor received a reply to the effect that the writer<br />
of the article had never travelled beyond the limits<br />
of his native land, but that he had made a liberal<br />
use of the Encylopedia Britannica, which he was<br />
buying on the instalment system.<br />
<br />
But suppose the editor to have satisfied himself<br />
that an offered contribution is prima facie suitable,<br />
and is not a translation, made without consent, of<br />
<br />
a foreign author, nor an infringement of copyright ;<br />
his troubles are by no means over. If he is wise,.<br />
he will ask the author whether his MS., returned<br />
for finishing touches, has at last assumed the<br />
precise form in which he (the author) wishes it to<br />
appear. Receiving an affirmative reply, the editor<br />
will in confidence commit the MS. to the printer.<br />
But in not a few cases he will, in the course of a<br />
day or two, receive an agitated letter from the<br />
contributor, regretting that, by a curious oversight,<br />
or the mistake of a friend whom he deputed to.<br />
make a search, the figures on which he has based<br />
his arguments are incorrect, and “ will the editor<br />
kindly alter in accordance with the enclosed, after<br />
which the article will be exactly,” etc. This-<br />
process may be repeated any number of times ;.<br />
but it will not in the least obviate the alleged<br />
necessity for frequent alterations in the proof,.<br />
made, apparently, in entire oblivion of the obvious<br />
fact that press corrections cost money. One con-<br />
tributor, guilty in this respect, to whom the editor<br />
had offered a mild remonstrance in the form of a<br />
query as to the cause of these alterations, referred<br />
loftily to “the striving after perfection,” as a thing<br />
above the souls of editors. But he did not explain<br />
why the “ striving after perfection ” had not caused<br />
the retention of the MS. till the desired ideal was.<br />
reached. Another contributor, indignant at being<br />
retrenched in the matter of press corrections,.<br />
alleced that she had never before been restricted<br />
in this direction—a fact which, incidentally, throws.<br />
some light on the cost of printing in the public<br />
offices, for she was an official whose duty con-<br />
sisted largely in drawing up reports for Government<br />
use.<br />
<br />
Finally, the average contributor is curiously<br />
vague on the subject of reprints. In all proba-<br />
bility, few editors insist on the fact that the copy-<br />
right in an article contributed without special<br />
arrangement belongs absolutely to the proprietors<br />
of the periodical. But it is obvious that, in self-<br />
defence, an editor who does his duty to his pro-<br />
prietors cannot allow an immediate republication of<br />
an article for which he has paid, in arival publication,<br />
published, in all probability, at a cheaper rate, for<br />
brooms stolen ready made can be put cheap on the<br />
market. It does not seem to occur to contributors<br />
that there is anything unbusinesslike in selling an<br />
article to A., and then asking that B. may have the:<br />
use of it. In fact, they generally pride themselves<br />
on their scruples in asking for permission to reprint,<br />
and not infrequently suggest that the services of<br />
the editorial printers shall be placed at the disposal<br />
of the editor’s rival. 'The high-water mark of this<br />
editor’s experience was touched when a contributor,<br />
whose article had been accepted, asked him to-<br />
facilitate a reprint before publication. But that,<br />
perhaps, was a joke.<br />
214<br />
<br />
There was, it is believed, at one time a theory<br />
that common sense and business instincts were not<br />
to be expected of authors. If such a claim were<br />
put forward on behalf of a writer of genius, or<br />
even of conspicuous ability, it might be accepted ;<br />
for such men are rare, and we must be prepared to<br />
sacrifice time and trouble to give the world the<br />
benefit of their thoughts. But, oddly enough,<br />
experience shows that such men rarely put for-<br />
ward such a claim. Most of the great writers<br />
of the nineteenth century seem to have been<br />
uncommonly good men of business, and it has<br />
certainly been this editor’s luck to find his most<br />
important contributors singularly easy to deal<br />
with. Personally, he holds that the unsolicited<br />
article is seldom of much value, even on its intrinsic<br />
merits, and he entirely declines to admit that<br />
there is any sanctity about the casual contributor<br />
(who ought, quite likely, to be doing something<br />
much more useful than scribbling) that entitles<br />
him to exemption from the ordinary rules of<br />
business. Authorship is a profession which no<br />
one should take up without feeling quite certain<br />
of a vocation, and without a systematic training in<br />
the machinery as well as the materials of his work.<br />
Since he has occupied an editorial chair, the writer<br />
of these lines has more than once reflected, with a<br />
sense of formerly unsuspected meanings, on a<br />
favourite rebuke frequently administered to himself<br />
and his schoolfellows many years ago, by an acute<br />
teacher of foreign languages, whose knowledge of<br />
English was less perfect than his common sense.<br />
“You boys ; don’t none of you sink you is men of<br />
genius because you write badly.”<br />
<br />
a —_ oo —_—____——_<br />
<br />
THE FUTURE OF THE NOYEL.<br />
<br />
a<br />
<br />
(Reprinted by permission of the Editor of Zhe Daily<br />
Telegraph.)<br />
<br />
EVERAL people have lately been exercising<br />
themselves concerning the fate of the novel—<br />
among others, M. Georges Ohnet, who seems<br />
<br />
ito be perturbed as to the future chances of the<br />
literary craftsman. M. Ohnet has, no doubt, con-<br />
tributed largely to the romance of the day, and<br />
many of his novels have appeared in English dress,<br />
to say nothing of the play “The Iron Master,”<br />
founded on his “Maitre de Forges.” But in<br />
France there was at least one notable critic—<br />
M. Lemaitre—who dismissed in a very succinct<br />
phrase M. Ohnet’s claim to write literature at all.<br />
‘The exact merits of style and technique which dis-<br />
tinguish the real artist from his painstaking<br />
and most respectable brother— who writes so<br />
voluminously, enjoys so large a circulation, and<br />
<br />
THE AUTHOR.<br />
<br />
deserves almost every other form of praise except<br />
that of belonging to the first rank—are not patent<br />
to every observer, even within the writer’s own<br />
country. Still less, of course, are they discernible<br />
by foreigners. We do not pretend to say whether<br />
M. Ohnet is or is not a literary artist, any more<br />
than we should permit a foreign judgment on the<br />
interval which separates, let us say, ‘‘ Esmond”<br />
from “The Prodigal Son.” But one of the points<br />
suggested by the French novelist’s remarks is of<br />
as much interest in England as on the other side<br />
of the Channel. Will novel-writing sink, so to<br />
speak, from its own weight? Will it, as a literary<br />
exercise, be submerged by the vast bulk of speci-<br />
mens, the enormous mass of productions, which are<br />
put on the market every year from teeming presses ?<br />
We have some right to speak on such a question in<br />
this country, because the novel is, to a large extent,<br />
an English invention. Richardson wrote his<br />
laborious romances concerning his Pamelas and<br />
Clarissas, and forthwith became an European<br />
prodigy. Fielding, a better artist, because he<br />
possessed the divine gift of humour, taught us<br />
how novels should be composed, and his successors<br />
bettered the example. When the torch came into<br />
the hands of Walter Scott, and Thackeray, and<br />
Dickens, we enjoyed the halcyon days of English<br />
novel-writing. But on us of alater generation has<br />
descended the deluge.<br />
<br />
There was a time when men and women listened<br />
to Byron and Wordsworth, and read poetry. Not<br />
many years ago sermons and theological writings<br />
held the record among the publications of the year.<br />
Now the record is easily held by novels, the pro-<br />
duction of which defies all competition. Everybody<br />
one has ever heard of is either writing or has<br />
written a novel. It used to be said that every<br />
son of Adam carried a dead poet in his breast.<br />
It would be truer to say nowadays that every<br />
daughter of Eve carries an unwritten novel some-<br />
where within her heart or her brain. She lets it<br />
peep out sometimes, when she publishes “ The<br />
Diary of a Lonely Soul,” or composes letters de-<br />
scriptive of “ Betty’s” unceremonious visits to<br />
country houses. If she has been disappointed in<br />
love, or has been the victim of an uncongenial<br />
marriage ; if she has discovered the inconstancy of<br />
her woman friends, or tried the doubtful experi-<br />
ment of a platonic affection; if she suffers from<br />
nerves, or has travelled in foreign lands; felt<br />
within her the instincts of a “born mother,” or<br />
even cut her first wisdom tooth (although this, we<br />
understand, is a comparatively rare event), straight-<br />
way she writes a novel, and pays large sums to<br />
a publisher to issue it for her with suitable prelimi-<br />
nary puffs and a generous system of advertising.<br />
Women are the great writers of novels at the present<br />
time, and apparently are the great consumers of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
them. Just as ladies do not dress to please men,<br />
but to enjoy the pleasures of mutual criticism, so<br />
also they seem to compose their romances. Novel-<br />
writing is largely an industry exercised by women,<br />
for women, and about women.<br />
<br />
Of course, this wide extension of literary labour<br />
has its good effects as well as its bad. We may<br />
sacrifice quality, in consideration of quantity. But<br />
it is a most remarkable feature of our present age<br />
that the possession of more or less literary gifts<br />
should be so largely diffused throughout the com-<br />
munity. When M. Georges Ohnet, to whom we<br />
have already referred, was confronted by the num-<br />
ber of romances composed by both men and women<br />
of all classes, he confessed that he was astonished<br />
at the excellence of the result. “ Popular culture,”<br />
he remarked, ‘‘ has thrown upon the pavements of<br />
Paris an illimitable number of persons, fairly well<br />
instructed, who, so far from willing to hear others<br />
speak or let others write for them, are themselves<br />
young, ardent, erudite, ambitious, and—capable.<br />
The mischief of it is,” he proceeds, ‘“ that they<br />
have reason on their side. I have been reading<br />
many romances of which the authors are about<br />
twenty-five years of age, and I find that the talent<br />
which they have put into their books is extra-<br />
ordinary. They know now, at twenty-five, what<br />
in other days men learned by fifty. 1 repeat, that<br />
these readings have left me almost stupefied.”<br />
M. Ohnet was born a good many years ago, and<br />
his remarks savour, perhaps, of the reflections of<br />
that intolerant middle age which dislikes the<br />
phenomenon of the younger generation knocking<br />
at the doors.<br />
<br />
But the fact is that, alike in England and in<br />
France, the number of instructed persons who can<br />
write is large enough to suggest that the art of<br />
writing is itself, at all events in rudimentary forms,<br />
by no means difficult of attainment. Perhaps it is<br />
something to be proud of that in England every<br />
third woman and every twentieth man one meets<br />
has published something or other which, without<br />
any great strain on our credibility, can be described<br />
as a book. But there are drawbacks. The triumph<br />
of the amateur, the universal conquest of the world<br />
by amateurishness, obviously tends to degrade the<br />
very conception of art. For art is a technical<br />
business only to be acquired by much careful<br />
preparation and long mental discipline pursued<br />
with eager and unremitting industry. If “all can<br />
grow the flower because all have got the seed,” as<br />
Tennyson once remarked in a moment of bitterness,<br />
the value of the flower must be seriously diminished.<br />
It is not the rare and exquisite bloom of years of<br />
culture ; it is the easy and prodigal growth of<br />
a sort of grass of the field, which to-day is and<br />
to-morrow is cast into the oven. In no other<br />
department is the standard of good work 80<br />
<br />
215.<br />
<br />
depreciated as in the case of the contemporary<br />
novel. Every artist knows how easily a certain<br />
amount of work, which in generous moments one<br />
describes as good, is produced. The praiseworthy<br />
in intention is over and over again mistaken for<br />
the exquisite in effect. We pay compliments with<br />
such facility that we have no adjectives left for the<br />
best kind of work, the work which comes so rarely,<br />
and which is so unmistakable when it does come.<br />
Those who are inclined to take a pessimistic view<br />
of the world at large are apt to say that we are<br />
living in an era of second-rate men, whether they<br />
be statesmen, politicians, dramatists, lyrical poets,<br />
or novel-writers. Pessimism is never right, but it<br />
always has some grain of truth, even in its most<br />
querulous moods. There is no cause for despair,<br />
because the good work has not only as fair a chance<br />
as ever it had, but is still easily discerned by elect<br />
minds. Nevertheless, it is undoubtedly true that<br />
the vast and simultaneous cultivation of an artistic<br />
field does not promote the production of those<br />
unique specimens which render an age illustrious.<br />
How many of our existing novelists or poets have<br />
any chance of being included amongst the<br />
Immortals ?<br />
——— > —<br />
<br />
A REVIEW OF THE TOTEM QUESTION.<br />
<br />
—— +<br />
<br />
HE editor of Zhe Author has kindly asked<br />
me to contribute this further paper on<br />
“totems for authors.”<br />
<br />
Some of the readers of 7’he Author may remem-<br />
ber my letter in the January number, in which I<br />
suggested that “ writin’ chaps ” were beginning to<br />
feel the need of some better means of identification<br />
with their work than was afforded by merely<br />
attaching thereto their names.<br />
<br />
I went on then to quote off-hand a few doubles,<br />
pointing out that a page might be easily filled in<br />
that manner. After that, I put forth my idea<br />
that there was much to be said in favour of authors<br />
adopting each a totem whereby they might become<br />
distinguishable from others of the same name, and<br />
suggested that such totems could be registered,<br />
so as to prevent others from adopting them. In<br />
this wise, as I hope I made clear, though there<br />
arose an army of Browns, Smiths, and Robinsons,<br />
each determined to achieve fame, it would be possible<br />
to sort them out, provided that each adopted and<br />
registered a totem.<br />
<br />
Last month, I amplified somewhat my previous<br />
paper, chiefly in the direction of the necessity for<br />
simplicity in totems. I endeavoured—without, 1<br />
hope, appearing an unconscious humourist — to-<br />
make it clear that a flat iron was better as @<br />
fotem, tlian a less homely design which might<br />
216 THE AUTHOR.<br />
<br />
not be so readily recognised. For, as I remarked,<br />
a totem is essentially intended to act as an identi-<br />
fication mark of an author with his work. There-<br />
fore, the simpler it is for the general public to<br />
recognise and name, the more perfectly does it<br />
accomplish its object.<br />
<br />
I may seem to insist too much on so simple and<br />
obvious a point; but I have received letters which<br />
have shown me that this detail has not been properly<br />
grasped, and hence my reason for further hammering<br />
it In.<br />
<br />
It should be borne in mind that totems are in-<br />
tended to help that terrible person “the man in<br />
the street’ to identify an author with his books ;<br />
therefore, it should not be necessary to possess<br />
erudition before the totem can be recognised or<br />
named ; and, further, I don’t think, a this respect,<br />
that latin quotations or inscriptions are of much<br />
use. It is true that the man in the street has some<br />
knowledge of foreign and dead languages ; as, for<br />
instance, Diew et mon Droit, which, by the way,<br />
he believes firmly is Latin, and quotes as such, with<br />
befitting gravity; and Semper Hadem which he will<br />
insist means “always the same,” and, indeed, I<br />
have never contradicted him.<br />
<br />
It may be very reasonably objected that a Latin<br />
inscription or motto cannot, at most, prove actually<br />
<br />
detrimental to the recognising and naming of a<br />
<br />
totem, and with this I agree. Ido but intend to<br />
suggest that it is of little use having as a totem a<br />
design which relies on an understanding of its<br />
Latin motto before it can be recognised and named.<br />
Indeed, so far from my having a radical objection<br />
to the graciousness which Latin imparts to our<br />
prosaic language, I have myself more than a<br />
sneaking desire to affix something of the sort to<br />
my totem. Yes, I intend to have one, though per-<br />
haps it is early times. Yet, I would have you to<br />
know that, like many people with the maternal<br />
instinct, I am “on the way.”<br />
<br />
T have anticipated a possible outcry against my<br />
oft reiterated plea for the use of commonplace objects<br />
as totems. And to this, if it arises, 1 am pre-<br />
pared to listen with a certain amount of deference.<br />
Alisthetic sanity will prompt the writer of beautiful<br />
thoughts to object vigorously to having, say, a flat-<br />
iron printed always beside his name on the cover<br />
of his book of poems or essays. Obviously, to do<br />
such a thing would be inartistic and to court<br />
ridicule and worse. And here I would take the<br />
opportunity to say that, when I advocate flat-<br />
irons, tongs, kettles, etc., I advocate also the use of<br />
a little humour and common sense in the making of<br />
selections. For instance, if Cutcliffe Hyne printed<br />
a kettle beside his name, there would be nothing<br />
inappropriate ; for his Captain Kettle stories have<br />
aade that useful article quite a famous and blood<br />
stirring emblem. In the case, however, of such a<br />
<br />
writer as Mr. Richard le Gallienne, we should have<br />
to search round for something that, while familiar<br />
and recognisable, was pretty and pleasant to the<br />
eye, and also not too obtrusive. As a matter of<br />
fact, this writer does not need a totem ; for his<br />
name is at present sufficiently unusual to enable<br />
him to dispense with one; but later it may be<br />
necessary, and then some pleasing natural object<br />
will have to be affixed to his books, with, perhaps,<br />
around it some well-known line from one of hig<br />
poems. To give a practical illustration in the case<br />
of another writer of fine thoughts, I would suggest<br />
for (Mrs.) Rosamund Marriott Watson that she<br />
take for her totem a flower blocked out in grey.<br />
Around it she could then print that striking line<br />
from her poeem—* The Pilgrim ”—“ And in Death’s<br />
garden all the flowers are grey.” Such a totem as<br />
this could not, I feel sure; offend the taste of the<br />
most fastidious.<br />
<br />
To the objection of the hypercritical esthete that<br />
totems may bring an added flavour of trade into<br />
the making of books, I would reply that, if the<br />
totem be carefully chosen, it need not in any way<br />
carry with it the taint (sic) of trade; for I have<br />
ascertained that the words ‘Trade Mark” or<br />
“Registered” need not be printed on, or in con-<br />
junction with, it.<br />
<br />
I wish here to refer back again to the need for<br />
some such distinguishing mark as this paper is<br />
advocating, and I think my strongest argument<br />
will be to print a list of authors, by no manner of<br />
means a comprehensive one, who are unfortunate<br />
enough to have fellow craftsmen bearing the same:<br />
surname, and in some cases the same christian<br />
names :—<br />
<br />
Abbotts.<br />
Aitkens.<br />
Allens.<br />
Andersons.<br />
Armstrongs.<br />
Bakers.<br />
Balfours.<br />
Barnetts.<br />
Bells.<br />
Bennetts.<br />
Bensons.<br />
Bradleys.<br />
Brights.<br />
Brookes.<br />
Browns.<br />
Burgesses.<br />
Butlers.<br />
Campbells.<br />
Churchills.<br />
Clarkes,<br />
Cliffords.<br />
Coleridges.<br />
Collins.<br />
Coopers.<br />
Crocketts.<br />
<br />
Daltons.<br />
Darwins.<br />
<br />
DOWN EERO RENIN TED EDR EOE WOO w&<br />
<br />
DR CORE OIRO OwWo rw Ot Rw<br />
<br />
5<br />
Cunninghams. 4 Jones.<br />
4<br />
<br />
Davidsons,<br />
Dawsons.<br />
Deanes.<br />
Dixons,<br />
Earles.<br />
Edwardses,<br />
Evans.<br />
Fletchers,<br />
Forbes.<br />
Fosters.<br />
Fowlers.<br />
Frasers.<br />
Garnetts.<br />
Geikies.<br />
Gibsons,<br />
Graves.<br />
Grays.<br />
Greens.<br />
Hamiltons.<br />
Harrisses.<br />
Hodgsons.<br />
(Another one on the way).<br />
3 Hopes.<br />
Huttons.<br />
Jacksons,<br />
<br />
Kellys.<br />
<br />
4 Kenyons.<br />
<br />
<br />
<br />
<br />
<br />
<br />
yihaee<br />
<br />
ees<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
7 Lees. 5 Russells.<br />
3 Lindsays. 3 Scotts.<br />
3 Macleods. 3 Sharps.<br />
3 Maitlands. 3 Sidgwicks.<br />
5 Marshalls. 8 Smiths.<br />
3 Martins. 3 Toynbees.<br />
3 Meakins. 3 Vincents.<br />
7 Moores. 3 Walkers.<br />
4 Morgans. 6 Wards.<br />
7 Murrays. 3 Warrens.<br />
2 Normans. 9 Watsons.<br />
2 Omonds. 6 Whites.<br />
3 Pollards. 6 Williams.<br />
3 Pryces. 5 Williamsons.<br />
4 Reids. 5 Wilsons.<br />
5 Roberts. 6 Woods.<br />
4 Robertsons. 7 Wrights.<br />
5 Robinsons. 3 Youngs.<br />
4 Rodgers. 3 Zangwills.<br />
3 Roses.<br />
<br />
Upon the need and utility of the totem, I will<br />
dwell but little longer. Nothing that I can say<br />
will appeal so strongly to the reader as the fact that<br />
there are seven Allens, eight Bells, eight Browns,<br />
seven Clarkes, nine Hamiltons, sevens Lees, seven<br />
Moores, seven Murrays, eight Smiths, nine Watsons,<br />
<br />
cand seven Wrights, down in my lists, and how many<br />
<br />
more there are, goodness alone knows.<br />
<br />
Is it to be wondered at that our friend the “man<br />
in the street” falls to wondering ‘‘ who is who an’<br />
which is which?” Yet any author in the above<br />
list can render his, or her, name distinguishable<br />
from identical cognomens, merely by selecting and<br />
registering a totem. More, a commonplace name<br />
such as Smith (a thousand apologies!) can be<br />
rendered actually distinctive and memorable by<br />
association with a judiciously chosen totem.<br />
<br />
Regarding the different types of subjects suitable<br />
for the totemist, it must be borne in mind that<br />
‘totems will have to be printed in black and white,<br />
with, of course, the varying shades of grey that<br />
-come between. And because of this, such natural<br />
objects as flowers, however correctly drawn, will<br />
be dificult to recognise without a certain botanical<br />
knowledge. Therefore, if flowers are used, it seems<br />
to me that their names will have to be printed in<br />
conjunction with them (except, of course, in such<br />
usage as I have proposed for Mrs. Marriott Watson).<br />
And because of this, I am not at all sure whether,<br />
in the main, flowers will prove the best of distin-<br />
guishing marks, A very little time, however, will<br />
serve to show us whether this is so. The same<br />
remark applies to any object which depends for its<br />
distinctive note on its colouring.<br />
<br />
In concluding, let me put in a plea for serious-<br />
ness. I am very well aware that this idea of mine<br />
—*“ Totems for Authors ’’—has its funny side ; but<br />
I do hope that this will not be unduly developed ;<br />
for to do so may be to kill the idea before it has<br />
had a fair chance to prove its utility. A certain<br />
amount of genial laughter I have been and am<br />
<br />
AUTHOR.<br />
<br />
217<br />
<br />
prepared for; but let it be very genial, and not too<br />
much of it—unless the laughter maker has some-<br />
thing better to propose in place of that at which he<br />
jests ; then, by all means, smash it, and let us have<br />
the “better thing.” And after all, if the idea is<br />
good, I do really doubt whether the sun of laughter<br />
will not nurture, rather than shrivel it. Who for-<br />
gets the Punch skits at Bradshaw and Bedlam ;<br />
but Bradshaw is to-day a very popular sixpenny<br />
worth.<br />
<br />
A final word. This little paper is intended to be<br />
chiefly a paper of suggestions. If I have seemed<br />
to dogmatise, forgive me. Put it down to my<br />
youth. . . . I dare not say innocence. Many<br />
things which I have put forth may prove to be<br />
lacking the impress of wisdom; but, if the totem<br />
comes to be generally adopted by authors, time will<br />
show where I have shot astray. Yet, let me hope<br />
that my aim has not been always indifferent.<br />
<br />
With the editor’s permission, I hope next month<br />
to give full details of the steps to be taken to<br />
register a totem.<br />
<br />
Witiiam Hore Hopeson.<br />
<br />
oo —__—<br />
<br />
THE ENGLISH MUSICAL CYCLOPADIA,<br />
YOL. II.*<br />
<br />
N having the important musical venture of the<br />
I late Sir George Grove brought up to date as<br />
far as possible, the publishers, Messrs. Mac-<br />
millan & Co., are to be congratulated on their<br />
enterprise. This voluame—F to L—is of particular<br />
interest. In the space at our disposal, it is impos-<br />
sible to review the work as it deserves. We will,<br />
therefore, confine our remarks to merely a few<br />
points which suggest themselves.<br />
<br />
First, as was to be expected, a memoir of the<br />
projector of the dictionary which bears his name,<br />
here finds a place. No scribe could have been<br />
chosen better qualified to condense into eight<br />
columns a perspicacious survey of such a busy life<br />
than Mr. Charles L. Graves, assistant editor of the<br />
Spectator, and author of the “ Life and Letters of<br />
Sir George Grove,” published by Messrs. Macmillan<br />
in 1903.<br />
<br />
Of considerable value, especially to authors of<br />
books about music, is the entirely new section<br />
devoted to “ Libraries.” The importance of this<br />
subject was overlooked both in the body and<br />
appendix of the first edition. Much praise is due<br />
to Mr. W. Barclay Squire, F.S.A., of the British<br />
<br />
<br />
<br />
* «“ Grove’s Dictionary of Music and Musicians,” edited<br />
by Fuller Maitland, vol. ii., F. to L. Macmillan & Co.<br />
21s. net.<br />
<br />
<br />
218<br />
<br />
Museum Library, for the thoroughness with which<br />
he has marshalled facts concerning the musical<br />
libraries of Austria, Belgium, Denmark, France,<br />
Germany, Great Britain and Treland, Holland,<br />
Italy, Luxemburg, Russia, Spain, Sweden, and<br />
Switzerland. Such a mine of information invests<br />
this volume with special importance. Not only<br />
have the Public Libraries been noted, but Mr.<br />
Barclay Squire mentions several private collec-<br />
tions. Strangely, he omits one of the best of<br />
these, that of Dr. W. H. Cummings, F.S.A.<br />
Another specialist, Mr. Krehbiel, the well-known<br />
musical critic of New York, deals also with much<br />
ability with the musical libraries of the United<br />
States of America.<br />
<br />
The section devoted to “ Libretto,” by the late<br />
Francis Hueffer, the editor’s predecessor on the<br />
staff of the Z'imes, is reinserted with but slight<br />
curtailment and the addition of a short paragraph.<br />
<br />
As there was no article in Vol. I. about the<br />
Bibliography of Music, it was reasonable to expect,<br />
in such a work of reference as this, to find under<br />
the letter L some allusion to the “literature” of<br />
music, especially as, in the German “ Musikalisches-<br />
Lexicon” by Mendel; nearly fifty pages are<br />
accorded to such matter. At least there might<br />
have been cross references, given under that<br />
heading, to guide the littérateur to those articles<br />
dealing specially with various departments of<br />
musical learning classifiable under ‘ Literature.”<br />
For instance, many books on Musical Criticism<br />
have been published, especially in Germany, and a<br />
précis of such literature by the musical critic of<br />
the Times would have been welcome. But, in<br />
Vol. I. of the revised edition of Grove, there is no<br />
article on Criticism from the musical standpoint.<br />
Nevertheless, an essay on the history of this<br />
important branch of literature from ancient times<br />
up to the present century in various countries,<br />
would be full of interest to all writers on music.<br />
Perhaps the intention is to make some comment<br />
on this subject under Reviewing, or Reporting.<br />
<br />
The admirable articles by the editor, Mr. J. A.<br />
Fuller Maitland, published in the first edition, on<br />
Kullak, Leschetitzky, Lesson, and Lusingando,<br />
reappear in this volume. These are supplemented<br />
by essays on Faccio, Faisst, Fancies, Filippi,<br />
Fillunger, Filtz, Fink, Flemming, Flud, Francesca<br />
de Rimini, Franchetti, Frank, Ganz, German,<br />
Gibbons, Giordani, Giovannini, Glaeser, Glasenapp,<br />
Glissando, Glockenspiel, Godfrey, Goetz, Goldmark,<br />
Gompertz, Gostling, Graedener, Greek plays, Greene,<br />
Gregoir, Grell, Grieg, Grua, Grund, Gruppo, Guild-<br />
hall school, Gutmann, Gwendoline, Gye, Gymnastics,<br />
Hadow, Haessler, Hallé, Harmonic Minor, Hart-<br />
mann, Hawdon, Heckmann, Hebenstreit, Heine-<br />
fetter, Heinichen, Heinze, Henschel, Hervey,<br />
“ Herz, Mein Herz,” Hinton, Hintze, and Hipkins.<br />
<br />
THE AUTHOR.<br />
<br />
The latter article is a panegyric on the late<br />
historian of the pianoforte, A. J. Hipkins, and<br />
gives evidence that the amiability which character-<br />
ised the writings of Sir George Grove, distinguishes<br />
equally the pen of his successor.<br />
<br />
But there are many other articles in this volume<br />
from the industrious editor, demonstrating his<br />
laudable desire to remedy the numerous omissions<br />
which occurred in the first edition of Grove,<br />
making it, to quote Mr. James E. Matthew,<br />
“ almost as remarkable for its deficiencies as it was<br />
for its many and undoubted merits.”<br />
<br />
A. R.<br />
<br />
—_———__ ++ —___—__<br />
<br />
IMITATION AND COINCIDENCE IN<br />
LITERATURE.*<br />
<br />
——< + —<br />
<br />
TNHIS is a work by a poet on a subject of wide,<br />
poetic interest, and essentially a book for<br />
authors. We fear that comparatively few<br />
<br />
Englishmen read Dutch, though such an acquain-<br />
<br />
tance with the language as suffices for reading it.<br />
<br />
with advantage and appreciation is easily within<br />
the reach of every one previously acquainted with<br />
<br />
English and German. This neglect of Dutch is<br />
<br />
probably to be attributed in part to a notion that.<br />
<br />
the language has no merits. But that impression<br />
is entirely mistaken. In more than one particular<br />
<br />
Dutch compares favourably with both English and<br />
<br />
German. It has never been so overloaded with<br />
<br />
loan-words as English, and consequently presents.<br />
<br />
a much purer medium of essentially Teutonic<br />
<br />
thought ; and it lends itself more readily to the<br />
<br />
melodies of verse and rhyme: It is by far more<br />
flexible than German, and long since attained what<br />
<br />
German (saving in the hands of Paul Heyse) has<br />
<br />
still to acquire, a polished prose style. That the<br />
<br />
literature is rich every one knows; and Tollens<br />
may be opened at random for evidence that it<br />
merits attention.<br />
<br />
To the few Englishmen who do read Dutch we<br />
can heartily recommend Mr. Koster’s little tractate..<br />
In treating of “Imitation and Coincidence in<br />
Literature’? he has an interesting subject, on<br />
which he makes remarks deserving of attention.<br />
As an example we may quote, “ Unconscious imi-<br />
tation is an evidence of greater weakness and want.<br />
of individuality than conscious imitation.” The<br />
earlier part of the treatise furnishes examples of<br />
imitation of all kinds drawn from a wide range,<br />
and is particularly interesting. Mr. Koster is no<br />
doubt expressing an indisputable fact when he says<br />
<br />
<br />
<br />
* Edward B. Koster: “Over Navolging en Overeen-<br />
komst in de Literatuur.? Wageningen : Johan Pieterse..<br />
1904. 8vo.<br />
<br />
<br />
<br />
<br />
Fc: Oe Rs<br />
<br />
Se eae<br />
<br />
¥<br />
&<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
that it is, in some cases, impossible to draw the line<br />
between imitation and coincidence. But it is not<br />
always impossible to draw this line; nor is it<br />
always impossible to distinguish intentional from<br />
unintentional imitation—though that is a more<br />
difficult problem. Wecould wish that Mr. Koster<br />
had not decided to leave these distinctions to be in<br />
all cases made by the reader. Though only finely<br />
distinguishable in appearance, the effects resulting<br />
from imitation and “going to school” to writers<br />
of unquestionable eminence really differ foto cielo,<br />
and we should have much liked to hear what Mr.<br />
Koster had to say respecting the difference between<br />
legitimate apprenticeship and mere aping; re-<br />
specting the distinction between the peculiar<br />
charm of classical allusion and mere pilfering ;<br />
and to know how far he thinks that a literature<br />
in its childhood actually profits by a measure of<br />
the latter that would afterwards be justly con-<br />
demned. Mr. Koster is promising us a volume of<br />
« Comparisons, Impressions, and Views on Literary<br />
and Critical Questions,” and we shall hope that<br />
some of these subjects will form a part of its<br />
contents.<br />
<br />
In the latter part of the work the author quotes<br />
largely, and with approval, from Mr. George<br />
Lewis’s “Principles of Success in Literature.”<br />
We acknowledge with pleasure the compliment<br />
thus paid by a continental poet to English criticism.<br />
But we dare to think that Mr. Koster’s kind en-<br />
thusiasm for a work that has pleased him has led<br />
him to overrate the value of Mr. George Lewis's<br />
lucubrations—popular and pleasing always, but by<br />
no means profound. Mr. Koster is himself a keen<br />
judge of a good verse, and we can agree with him<br />
unreservedly in admiring<br />
<br />
“Tk heb een tempel in mijn haart gewijd.”<br />
<br />
St<br />
<br />
AXEL HERMAN HAIG, HIS LIFE AND<br />
WORKS.*<br />
<br />
—— +<br />
<br />
WPNHE author tells us little beyond the main<br />
features of Axel Herman Haig’s life, but has<br />
devoted the larger part of the book to his<br />
<br />
sworks as an etcher, a draughtsman, and an artist.<br />
<br />
From some points of view this is satisfactory, as<br />
<br />
‘the artist must be known by his works, and his<br />
<br />
‘fame must depend upon them. Haig was born in<br />
<br />
the Swedish island of Gotland, and in his early<br />
<br />
<br />
<br />
* © Axe] Herman Haig and his Work,” by E, A. Arm-<br />
‘strong. 104 by 8. 176 pp. £1 1s, net. Also a large<br />
paper edition, 12 by 10, containing an original etching,<br />
£3 3s. net. Both editions limited. The Fine Art Society.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
219<br />
<br />
days was intended for a ship’s architect. In order<br />
that he might deal with his profession from a wider<br />
point of view, he came over to Great Britain and<br />
lived in Glasgow for three years. He then drifted<br />
by one of those curious turns in human life from<br />
ship’s architect to a house architect, and by<br />
degrees, from his intense love and application<br />
grew forth not the mere architect, but the archi-<br />
tectural artist. The result of his careful training<br />
as an architect is amply shown in his pencil draw-<br />
ings and his famous etchings, so well reproduced in<br />
the book. He has never, in any of his work, shirked<br />
the many difficulties of architectural design with<br />
a view to obtaining a mere artistic effect, but it<br />
must not be supposed therefore that the true touch<br />
of the artist is lacking in his original etchings.<br />
His effects of light and shade, his point of view,<br />
his grouping of figures and buildings, all show<br />
that the true feeling of the artist is his. In his<br />
special branch no artist can equal him. His work<br />
is quite unique. We thank the author and the<br />
publishers for producing such a beautiful record.<br />
<br />
st<br />
<br />
A RETIREMENT AND A WELCOME.<br />
<br />
1<br />
<br />
N event was commemorated in the annals of<br />
the Authors’ Club on Monday evening, the<br />
5th ult., when fourteen members sat down<br />
<br />
to dinner, at 3, Whitehall Court, which should not<br />
be overlooked in these columns.<br />
<br />
It was the official induction and abdication of<br />
the incoming and outgoing secretaries of the club.<br />
Mr. E. H. Lacon Watson presided, and Mr. H. R.<br />
Tedder occupied the vice-chair.<br />
<br />
Delicately and delightfully did the chairman, in<br />
preposing the double toast of the evening, first<br />
refer to his friendship and regard for Mr. Thring,<br />
who, although relieved from his official duties, was<br />
not released from the ties of club membership.<br />
Owing to the steady increase of his work as<br />
secretary and solicitor to the Incorporated Society<br />
of Authors, Mr. G. H. Thring, after fourteen<br />
years’ zealous service, had found it expedient to<br />
resign his secretaryship to the Authors’ Club.<br />
Speaking for himself, the chairman said that the<br />
club parted with their old secretary regretfully.<br />
But they were happy in having secured, as Mr.<br />
Thring’s successor, the senior hon. secretary of the<br />
New Vagabonds’ Club, and he had pleasure in<br />
welcoming Mr. G. B. Burgin, whose ability and<br />
amiability augured well for their future.<br />
<br />
Mr. Thring and Mr. Burgin having responded<br />
gracefully, some anecdotes followed until Mr.<br />
Tedder proposed the health of the chairman and.<br />
the proceedings terminated. A. R.<br />
220<br />
<br />
“THE AUTHOR’S PROGRESS.” *<br />
se<br />
R. LORIMER has a fluent humour which<br />
I carries the reader easily along and keeps<br />
him in an amiable mood. The amiability<br />
induced in the present reviewer deters him from<br />
taking advantage of the many opportunities afforded<br />
him to demonstrate that “The Author’s Progress ”<br />
is, in reality, a quite inconsiderable performance.<br />
Tt would be churlish to pour cold water upon such<br />
genial warmth as Mr. Lorimer’s, and it is un-<br />
necessary labour to churn wind.<br />
<br />
“Tt is a positive sin,” he says in one of his<br />
infrequent lapses from badinage, “to set deliber-<br />
ately about the composition of sentences that seem<br />
to contain thoughts but do not, or only hold old<br />
thoughts newly arranged or stated over again.”<br />
The statement is not an axiom, but if it were it<br />
would be only the more incumbent upon us to<br />
apply it as a test to the work in which it is found.<br />
«The Author’s Progress” must be condemned on<br />
all counts of the indictment so framed; it has<br />
many sentences that seem to contain thoughts but<br />
do not, and more that only hold old thoughts stated<br />
over again. In point of fact there is remarkably<br />
little substance, new or old, in the book, and we<br />
are rather at a loss for its justification. It is<br />
charitable to suppose that the author is not very<br />
well informed with the existing literature of his<br />
subject, and does not know how exhaustively it<br />
has been treated before. The supposition, if charit-<br />
able, is but indifferently complimentary ; but it is<br />
better to be ignorant than positively sinful, and if<br />
he is not the one, Mr. Lorimer, on his own state-<br />
ment, is the other.<br />
<br />
Since, however, we cannot find anything new in<br />
the book to commend to general consideration we<br />
will summarise our judgment of the work as a<br />
whole, and say that as a guide book for the young<br />
author it is negligible, but that as an essay on a<br />
variety of matters interesting to authors it is<br />
lightly amusing and worth reading. Mr. Lorimer<br />
is an agreeable rattle, an excellent companion, but<br />
a poor courier. The wise man will extract as<br />
much enjoyment as possible from the company in<br />
in which he finds himself, and not gird at it for<br />
being less instructive than itself supposes. It is<br />
immensely pleasant to be assured by Mr. Lorimer<br />
that 7e Author “ from time to time does a deal of<br />
good for authors,” and has justified its existence ;<br />
his tribute to their official organ will, we are sure,<br />
influence the council of the Society of Authors,<br />
and enable them to smile at the boyish gaiety with<br />
which he hits them with a bladder in what he<br />
hopes is an interesting digression.<br />
<br />
What is, in our opinion, radically wrong with<br />
<br />
William<br />
<br />
<br />
<br />
* “The Author's Progress,” by Adam Lorimer.<br />
Blackwood & Sons, 1906. 5s. n.<br />
<br />
THE AUTHOR.<br />
<br />
the book is that neither in the numerous digressions,<br />
nor in the few straightforward passages is there<br />
any indication that Mr. Lorimer has the faintest<br />
conception of the pleasures or of the high function<br />
of literature. It is because these exist, that ‘ ‘The:<br />
Author’s Progress ’’ is a useless trifle.<br />
<br />
V. E. M.<br />
<br />
+><br />
<br />
CORRESPONDENCE.<br />
<br />
eee<br />
Tur Cost or PRopUCTION.<br />
Srr,—In the January, 1906, numberof the Author,<br />
p- 115, the following words occur in an editorial<br />
on the half-profit agreement : “ For the author is<br />
absolutely ignorant of the cost of production,” etc.<br />
I always thought one of the objects of our<br />
society was to instruct ignorant authors as to this..<br />
Now, though ‘‘ The Cost of Production” has figured<br />
for a long time on the title page of the Author as<br />
one of the publications of the society, it is and has<br />
been for the last year or two accompanied by the<br />
remark “out of print.” Cannot this be remedied ”<br />
I am, yours, etc.,<br />
E. G.-<br />
<br />
1<br />
<br />
A. TROLLOPE.<br />
<br />
Sir,—In your last issue I read with much<br />
interest Mr. James F. Muirhead’s letter, concerning<br />
a passage in my paper on Anthony Trollope which<br />
appeared recently in The Author. The passage is.<br />
to the effect that Trollope “is not disappearing, he<br />
has disappeared,” and that it is impossible to obtain<br />
a set of his best books. Mr. Muirhead accuses me<br />
of being “ belated, or, at any rate, insular,” because,<br />
apparently, I did not know that Messrs. Dodd,<br />
Mead & Co. are publishing an excellent edition of<br />
Trollope’s novels, and that Trollope’s name “ turns.<br />
up” at social gatherings with almost as much<br />
frequency as those of present-day favourites like<br />
Mrs. Wharton or Miss May Sinclair. I am<br />
“belated” then, because I do not study the<br />
announcements of future publications by American<br />
firms ! and I am insular, because I am ignorant of<br />
the fact that the name of a great master of<br />
English fiction “turns up” with almost as much<br />
frequency as the names of two charming trans-<br />
atlantic authoresses !<br />
<br />
When I said it was impossible to obtain a set of<br />
Trollope’s best books, I was speaking by the card.<br />
My booksellers informed me that several works<br />
were out of print, and could only be got second-<br />
hand. Iam glad to note that this reproach will<br />
soon be removed, for Mr. John Lane is issuing a<br />
pocket edition of the novels under the very com-<br />
petent editorship of Mr. Algar Thorold. Yours<br />
obediently, Lewis MELVILLE.<br />
<br />
Barnes, March, 1906. | https://historysoa.com/files/original/5/515/1906-04-01-The-Author-16-7.pdf | publications, The Author |
516 | https://historysoa.com/items/show/516 | The Author, Vol. 16 Issue 08 (May 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+08+%28May+1906%29"><em>The Author</em>, Vol. 16 Issue 08 (May 1906)</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> | 1906-05-01-The-Author-16-8 | | | | | 221–248 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-05-01">1906-05-01</a> | | | | | | | 8 | | | 19060501 | Che Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XVI.—No. 8.<br />
<br />
May ist, 1906.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
ee ee<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 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 />
a<br />
<br />
List of Members.<br />
<br />
Tue List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society. They will<br />
be sold to members or associates of the Society only.<br />
<br />
All further elections have been chronicled from<br />
month to month in these pages.<br />
<br />
— a<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tue Trustees of the Pension Fund met at the<br />
Society’s Offices, March 5th, 1906, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. They have now pur-<br />
chased £200 Cape of Good Hope 34 per cent.<br />
Inscribed Stock, bringing the investments of the<br />
fund to the figures set out below.<br />
<br />
Vou, XVI.<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 />
<br />
<br />
<br />
<br />
WOnSOIS Oe 86 ee een eet sees: £1000 0 0<br />
Total Loans: 220.65.00.. ieee. 500 0 O<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
Wan Noam. ce 201° 9 38<br />
London and North Western 3 % Deben-<br />
Cire LOCK |Site ccs 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4 % Certificates ............... 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
HOCK iso ic 200 0 0<br />
Total oc. £2,643 9 2<br />
Subscriptions, 1905. £8. a.<br />
July 13, Dunsany, the Right Hon. the<br />
Lord : ; : ; : 50 50<br />
Oct. 12, Halford, F. M. 0 5 0<br />
Oct. 12, Thorburn, W. M. 010 O<br />
Noy. 9, ‘Francis Daveen’’. 0 5 0<br />
Noy. 9, Adair, Joseph Lb 1. 0<br />
Nov. 21, Thurston, Mrs. bob 0<br />
Dec. 18, Browne, F. M. 0 5 0<br />
1906.<br />
March 7, Sinclair, Miss May 1 0<br />
March 7, Forrest, G. W. 2 20<br />
March 8, Simpson, W. J. 0 5 0<br />
March 8, Browne, F. M. OQ 5 0<br />
Donations, 1905.<br />
Noy. 6, Reynolds, Mrs. Fred. 1 0<br />
Nov. 9, Wingfield, H. 010 6<br />
Nov.17, Nash, T. A. . Li 0<br />
Dec. 1, Gibbs, F. L. A. 010 6<br />
Dec. 6, Finch, Madame 1, 13-6<br />
Dec. 15, Egbert, Henry 0 5 0<br />
Dec. 15, Muir, Ward . : 1 i 0<br />
Dec. 15, Sherwood, Mrs. A. . 010 0<br />
Dec. 18, Sheppard, A. T. 010 6<br />
Dec. 18, S. F. G. : 010 0<br />
222<br />
<br />
th<br />
e<br />
&<br />
<br />
1906.<br />
Jan. 2, Jacobs, W. W. . :<br />
Jan. 6, Wilkins, W. H. (Legacy)<br />
Jan. 10, Middlemas, Commander A. C.<br />
Feb. 5, Roe, Mrs. Harcourt :<br />
Feb. 5, Yeats, Jack B.<br />
<br />
.<br />
on<br />
on<br />
on<br />
<br />
HBErEHHOMmCOoOOoOoOSoSo<br />
oe<br />
noe<br />
<br />
Feb. 12, White, Mrs. Caroline.<br />
Feb. 13, Bolton, Miss Anna<br />
<br />
Feb. 28, Weyman, Stanley<br />
<br />
March 7, Hardy, Harold<br />
<br />
March 12, Harvey, Mrs.<br />
<br />
March 27, Williams, Mrs. E. L.<br />
April 15, Caine, William<br />
<br />
cocooooooooo:<br />
<br />
———__+—>_+—_——-<br />
<br />
COMMITTEE NOTES.<br />
<br />
ane<br />
<br />
ae April meeting of the committee of the<br />
society was held on Monday, April 2nd,<br />
at the offices, 39, Old Queen Street, Storey’s<br />
Gate, S.W.<br />
<br />
There was a very heavy list on the agenda, and<br />
the committee sat for over two hours before all the<br />
matters for consideration were settled. The first<br />
question, after the reading of the minutes, was the<br />
election of members, and twenty members and<br />
associates were elected, bringing the total of the<br />
current year up to seventy-six.<br />
<br />
The first case that came forward raised the title<br />
of one of the members to publish a series of letters.<br />
The legal technicalities which surrounded the<br />
matter were exceedingly complicated, and, after<br />
perusing the report which was submitted to them<br />
by the society’s solicitor, the committee decided to<br />
take counsel’s opinion on the members’ behalf.<br />
<br />
The second question referred to the insertion of<br />
certain communications addressed to the editor of<br />
The Author, and upon these points the committee<br />
passed their judgment after careful consideration.<br />
<br />
Some weeks ago the committee authorised the<br />
secretary to send in an accountant to check the<br />
various accounts placed before the society by one<br />
of its members. The accountant attended the<br />
meeting, and reported the result of his investiga-<br />
tion. It was decided, after hearing the account-<br />
ant’s report, to take the matter up on behalf of the<br />
member concerned.<br />
<br />
There were three cases of infringement of copy-<br />
right, one, perhaps, ought rather to be called in-<br />
fringement of the right of publication. In two of<br />
these cases, as it appeared from the opinion of the<br />
society’s solicitors that the infringement was clear,<br />
the committee undertook to carry through the<br />
negotiations, and instructed the solicitors, if<br />
necessary, to take action on behalf of the members<br />
involved. The last case was against a German<br />
<br />
THE AUTHOR.<br />
<br />
magazine, and the author whose rights had been<br />
infringed desired the matter to be taken in hand<br />
by the officers of the society, although he was<br />
quite willing to guarantee all the costs of the<br />
action. The committee readily sanctioned this<br />
course, for even when members are willing to pay<br />
the costs it is often desirable that the case should<br />
be conducted by the society.<br />
<br />
Doubt having arisen as to the precise effect of<br />
recent judgments in the United States Courts<br />
relative to the statutory notice, as mentioned in<br />
the last two numbers of Z'he Author, the Chair-<br />
man reported that, as the matter seemed urgent, he<br />
had authorised the secretary to obtain an opinion<br />
from counsel in the United States on the position,<br />
and also to place the details of the case before the<br />
Registrar of Copyrights at Washington, who has<br />
undertaken the drafting of the Consolidating Act<br />
on United States Copyright. The committee<br />
heartily approved the action of the chairman in<br />
this matter.<br />
<br />
During the month of March the dramatic sab-<br />
committee met and considered a letter which had<br />
been referred to them by the committee. Their<br />
report was laid before the committee, and after<br />
careful consideration it was decided to refer one or<br />
two points back to the sub-committee. Mr,<br />
Bernard Shaw and Mr. A. Hope Hawkins have<br />
consented to join the sub-committee.<br />
<br />
The committee regret that action on the in-<br />
fringement of a member's rights by a paper in<br />
Canada had to be abandoned owing to a question<br />
of law relating to the ownership of the copyright<br />
in England. After careful investigation it ap-<br />
peared that the member had transferred his copy-<br />
right to the magazine in which the article first<br />
appeared in England, and the proprietors refused.<br />
leave to the committee of the society to use their<br />
name, although the committee were willing to<br />
guarantee the expenses of the action.<br />
<br />
The last case dealt with a question of artistic<br />
copyright on which the committee had already<br />
obtained counsel’s opinion. ‘he member con-<br />
cerned submitted a report to the committee, and<br />
this report they fully considered, It was decided<br />
to ask counsel to give a further opinion, as the<br />
legal questions were exceedingly involved ; the<br />
committee did not see their way at present to<br />
undertake action on behalf of the member unless<br />
his title should appear quite clear.<br />
<br />
oe<br />
<br />
Cases.<br />
<br />
The month’s list of cases taken up since the<br />
last issue amounts to seven. The first referred to<br />
the settlement of an author’s business with his<br />
agent. This is still in the course of negotiation,<br />
<br />
and will, no doubt, be settled satisfactorily, as the<br />
<br />
<br />
t<br />
<br />
<br />
<br />
<br />
yet, been unsuccessful.<br />
<br />
<br />
<br />
on<br />
a<br />
<br />
ke<br />
<br />
7 Hewlett, Maurice . ‘<br />
<br />
THE AUTHOR.<br />
<br />
agent has expressed his willingness to help the<br />
Society in every way. One referred to the return<br />
of an MS., but in this case the secretary has, as<br />
One claim for accounts<br />
and money has been duly settled. ‘There were<br />
three cases for money only. One has been partly<br />
settled—that is, part of the amount has been paid<br />
and the balance promised. In the two others<br />
letters have been received, and there is every<br />
probability that the matters will be at an end<br />
before the next issue. One case in which the<br />
secretary demanded accounts has heen settled by<br />
the delivery of the accounts.<br />
<br />
Of the past cases there are very few still open,<br />
and these in a fair way of settlement, as the<br />
secretary is in communication with the defaulting<br />
parties. If no arrangement is come to finally<br />
through the office, the matters will, no doubt, be<br />
placed by the committee in the hands of the<br />
Society’s solicitors.<br />
<br />
—— > —<br />
April Elections.<br />
Aldington, A. E. . . Warwick Court, Wal-<br />
mer.<br />
Aldington, Mrs. . . Warwick Court, Wal-<br />
mer<br />
<br />
Melcombe, St. Andrew’s<br />
<br />
Bingham, Rev. Fanshawe<br />
Road, Southsea.<br />
<br />
Bland, Hubert . . Well Hall, Eltham,<br />
Kent.<br />
<br />
Blyth, P. G. . ‘ . 1, Forest View, Forest<br />
Road, Woodford<br />
<br />
Green, Essex.<br />
<br />
Burnett, James, M.A., 6, Glengyle Terrace,<br />
<br />
M.D., M.R.C.P.E. Edinburgh.<br />
Caine, William . . 42, Grosvenor Road,<br />
Westminster.<br />
Foster, R. F. , . 522, Monroe Street,<br />
Brooklyn, New York.<br />
Hall, Gwynne ; . 8, Tanfield Court,<br />
<br />
Temple, E.C.<br />
<br />
c/o Indo-China Steam-<br />
ship Co. Hong<br />
Kong.<br />
<br />
Morrison, R. D. . :<br />
<br />
“Mayne N. Thorpe” .<br />
7, Northwick Terrace,<br />
<br />
N.W.<br />
Meredith, Margaret (D. 13, Pembroke Gardens,<br />
Elliot) . : : Kensington, & Wood-<br />
<br />
side, Fleet, Hants.<br />
<br />
Nicholson, Joseph Shield 3, Bedford Park, Edin-<br />
<br />
burgh.<br />
Pearson, E. A. ©. Nel- 190, The Grove, Ham-<br />
son (Violet Glade) mersmith.<br />
Pope, Miss Jessie . Kimboltons, Regent’s<br />
: Park Road, Finchley,<br />
N.<br />
<br />
223<br />
<br />
Pryor, Francis Robert<br />
<br />
Rastall, Mrs. Tunerdale Hall, Whitby,<br />
Yorkshire.<br />
<br />
Dorchester,<br />
ford.<br />
<br />
165, West 58th Street,<br />
New York, U.S.A.<br />
<br />
Roberts, R. Ellis Walling-<br />
<br />
Wiggin, Kate Douglas<br />
<br />
a<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY,<br />
<br />
———o—1 —<br />
<br />
(in the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
ARCHITECTURE,<br />
<br />
THe MopERN Home. A Book of British Domestic Archi-<br />
tecture for Moderate Incomes. The text by W. H.<br />
BIDLAKE, M.A., HALSEY RICCARDO, and JOHN CASH.<br />
Edited by WALTER SHAW-SPARROW. 113 x 84. 176 pp.<br />
(The “Art and Life” Library, Vol. V.) Hodder and<br />
Stoughton. 5s, n.<br />
<br />
ART,<br />
<br />
WILLIAM STRANG. Catalogue of his etched work. Illus-<br />
trated with 471 Reproductions. With an Introductory<br />
Essay. By L. BINyoN. 10} x 6}. 210 pp. Glasgow :<br />
Maclehose. 42s. n.<br />
<br />
BIOGRAPHY,<br />
Toe LoG oF A SEA WAIF, By FRANK T, BULLEN,<br />
<br />
7ix 5. 349pp. Smith Elder, 3s. 6d.<br />
DRAMA.<br />
NicepHorus. A Tragedy of New Rome. By FREDERIC<br />
<br />
HARRISON, LiTT.D. 8% x 53. 93 pp. Chapman & Hall.<br />
58. n.<br />
<br />
THe Marp or ARTEMIS. By ARTHUR DILLON, 6% x 5<br />
67 pp. Mathews. 2s, 6d.<br />
FICTION.<br />
THE ANGEL OF PAIN. By E. F. BENSON. 73 X 5.<br />
<br />
346 pp. Heinemann, 6s.<br />
Mr. WINGROVE, MILLIONAIRE. By E, P, OPPENHEIM,<br />
72 x 54. 320 pp. Ward Lock. 68,<br />
Out of DUETIME. By Mrs. W. WARD.<br />
Longmans. 6s.<br />
<br />
Ir YourH Bur Knerw!<br />
CASTLE. 73x 5. 348 pp. Smith Elder. 6s.<br />
<br />
An AMERICAN DucHESs. By ARABELLA KENEALY,<br />
7k x 43, 343 pp. Chapman & Hall. 6s.<br />
<br />
A MILLIONAIRE’S CourTsHIP. By Mrs. ARCHIBALD<br />
Litre. 74 x 4%. 309 pp. Unwin. 6s.<br />
<br />
LADY MARION AND TnB PLutTocRAT. By LADY HELEN<br />
ForBes. 7% x 5. 317 pp. J. Long. 6s.<br />
<br />
Kip McGuis, A Nuagcet or Dim Gop. By 8. R.<br />
CrooxerT. 81x 5. 400 pp. J.Clarke. 6s.<br />
<br />
A Venperep Scamp. By JuAN MIDDLEMASS. 7] x 5.<br />
318 pp. J. Long. 6s.<br />
<br />
72x 5. 379 pp.<br />
<br />
By AGNES AND EGERTON<br />
<br />
<br />
224<br />
<br />
me<br />
<br />
LovE AND LorDSHIP. By FLORENCE WARDEN. 7} X 4<br />
<br />
397 pp. Chatto & Windus. 6s.<br />
<br />
A Human Facer. By Sinas K. HocKine. 7} x 43<br />
296 pp. Cassell. 3s. 6d.<br />
<br />
THe FACE oF CLuAy. By H. A. VACHELL, 7} X 54.<br />
<br />
6s.<br />
<br />
363 pp. Murray.<br />
By F. ANSTEY.<br />
<br />
SALTED ALMONDS.<br />
Smith Elder. 6s.<br />
<br />
73 x 5. 312 pp.<br />
<br />
Mr. JoHN Stroop. By Percy WHITE. 7} x 5. 333 pp.<br />
Constable. 6s.<br />
<br />
Tue SPANISH Dowry. By L, DouGALL. 7} x 5.<br />
312 pp. Hutchinson. 6s.<br />
<br />
THE SPHINX’s LAWYER. By FRANK DANBY. 7} X 5.<br />
387 pp. Heinemann, 6s.<br />
<br />
THe GREAT GREEN GoD. By FreD WISHAW. 7} x 5.<br />
<br />
311 pp. White. 6s.<br />
<br />
Toe FLOWER OF FRANCE. By JusTIN HUNTLY<br />
McCartuy. 8 X% 53. 323 pp. Hurst & Blackett. 6s.<br />
A Frouic. By WALTER EMANUEL. 64 pp. (Sisley’s<br />
Library of Humour). 73 x 4. Sisley’s Ltd. 1s. n.<br />
SIMPLE ANNALS. By M. F. FRANCIS. 7% x 53. 311 pp.<br />
Longmans. 6s,<br />
<br />
Tue Squrre’s DAUGHTER. By SiLas K. Hockine.<br />
73 x 54. 397 pp. Warne. 3s. 6d.<br />
<br />
Rouges. By HALDANE MacFaLL AND DION CLAYTON<br />
<br />
CauTHROP. 7} x 5. 8llpp. Brown Langham. 6s.<br />
TH VINEYARD. By JOHN OLIVER HoBBeEs. 128 pp.<br />
Cheap Edition. 83 x 53. Unwin. 6d.<br />
A Jiut’s JouRNAL. By Riva. Cheap Edition. 9 x 6.<br />
126 pp. J.Long. 6d.<br />
FOLK LORE.<br />
HinpU MANNERS, CUSTOMS, AND CEREMONIES. By<br />
<br />
ABBE J. A. DuBois. Translated by H. W. BEAUCHAMP,<br />
C.D.E. Third Edition..7} x 5. 741. pp. Oxford:<br />
Clarendon Press. London: Frowde. 6s.n.and 7s. 6d. n.<br />
<br />
LAW.<br />
<br />
A TREATISE ON THE LAW OF SALE OF PERSONAL<br />
PROPERTY, WITH REFERENCES TO THE AMERICAN<br />
DECISIONS AND TO THE FRENCH CODE AND CIVIL<br />
Law. By J. P.BENJAMIN. Fifth Edition. By W.C. A.<br />
KER AND A. R. BUTTERWORTH. 10 x 6. 1,160 pp.<br />
Sweet & Maxwell. £2 2s.<br />
<br />
MILITARY.<br />
<br />
THE OFFICER'S FIELD NOTE AND SKETCH-BOOK AND<br />
RECONNAISSANCE AIDE-MémoirE. Eleventh Edition.<br />
By Lrevr.-Cou. E. GunrEr, 1st.S.C. With New Tables,<br />
Diagrams, and Additions. 7} x 44. 100 pp. and Sketch-<br />
Block, Field-Messages, etc. Clowes. 6s. 6d, n.<br />
<br />
MISCELLANEOUS.<br />
<br />
To MopERN Marpens. By A MopEeRN Matron. With<br />
a Frontispiece by F. Watts. Edinburgh: Geo. A.<br />
Morton. London: Simpkin Marshall. Cloth, 3s. 6d. n. ;<br />
<br />
leather, 5s. n.<br />
POETRY.<br />
<br />
Cyrus, THE GREAT Kina. An Historical Romance. By<br />
‘Str Epwarp DURAND, BarT., O.B. 8% x 7. 392 pp.<br />
Appleton. 10s, 6d. n.<br />
REPRINTS.<br />
<br />
Pivrce THE PLOUGHMAN’S CREDE (about 1394 A.D.).<br />
‘Edited by THE Rev. WALTER W. SKEAT. 6} X 4}.<br />
73 pp. Oxford: Clarendon Press. 2s. :<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 />
SOCIOLOGY.<br />
<br />
THE MYSTERIES OF MODERN LONDON. By GEo. R. Sims)<br />
8x5. 192pp. Pearson. 2s. 6d. *<br />
SPORT.<br />
<br />
THE Fox. By T. F. Dats, (“Fur, Feather, and Fin”<br />
<br />
Series.) 7$x5}. 238 pp. Longmans. 5s,<br />
THEOLOGY.<br />
THE REVELATION OF THE TRINITY. By 8. B. G,<br />
McKinney, L.R.C.P. 7% x 5, 270 pp. Oliphant,<br />
<br />
Anderson & Ferrier. 3s. 6d.<br />
THE EXISTENCE OF Gop. By THE RiaHT Rev, Mar,<br />
CANON Moyes. Sands. 6d. n. each.<br />
<br />
TOPOGRAPHY.<br />
<br />
THE HIGHLANDS AND ISLANDS OF SCOTLAND. Painted<br />
W.SmitTH, JuNR. Described by A. R. HOPE MONCRIEFF, —<br />
9 xX 63. 232 pp. Black. 10s, n. :<br />
<br />
——_—_——_+——__o-—_____<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—<br />
<br />
as IRABEAU and Gambetta, Friends of Old<br />
England. With some account of Jacques<br />
Bonhomme,” by Arthur Pavitt and<br />
<br />
Baron Albert Yvelin de Béville has been published<br />
in its complete form by Mr. Effingham Wilson.<br />
The work contains Talleyrand’s “ Entente Cordiale<br />
of 1792.”<br />
Mrs. Humphry Ward’s new novel, “ Fenwock’s<br />
Career,” which is now running as a serial through<br />
an American magazine, will be published this month<br />
in book form. Its scenes.and subjects are found<br />
in Westmoreland, London, and Paris, in the art<br />
world of thirty years ago, and in the rise and<br />
decline of a great painter who is modelled on<br />
George Romney. :<br />
Mr. Frederic Harrison has just finished a tragedy<br />
dealing with the same period of Byzantine history<br />
as his romance “Theophano.” A limited edition<br />
of the work, which may eventually be produced at<br />
a London theatre, has recently been produced by”<br />
Messrs. Chapman and Hall.<br />
The Poet Laureate’s new poem, entitled “ The<br />
Door of Humility,” contains a love story of the<br />
more spiritual kind, in addition to revealing the<br />
author’s mind on questions of faith and doubt.<br />
Messrs. Macmillan & Co. are the publishers.<br />
Miss Helen Zimmern has completed a book,<br />
which will be published in the course of the spring”<br />
by Sir Isaac Pitman. The title is “ The Italy of<br />
the Italians;” and its purpose is to show the<br />
intelligent traveller that there is a modern Ital<br />
<br />
*<br />
<br />
<br />
oo<br />
ane<br />
0g<br />
Ay<br />
bai<br />
f 8<br />
fp<br />
<br />
To<br />
Hordw<br />
Fe sont<br />
uit<br />
<br />
ald<br />
bA<br />
dail<br />
vial<br />
i ae<br />
a6:<br />
olf<br />
<br />
<br />
<br />
i ae<br />
ele<br />
isH<br />
1OWF<br />
vodalk<br />
dodere<br />
Pontos<br />
if tes<br />
ied<br />
ISP<br />
Fa<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ing<br />
<br />
<br />
<br />
no less interesting in its own way than the ancient<br />
‘one we go to seek, and that Italy's contribntion to<br />
contemporary culture and thought is no mean one.<br />
The chapters deal with modern art, literature,<br />
industry, commerce, agriculture, pastimes, science,<br />
and inventions.<br />
<br />
Mr. Arthur Dillon’s new volume gives his comedy<br />
<br />
of “The Maid of Artemis,” several songs from<br />
<br />
which, set by Mr. Charles E. Baughan, have been<br />
heard in London concert halls, particularly ‘‘ The<br />
Young Year,” sung by Miss Esther Pallisar and<br />
Mme. Blauvelt, and “ Endymion,” sung by Miss<br />
Ada Crossley. Mr. Elkin Mathews is the pub-<br />
lisher.<br />
<br />
The Rey. Albert Lee, of Windsor, has just com-<br />
pleted the manuscript of his new work, entitled<br />
“The World’s Exploration Story,” which will<br />
be published in the autumn by Mr. Andrew<br />
Melrose.<br />
<br />
“Rouge,” a sensational novel of adventure in<br />
<br />
» in the very heart of London town, published last<br />
<br />
month by Messrs. Brown, Langham & Co., Limited,<br />
is the combined literary work of Mr. Haldane<br />
Macfall and Mr. Dion Clayton Calthrop. Mr.<br />
Haldane Macfall is known already to the literary<br />
world as the author of “The Masterfolk,” pub-<br />
lished a couple of years ago. The story, which<br />
rushes through a series of swift adventures, circles<br />
round the heroic act of self-sacrifice of a beautiful<br />
girl, which, however, does not end in the death<br />
that she courted in order to save the hero and his<br />
friend.<br />
<br />
Mr. and Mrs. Egerton Castle’s new book, “If<br />
‘Youth But Knew,” published last month by Messrs.<br />
<br />
| Smith, Elder & Co., is astory of aman who, having<br />
<br />
experienced in his youth one of those overpowering<br />
sorrows which irredeemably change the course of<br />
<br />
| life, has become a wanderer on the face of the<br />
‘earth.<br />
<br />
Miss H. Rosa Nouchette Carey is engaged on a<br />
‘new novel, which Messrs. Macmillan & Co. will<br />
publish in September of this year.<br />
<br />
- Mrs. Croker has just completed a novel upon<br />
which she has been engaged for two years. The<br />
title of the story, which will be published serially<br />
<br />
"in The Queen from July till November, is “ The<br />
<br />
Spanish Necklace.” Messrs. Hurst and Blackett<br />
will also publish in September a novel by the same<br />
‘writer, entitled “The Youngest Miss Mowbray,”<br />
which has been running through a syndicate of<br />
mewspapers.<br />
<br />
Mrs. Croker has also disposed of the dramatic<br />
rights of two books in America, one of which,<br />
« Beyond the Pale,” will be produced next season in<br />
New York. Her next book will be an Indian<br />
<br />
Novel, the scene of which is laid in the Madras<br />
Presidency.<br />
Messrs. Archibald Constable & (Co.’s spring<br />
<br />
THE AUTHOR.<br />
<br />
225<br />
<br />
announcements include new novels by J. C. Snaith<br />
and Percy White. This firm will also publish a<br />
new novel, in the summer, by Miss Marie Corelli.<br />
Messrs. Constable are also publishing a new and<br />
enlarged edition of Mr. Bertram Blount’s work on<br />
“ Practical Electro-Chemistry.” The object of this<br />
book was, in the first instance, to give an account<br />
of those electro-chemical processes which have been<br />
already, and are likely to be turned to industrial<br />
use. In the new edition, the subject-matter of<br />
the first edition is brought up to date, and con-<br />
siderable new material, describing new processes,<br />
is incorporated. The volume, which is fully<br />
illustrated, is published at the price of 15s.<br />
nett.<br />
<br />
In “ Bonnie Scotland” Mr, A. R. Hope Moncrieff<br />
promised a further volume to be devoted to the<br />
sterner and wilder aspects of Caledonia. This<br />
volume is now included in Messrs. A. and C.<br />
Black’s series of “colour books,” under the title<br />
of “ The Highlands and Islands of Scotland.” It<br />
deals with the less visited districts that are still<br />
Highlands, both in ruder natural features and in a<br />
life holding out longer against the trimming and<br />
taming of Sassenach intromissions. The illustra-<br />
tions are by Mr. William Smith, jun.<br />
<br />
Mr. Geo. R. Sim’s next book will be published<br />
by Messrs. Greening & Co. during the present<br />
season. The title is “Two London Fairies,”<br />
and the stories deal with the adventures of two<br />
fairies who assume mortal shape and come to<br />
London.<br />
<br />
“Sir Edward Elgar,” by Mr. Ernest Newman,<br />
is expected to be the fourth volume of a new series,<br />
«The Music of the Masters,’ which Mr. John<br />
Lane is publishing.<br />
<br />
Mr. Harold Spender has written, and Messrs.<br />
Constable & Co. have recently published, a novel<br />
entitled “The Arena,” dealing with the inner life<br />
of modern British politics, crossed with a strong<br />
romantic interest.<br />
<br />
Messrs. Hutchinson & Co.’s list of Spring publi-<br />
cations contains the following announcements of<br />
forthcoming books by members of the Society.<br />
<br />
Under the head of Travel they are publishing a<br />
new work in two volumes, by Mr. Douglas Sladen,<br />
entitled “Carthage and Tunis.” The gates of the<br />
Orient in this book are Tunis the new gate and<br />
Carthage the old.<br />
<br />
Added to the work—which is published at the<br />
price of 24s. net—is a lengthy chapter on “ Sport<br />
in Tunisia,” by Mr. J. I. S. ‘Whitaker, who has<br />
been camping and shooting in Tunis for ten years<br />
<br />
ast.<br />
: In their list of popular classics the same pub-<br />
lishers include “The Odes of Horace,” in Latin<br />
and English, edited by Mr. W. H. D. Rouse, who<br />
has added an index of names.<br />
<br />
<br />
226<br />
<br />
Turning to fiction, we notice new novels by<br />
“Tucas Malet,” H. Rider Haggard, J. A. Hamil-<br />
ton, Ellen Thorneycroft Fowler, Richard Whiteing,<br />
Mrs. Thurston, Miss L. Dougall, Dorothea Gerard,<br />
Allen Raine, Mrs. Baillie Reynolds, Mr. Charles<br />
Garvice, and Miss Mary Cholmondeley.<br />
<br />
Some of these works have been mentioned in<br />
previous issues of The Author.<br />
<br />
“Tucas Malet’s” novel, “The Far Horizon,”<br />
deals with the acts and opinions of a man of<br />
foreign birth, who, after many years of office work,<br />
finds himself suddenly possessed of leisure, and a<br />
moderate fortune. The scene is laid exclusively<br />
in London and the western suburbs, and the book<br />
covers a period of about three years, from 1899 to<br />
1902, and touches on matters of modern finance,<br />
manners, and morals; on matters theatrical and<br />
matters religious.<br />
<br />
In Mr. Richard Whiteing’s new work “ Ring in<br />
the New,” the story is told of a girl of education<br />
and gentle nurture who finds herself penniless at<br />
eighteen with her way to make in the world. Her<br />
struggle, and the struggles of other women similarly<br />
situated, is one of its main themes. The setting<br />
of the story is mainly in London, where the heroine<br />
is brought into contact with men and women<br />
fighting for a new and nobler Bohemia, its brighter<br />
aspects, its refined enjoyments in art, music, and<br />
literature.<br />
<br />
Miss L. Dougall’s new novel, “The Spanish<br />
Dowry,” does not discuss any problem but gives<br />
an original, if a somewhat fanciful, story. The<br />
scene is laid in Devonshire.<br />
<br />
Miss Dorothea Gerard is represented by two<br />
novels, entitled respectively ‘The Pride of Life,”<br />
and “The House of Riddles.” The former deals<br />
with the marriage of a man of idealistic tendencies<br />
with a pretty, but common, girl, and indicates the<br />
ill effects of the union in his relations with his<br />
children. The early scenes of the latter story<br />
are laid in Klondyke, but the action of the<br />
later chapters takes place in a Scottish golfing<br />
town.<br />
<br />
“Queen of the Rushes,” by Allen Raine, is a<br />
modern novel based on the great wave of revivalism<br />
in Wales.<br />
<br />
Mrs. Baillie Reynolds’ work, “ Thalassa,” depicts<br />
the life of a girl taken from a cultured and<br />
Bohemian atmosphere abroad, and placed with<br />
her guardian, the owner of some mills, and a<br />
north countryman, to whom, after passing<br />
through various vicissitudes, she is eventually<br />
married.<br />
<br />
Miss Mary Cholmondeley’s novel “ Prisoners”<br />
will be published by Messrs. Hutchinson & Co. in<br />
the early autumn. The scenes are laid first in<br />
Italy and afterwards in England, and the story is<br />
concerned with the consequences of an early love<br />
<br />
THE AUTHOR.<br />
<br />
affair being revived by the heroine after her<br />
marriage, and of her relation with two half-<br />
brothers.<br />
<br />
Messrs. Cassell & Co. have recently published a<br />
book by Mr. Bart Kennedy, containing a series of ©<br />
personal experiences from his life in the United<br />
States. Its title is “The Adventures of a Born |<br />
Tramp.”<br />
<br />
Mr. Morley Roberts’ latest story “The Prey —<br />
of the Strongest,” dealing with life in British —<br />
Columbia, has just been published by Messrs.<br />
Hurst and Blackett at 6s.<br />
<br />
“The Face of Clay,” Mr. H. A. Vachell’s new<br />
story, which has been running as a serial through<br />
the Monthly Review, has just been published in<br />
book form by Mr. John Murray. The scene of the<br />
story is Brittany.<br />
<br />
A new story, by Mr. Silas Hocking, the title of<br />
which is “The Squire’s Daughter,” has been<br />
published by Messrs. Warne & Co. Incidentally,<br />
it raises the question of the equity of some of the<br />
leasehold laws current in Cornwall.<br />
<br />
A theatrical novel, by Mr. Horace Wyndham,<br />
written from ‘inside’? knowledge, and dealing<br />
in an intimate way with stage life as it really is<br />
(and not as most people imagine it) is to be<br />
published early in May by the firm of E. Grant<br />
Richards, entitled “Audrey, the Actress.” The<br />
book describes in narrative form the lights and<br />
shades of life behind the scenes, both in London<br />
and on tour, and goes into the whole subject very<br />
thoroughly. There is abundance of incident in<br />
the adventures of Mr. Wyndham’s heroine, and<br />
the various types introduced are sharply drawn.<br />
To those who only know the stage from the stalls,<br />
“Audrey, the Actress,” is likely to prove of<br />
interest.<br />
<br />
Mr. John Masefield has written a book about<br />
the Spanish Main, which Messrs. Methuen & Co.<br />
will publish. The volume contains many details<br />
of the life of the Elizabethan seaman, and traces.<br />
carefully the gradual rise of that romantic caste<br />
among the lawless islands on the Spanish Main.<br />
A description is. also given of the laws, customs,<br />
and haunts of the pirates, and reference is made<br />
also to their most famous ships—as, for instance,<br />
the Royal Fortune, and their chief captains, such<br />
as Roberts and Teach.<br />
<br />
Mr. Percy White’s new novel, “Mr. John ~<br />
Strood,” which Messrs. Constable & Oo. have<br />
published recently, is a study of the character<br />
and relations of two men, totally opposed in<br />
temperament, and yet long and intimately inter-<br />
dependent. It is not merely a portraiture and.<br />
analysis of character, but shows the development —<br />
of their temperaments and friendship under the —<br />
stress of mutual influences. :<br />
<br />
Mr, Bernard Capes’ new novel, to be published.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Rash See:<br />
<br />
ee<br />
<br />
ee.<br />
<br />
PR a: Wy Na Een 8<br />
<br />
SRE P< a ee Ss<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
by Messrs. Methuen in the early autumn, has for<br />
its locale Savoy and Piedmont towards the end of<br />
the eighteenth century, when Victor Amadeus III.,<br />
a vain, feeble prince, was on the throne of<br />
Sardinia. The pre-revolution setting is historical ;<br />
the characters, with the single exception of the<br />
king, imaginary, The story relates the devoted<br />
self-sacrifice of a woman for an adored husband—<br />
an invertebrate saint in character—who has com-<br />
mitted a crime for her sake; and of the holocaust<br />
she makes of a stronger lover in order to secure the<br />
safety of the weaker.<br />
<br />
The same firm are publishing this month a six-<br />
penny edition of the same writer’s novel, “ The<br />
“ake of Wine.”<br />
<br />
A new volume of short stories by Mr. Rudyard<br />
Kipling will be published in the autumn. The<br />
contents of the volume, the title of which will be<br />
“Puck of Pook’s Hill,” will have something of the<br />
fanciful vein of “They.”<br />
<br />
A descriptive book on the rich historic district<br />
around Harrogate, by the author of “John<br />
Westacott,” etc., Mr. James Baker, will shortly<br />
appear, illustrated by numerous photographs by<br />
S$. Ambler. The work describes not only the<br />
numerous abbeys that cluster so thickly here, but<br />
Laurence Sterne’s village, Coxwold, and the wild<br />
natural beauties of Malham Cove and Brimham<br />
Rocks, and the historic sights of Marston Moor,<br />
Knaresborough, etc.<br />
<br />
Dr. Skeat’s edition of “ Pierce the Ploughman’s<br />
Crede,” which the Oxford University Press have<br />
published, is mainly reproduced, with additions<br />
and corrections, from his edition for the Early<br />
English Text Society, which first appeared in<br />
1867.<br />
<br />
Sir Robert Anderson is publishing, through Mr.<br />
John Murray, a volume of personal reminiscences<br />
under the title “Some Sidelights on the Home<br />
Rule Movement.”<br />
<br />
Madame Albanesi’s new novel, published by<br />
Messrs. Hurst and Blackett, is a story of incident,<br />
observation, and character study. It is entitled<br />
«* A Young Man from the Country.”<br />
<br />
An abridged edition of Sir Arthur Conan Doyle’s<br />
“White Company” is being issued by Messrs.<br />
Longmans as a reading book for advanced classes.<br />
It will be produced in much the same form as<br />
“Micah Clarke,” which has already appeared as a<br />
school book.<br />
<br />
Messrs. Cassell & Co. have just issued a book of<br />
Mr. Bart Kennedy’s experiences as a casual worker<br />
in the United States. The title of the work is “A<br />
Tramp Camp,” and its published price is 6s.<br />
<br />
The same publishers are about to issue in the<br />
comprehensive “Treatise on Zoology,’ which<br />
Professor E. Ray Lankester is editing, a volume<br />
dealing with ‘‘ Moliusca,” by Dr. Paul Pelseneer.<br />
<br />
“207<br />
<br />
Mr. Justin Huntly McCarthy’s new story, upon<br />
which he is now working, will be published in the<br />
autumn of the present year. “The Illustrious<br />
O’Hagan,” which is the title of the work, is a<br />
romantic narrative of the seventeenth century.<br />
Mr. McCarthy’s play, based on this story, upon<br />
which he is also engaged, will be produced under<br />
the same title.<br />
<br />
Dr. Emile Reich has recently published, through<br />
Messrs. Chapman & Hall, under the title of<br />
“The Criticism of Life,” a book based upon the<br />
series of addresses on Plato and kindred subjects<br />
which he has been delivering during the past few<br />
months.<br />
<br />
Mr. F. G. Aflalo will publish, through Messrs.<br />
Black, a volume containing the opinions of different<br />
anglers on the question of “ What is the right sort<br />
of weather for angling ?”<br />
<br />
Mr. Baring Gouldis publishing, through Messrs.<br />
Methuen & Co., a book of topography, the subject<br />
of which is the Rhine from Cleve, where it passes<br />
into Holland, to Mainz. Contained in the work is<br />
a record of the part which the Rhine has played in<br />
history, of the three great electorates on its banks,<br />
and of the noble families that built their castles<br />
overlooking it.<br />
<br />
Messrs. Constable & Co. are publishing a book<br />
dealing with the Victorian novelists, by Mr. Lewis<br />
Melville. Among the writers dealt with are<br />
Disraeli, Lytton, Lever, Thackeray, Kingsley, Mrs.<br />
Gaskell, Wilkie Collins, Anthony Trollope and<br />
Charles Reade.<br />
<br />
Messrs. Methuen & Co. published in the<br />
middle of last month a volume of short stories by<br />
Mr. Bernard Capes, entitled ‘ Loaves and Fishes,”<br />
in which an appeal is made to the order of reader<br />
whose palate is not yet aged to the attractions of<br />
the adventurous.<br />
<br />
“In My Garden: a little Summer Book for<br />
Nature Lovers,” is the title of a small memorandum<br />
book lately published by the Lavender Press. It<br />
has an artistic cover, and a jewelled pencil, while<br />
its contents aim at being literary as well as<br />
practical, for it contains a large number of quota-<br />
tions from poetic and prose writers, as well as<br />
hints on gardening and table decoration. Its<br />
price is 1s. nett, and the first thousand copies is°<br />
nearly exhausted.<br />
<br />
Messrs. Blackwood and Sons are publishing a<br />
new book by A. C. Inchbold. It is an Eastern<br />
romance called “ Phantasma,” the subject being<br />
based on Napoleon Buonaparte’s campaign in<br />
Egypt and Syria.<br />
<br />
“No Man’s Land” is the title of a history of<br />
Spitzbergen, by Sir Martin Conway, which the<br />
Cambridge University Press will publish. Since<br />
early in the seventeenth century Spitzbergen has<br />
been the scene of industries which have drawn to<br />
228<br />
<br />
its shores innumerable visitors, whose purposes<br />
and adventures are recorded by Sir Martin<br />
Conway.<br />
<br />
Mr. A. ©. Addison has published through<br />
Messrs. Hutchinson & Co. a new edition of a<br />
work which he originally produced a few years<br />
ago, telling the story of the Birkenhead. Since its<br />
first publication much fresh information and<br />
fuller detail from persons acquainted with the<br />
shipwreck, and new pictures referring to it, have<br />
come to light, and have been incorporated in the<br />
work.<br />
<br />
Mr. J. ©. Snaith’s new work, “ Henry North-<br />
cote,” published by Messrs. Constable & Co., has<br />
for its hero a poor but rising young barrister, who,<br />
after long waiting for briets, at last dramatically<br />
seizes his opportunity, and secures a verdict for<br />
his client in a very sensational trial.<br />
<br />
The third of Mr. St. John Lacy’s Chamber-<br />
Music Concerts for the season (1906) was held at<br />
the Clarence Hall, Cork, on the last day of March.<br />
We make the following extracts from the pro-<br />
gramme :—Quintet in A (a) Allegro; (0) Lar-<br />
ehetto; (c) Menuetto ; (d) Allegretto con variazione,<br />
(Mozart) ; clarinet, two violins, viola and violon-<br />
cello. Songs—(a) “ Les femmes de Magdala,”<br />
(Massenet) ; (2) “Tom the Rhymer ” (ballad)<br />
Op. 135, (Loewe). Songs—(a) “Ave Maria,”<br />
<br />
(Schubert) ; (0) “A Declaration” (“The Heart’s<br />
<br />
Desire”), (St. John Lacy), Miss Harrington.<br />
Duet—‘ Sous les Etoiles,’ (Goring Thomas),<br />
Miss Harrington and Mr. St. John Lacy.<br />
Songs—‘ What need have we” (“ Chastelar’’) ;<br />
“The Brightest Gems,” (St. John Lacy).<br />
Finale—(Moderato) from Trio in G min. (Op. 15,<br />
No. 2), (Rubinstein) ; pianoforte, violin and violon-<br />
cello.<br />
<br />
‘Mr. Gilbert Murray’s metrical version of<br />
“ Buripides the Hippolytus ” was produced at the<br />
Court Theatre on March 26th, with Miss Edyth<br />
Olive and Mr. Granville Barker included in the<br />
caste.<br />
<br />
Mr. J. M. Barrie’s new play, “Josephine,”<br />
described as “a revue in three scenes,” was pro-<br />
duced at the Comedy Theatre on April 4th. The<br />
dramatist obtains the material for his play from<br />
the political events of the past few years, upon<br />
which he constructs a fanciful story indicating the<br />
lines along which recent political history would<br />
have developed if acted by children in the nursery.<br />
‘he caste includes Miss Eva Moore, Mr. Dion<br />
Boucicault, and Mr. A. E. Matthews.<br />
<br />
“Punch: A One-Act Toy Tragedy,” by Mr.<br />
Barrie, was also produced at this theatre on the<br />
same night.<br />
<br />
“Qastles in Spain,” by Cosmo Hamilton, with<br />
music by Harry Fragson, was produced at the<br />
Royalty Theatre on the 18th of last month.<br />
<br />
THE AUTHOR.<br />
<br />
“Prunella, or Love in a Dutch Garden,” by H<br />
Granville Barker and Laurence Housman, was<br />
revived at the Court Theatre on April 24th. The<br />
caste includes Miss Dorothy Minto as Prunella,<br />
and Mr. Graham Browne as Pierrot. 5<br />
<br />
Mr. Alfred Sutro’s new play, produced at the<br />
Garrick Theatre on April 26th, indicates the<br />
attempt of “The Fascinating Mr. Vanderveldt ”<br />
to compromise a widow whom he is anxious to<br />
marry. He succeeds to the extent of involving<br />
her in a motor accident, but the fruits of his work<br />
are spoilt owing to the intervention of the local<br />
vicar. The play terminates by the widow marry-<br />
ing a dull and prosaic colonel. ‘The caste includes<br />
Miss Violet Vanbrugh and Mr. Arthur Bourchier.<br />
<br />
2<br />
<br />
PARIS NOTES.<br />
<br />
a<br />
<br />
Y the death of Eugéne Carriére and M. Curie,<br />
France loses one of her greatest artists,<br />
and one of her greatest savants.<br />
<br />
Of Carriére, Rodin says : “ He was perhaps the<br />
only contemporary painter who did not do paimt-<br />
ing, but who created life! The works of the others<br />
are canvases covered with colours ; his are reality<br />
revealed and his soul expressing itself!” At the<br />
Salon, which opened a few days after his death, a<br />
whole room is devoted to his pictures.<br />
<br />
M. Curie’s loss is irreparable. It is believed<br />
that the work on which he had been engaged since<br />
his discovery of radium was almost completed, and<br />
that he was about to disclose to the world<br />
another of the great secrets of Nature.<br />
<br />
Corneille’s third centenary was commemorated<br />
on the 17th of April, by the inauguration of the<br />
exhibition of souvenirs of the great French poet,<br />
at the Bibliotheque Nationale. There are about<br />
forty portraits of him, the original editions of his.<br />
works, various medals of the eighteenth and nine-<br />
teenth centuries, and other interesting souvenirs.<br />
<br />
M. Ferrero has just published the third volume<br />
of his “ Grandeur et Décadence de Rome.”* The<br />
present volume, entitled “ La Fin @une Aristo-<br />
cratie,” is more fascinating than a novel, as the:<br />
author reconstitutes with great skill the years of<br />
Roman decadence.<br />
<br />
M. Reinach has recently published his fifth<br />
volume on the Dreyfus affair, “ Histoire del’ Affaire<br />
Dreyfus.”+ It is entitled “ Rennes,” and takes us.<br />
on to the decree of September, 1899, the pro-<br />
visional end of the * affair.”<br />
<br />
<br />
<br />
* «© Grandeur et Décadence de Rome,” Plon.<br />
+ “ Histoire de l Affaire Dreyfus,” Fasquelle.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Among the latest publications are the following<br />
volumes : “ Mes illusions et nos souffrances pen-<br />
dant le siége de Paris,’** by Mme. Juliette Adam ;<br />
“ Art et psychologie individuelle,’? by M. Lucien<br />
Arréat ; “ Questions esthétiques et religieuses,”’t by<br />
M. Pau! Stapfer ; ‘‘L’Argentine au XX° siécle,” §<br />
by MM. Martinez and Lewandowski; “La Lutte<br />
universelle,”|| by M. Le Dantec; ‘ La famille<br />
dans Tantiquité israélite,’€@ by M. Lévy;<br />
*« Le Canada, les deux races,’ ** by M. Siegfried ;<br />
“Les Vues d’Amérique,” by Paul Adam.<br />
“Histoire de Gervaise,” [[ by M. Alexis Noel,<br />
is a novel founded on an episode of the war of<br />
1870.<br />
<br />
The remarkable book by M. Jean Finot, ‘La<br />
Philosophie de la Longévité,” tf is now in its<br />
eleventh edition, and contains some valuable<br />
additions, as the author has made considerable<br />
alterations since publishing his first edition.<br />
<br />
Among recent translations from the English are<br />
the following: “ L’entr’aide,” by Pierre Kro-<br />
potkine, translated by M. L. Bréal. “ Le Portrait<br />
de M. W. H.,” §§ by Oscar Wilde, translated by<br />
M. Albert Savine.<br />
<br />
At the last general meeting of the Société des<br />
Gens de Lettres, M. Victor Margueritte was elected<br />
president in the place of M. Marcel Prévost.<br />
<br />
In the Grande Revue of last month, Sir Thomas<br />
Barclay writes on the progress realised by modern<br />
democracy. He says that the time has come<br />
when the people have learnt to take possession<br />
of their destiny without troubling much about<br />
men but about ideas, and that men of genius will<br />
soon no longer be needed in politics, as national<br />
affairs are becoming more and more great com-<br />
mercial and industrial enterprises, which require<br />
the help of practical men.<br />
<br />
M. Octave Uzanne writes in the same review<br />
on the decadence of books, on the mercantile<br />
charlatanism now in vogue, and the publicity<br />
which certain authors organise for their works.<br />
<br />
In the Revue des Deux Mondes, Pierre Loti has<br />
been publishing his new book, * Les Désen-<br />
chantées,”” on modern feminine life in Con-<br />
stantinople.<br />
<br />
M. Brunetiére’s work on Balzac is now pub-<br />
lished in volume form, after appearing in this<br />
<br />
<br />
<br />
* “ Mes illusions et nos suffrances pendant le sitge de<br />
<br />
Paris,” Lemerre.<br />
t “ Art et psychologie individuelle,” Alcan.<br />
i “ Questions esthétiques et religieuses,” Alcan,<br />
“ L’ Argentine au X XI. siéele,” A. Colin.<br />
|| “ La Lutte universelle,” Flanmarion.<br />
‘| “La famille dans l’antiquité israélite,’ Alcan.<br />
** “Te Canada, les deux races,” A. Colin.<br />
+7 “ Histoire de Gervaise,” Plon.<br />
‘La Philosophie de la Longévité,” Alcan.<br />
‘$9 ‘‘Le Portrait de M. W. H.,” Stock.<br />
<br />
229<br />
<br />
review. M.A. Bellessort gives some interesting<br />
details in his article on the Japanese.<br />
<br />
In the Revue de Paris M. Mathieu writes on<br />
“ Pascal et son experience du Puy-de-Déme.”<br />
<br />
The two April numbers of La Revue con-<br />
tained some excellent articles, the most curious<br />
and interesting of which are the two chapters<br />
taken from the “Cahiers de jeunesse” of Renan,<br />
an unpublished work which is to appear shortly<br />
in volume form. Among the other articles are<br />
‘La Vie de mon pére,” by Paola Lombroso ;<br />
“ Eugene Carriére raconté par ses amis,” by<br />
Paul Gesell ; “‘ Sur Taine considéré comme historien<br />
des littératures,” by E. Faguet, and “Le poete<br />
des mineurs du Nord,” by E. Blanguernon. La<br />
Poétique, « new review, which we announced in a<br />
former number of Zhe Author, has discovered<br />
under the most romantic circumstances a poet of<br />
exceptional merit. It appears that the Comte de<br />
Larmandie, delegate of the Société des Gens de<br />
Lettres, happened many years ago upon a most<br />
eccentric individual with a marvellous gift of<br />
poetry. He wrote on any and every subject, but<br />
at a certain epoch in his life he became devout,<br />
and tore up all his profane manuscripts. M. de<br />
Larmandie begged his new acquaintance to pub-<br />
lish his works, but the new convert declared that<br />
it would be an act of vanity and that he was<br />
content to write his poems for “ Heaven and the<br />
angels.” He lent his new friend his manuscripts<br />
to read, but, fearing lest they should be published<br />
in spite of his wishes, insisted on having them<br />
back. M. de Larmandie had, however, learnt<br />
them all by heart, and afterwards was able to<br />
write them down from memory. Later on, “the<br />
poet” was confined for some time in a lunatic<br />
asylum, where, in his lucid moments, he wrote some<br />
admirable verses on his companions. On recover-<br />
ing his reason, he went on a religious pilgrimage,<br />
and at present, in his extreme humility, is living<br />
a wandering life, and is entirely dependent on the<br />
money he receives at the doors of the churches.<br />
The poems which M. de Larmandie remembered<br />
of his are being published in La Poétique, under<br />
the signature of of “ Humilis.” “ La Cathédrale,”<br />
and “Mors et Vita,’ are master-pieces. M. de<br />
Larmandie, who is himself a poet and has pub-<br />
lished more than a hundred volumes of poems and<br />
novels, declares that he has more pride and<br />
pleasure in having discovered and preserved the<br />
works of “ Humilis ” for the world at large than in<br />
all his own writings.<br />
<br />
“ Paraitre,’ by M. Donnay, is the new play now<br />
being given at the Francais.<br />
<br />
Among the new plays are “TL ’Attentat,” by<br />
MM. Alfred Capus and Lucien Descaves at the<br />
Gaité ; “ Pécheresse,”’ by M. Jean Carol, at the<br />
Renaissance.<br />
230<br />
<br />
At the same theatre we now have “La Griffe,”<br />
a piece in four acts by M. Henry Bernstein. The<br />
subject is an extremely modern one, showing us<br />
the gradual moral deterioration of an upright man<br />
under the influence of an unscrupulous woman,<br />
whom he marries, and the ignoble intrigues of<br />
certain members of the financial and political<br />
world to which he belongs.<br />
<br />
On the 3rd of May the Russian company from<br />
Moscow is to give a series of performances here at<br />
the Théatre Sarah Bernhardt.<br />
<br />
Atys HaLuarD,<br />
<br />
SPANISH NOTES.<br />
<br />
—_—<br />
<br />
HE increasing internationalism in Spanish<br />
literary circles is seen in the growing<br />
demand for translations of foreign books in Spuin.<br />
The Baroness Siittner’s ““ Wappen unter” (“ Arms<br />
Down”) is foremost on the list of German works<br />
thus translated, and when one recollects that the<br />
book won the Nobel prize in the competition last<br />
ear of works in favour of peace, its popularity is<br />
well understood. ‘La ilustre casa de Ramirez,”<br />
<br />
“La reliquia,” by the Portuguese author Eca de<br />
Queiroz, ure also now translated into Spanish ; Sefior<br />
Ruiz de Contresas is producing Anatole France<br />
in Spanish ; end Mufioz Escamez is bringing out a<br />
Spanish version of “ La Psicologie de la Educa-<br />
<br />
tion,” by Le Bon. The well-known Castilian<br />
writer, Blasco Ibafiez, is editing translations of<br />
Renan and Strauss; and Sefior Calleja, a pub-<br />
lisher in Madrid, is anxious to publish a collec-<br />
tion of standard English books in Spanish. As a<br />
translator of three of the novels of Palacio Valde’s,<br />
I was glad to hear last week that the author has<br />
just been made a member of the Academy of Spain,<br />
and that he has now taken his place among “the<br />
immortals,” as his plea for the bestowal of the<br />
distinction upon one whom he modestly considered<br />
more worthy than himself was not granted by those<br />
who knew the value of his work. Perhaps this<br />
mark of fame may give rise to a demand for the<br />
English translation of Valdés’ recent novel, ‘La<br />
Aldea Perdida” (“The Lost Hamlet’), which is<br />
now ready for the press.<br />
<br />
The chief literary results of the ter-centenary of<br />
Don Quixote, held last spring in Spain, seem to<br />
be a “ Life of Cervantes,” by the eminent writer,<br />
Fraficisco Navarro Ledesma, whose series of<br />
eloquent lectures on the subject last spring, at<br />
the Atheneum in Madrid first showed me the<br />
power of Spanish oratory; and the book on<br />
<br />
THE AUTHOR.<br />
<br />
“ Seville in the Days of Cervantes,” by Francisco.<br />
Rodriguez Morin, The research of the latter<br />
author is seen in such events of the middle ages as.<br />
that “of 8th May, 1595, when, it is said, no less.<br />
than 103 cartloads of gold, silver, and precious<br />
stones were brought into the city by ships returned<br />
from the new world.” Some of this wealth, still<br />
possessed by the Church, is exhibited in Seville in<br />
such a procession of the effigies of the saints,<br />
decked with jewels, and the priceless relics which<br />
were paraded before King Alfonso and the Infanta<br />
Maria Theresa and her husband at the religious<br />
ceremonies last Holy Week. ‘El Marqués de<br />
Bradomin” is a play which has recently been<br />
staged with great success at the Princesa Theatre<br />
at Madrid. The author, Don Ramon del Valle<br />
Tnclan, had already familiarised the public with the<br />
hero, who is a typical Spaniard of a particular class<br />
in his book called ‘‘ Memorias del marqués de<br />
Bradomin,” so that readers are familiar with the<br />
inert, effete character whose single faith in the love<br />
of his cousin was wrecked because not founded on<br />
a proper basis. The dawning interest in Spain<br />
in the woman’s agricultural movement is not only<br />
seen by the twenty poems and short articles con-<br />
tributed by Spanish women in their native language<br />
to the forthcoming May number of The Woman's<br />
Agricultural Times, but by a play which has been<br />
written by Colonel Figuerola Ferretti, called “ The<br />
Spanish Woman’s Agricultural Times.” This play<br />
is founded on the hoped-for establishment of an<br />
agricultural college in Spain. The pupils are to be<br />
of both sexes, as at the school at Basing, and the<br />
Spanish local colouring and the Castilian characters<br />
in this novel environment are both amusing and<br />
interesting—amusing in the comic incidents of<br />
such a fresh departure in the country, and interest-<br />
ing inasmuch as it shows that the writer voices the<br />
hopes of his countrymen that such institutions,<br />
which he has personally inspected in England, may<br />
be introduced into Spain.<br />
<br />
The playwright, Benavente, has also written @<br />
new play called “La Princesa Bebé,” which was<br />
introduced at the Benefit of the well-known actress,<br />
Maria Guerrero, who took the leading part. The<br />
Atheneum has been recently the scene of a great<br />
ovation to this dramatist.<br />
<br />
Senor Burguete the other day gave a powerful<br />
lecture on the laws of life and the Jaws of war.<br />
Whilst advocating the activity which is necessary<br />
for the welfare of a nation, the lecturer spoke more<br />
of moral energy than physical, for although main-<br />
taining that warfare is better learnt in practice<br />
than in a thousand treatises, he struck the note of<br />
warning against the slackness in the laws of life<br />
which unfits a nation for the laws of war.<br />
<br />
The Geographical Society recently gave a fitting<br />
tribute to General Gomez de Arteche, whose recent<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 231<br />
<br />
death is so much deplored, and whose works, “La<br />
Guerra de la Independencia,” “Tia Geografia<br />
historio militar de Espafia y Portugal,” and<br />
“A Spanish Soldier of the Twentieth Century,”<br />
have rendered such service to the society. Among<br />
those present were the Prince Don Carlos, General<br />
Azcarraga, the late Prime Minister, General<br />
Alameda, etc. Senor Don Luis Tur gave a fine<br />
discourse on the late officer’s life, and the President<br />
of the society also spoke eloquently on the services<br />
he had rendered his country. Spain will presumably<br />
welcome the Spanish translation, by Don Manuel<br />
de Figuerola, of the Foreign Office at Madrid, of<br />
the “ Life of Porfirio Diaz,” by Mrs. Alec Tweedie,<br />
as the Minister who has been seven times President<br />
of Mexico is deservedly admired by Spaniards.<br />
The appreciative account of Martin Hume’s<br />
address to the Spanish “Circle” of the Lyceum<br />
Club, which the well-known Spanish writer, Senor<br />
Ramiro de Maeztu, sent to the leading paper of<br />
Madrid, has done much to promote the entente<br />
cordiale between English and Spanish women.<br />
<br />
RACHEL CHALLICE.<br />
<br />
a ———<br />
<br />
AMERICAN COST OF PRODUCTION.<br />
<br />
—<br />
<br />
HE following figures referring to American<br />
publication may draw aside, to some extent,<br />
the veil which covers the American cost.<br />
<br />
A certain American author desired to bring out<br />
a book of the ordinary octavo size at $1.50, say 6s.,<br />
and found that he could print and bind in cloth<br />
5,000 copies for the sum of $820, according to the<br />
following estimate which may be looked upon by<br />
our members as thoroughly reliable and authentic.<br />
<br />
The book was made up of 350 pp. crown 8vo.,<br />
set in long primer, averaging 35 to 36 lines toa<br />
page, each line was 33 inches long and each page<br />
contained about 1,000 ems. ‘These are the prices<br />
at ordinary printers’ rates.<br />
<br />
<br />
<br />
Type-setting .......-..-eeseceeeeees $140.00<br />
liked oo see 105.00<br />
Paper for edition of 5,000 ...... 92°00<br />
PUGHE WOK 5. y o.oo ce cesses ces 132.00<br />
Binding (liberal estimate) ...... 350.00<br />
$319.00<br />
<br />
(say $820)<br />
<br />
It should be noted that plates are charged for in<br />
this cost. Jt is customary in the United States to<br />
make plates at once and print from them, whereas<br />
in England unless the demand is likely to be large,<br />
the printers usually print from type, This item,<br />
<br />
therefore, has a tendency to increase the cost of<br />
production.<br />
<br />
Ifa sum of $1,150 was taken to cover advertising<br />
office and incidental expenses making the total<br />
cost of production $1,970, the extent of the pub-<br />
lisher’s outlay would have been ascertained. $1,150<br />
is a very high figure for advertising, even under<br />
American ideas. According to some American<br />
publishers, $500 would be much nearer the mark.<br />
If the book sold at the ordinary rates of a discount<br />
book on the United States market it would sell at<br />
40 per cent. off the published price, less 10 per cent.<br />
off the result, and in some special cases 2 per cent.<br />
more. But to give the publisher a fair average<br />
let the price be reckoned at 80 cents. Should the<br />
publisher sell 4,500 copies at that price, leaving<br />
500 copies for review and other purposes—again a<br />
large figure—he would make $3,600 leaving<br />
$1,630 profit. Supposing the author took half of<br />
this he would make $815 which would be a trifle<br />
over 123 per cent. royalty on the published price—<br />
all royalties being paid both in the United States<br />
and in Great Britain on the published price. From<br />
this it is clear that if the author obtains no very<br />
extraordinary sale and the publisher advertises to<br />
a very extraordinary extent, the author can easily<br />
obtain 123 per cent on the published price, that is<br />
by sharing profits with the publisher. Now let us<br />
consider what the publisher will make on his<br />
invested capital,<br />
<br />
1970: 100:: 815: the percentage required<br />
815x100 + 1970 = 8150+197 = 41°3 per cent.<br />
<br />
If, however, this circulation does not take place<br />
in one year, but in two years, he would make just<br />
over 20 per cent. on his capital. This is apercentage<br />
that the ordinary trader would not despise.<br />
<br />
Now let us take a figure which we have been<br />
assured by an American publisher is a more com-<br />
mon and more reasonable figure for advertising,<br />
that is $500. We then obtain the following<br />
results.<br />
<br />
The total cost of the book including advertising<br />
is $1,320.<br />
<br />
The total returns from the sales of 4,500 copies<br />
—giving the same ample margin as to numbers<br />
and price is $3,600.<br />
<br />
If $1,320 is deducted from $3,600 we obtain<br />
$2,280 as the amount of profit to be divided<br />
between the author and the publisher.<br />
<br />
Again if the author takes half of this he will get<br />
$1,140 or just under 17 per cent. on the published<br />
price. As, however, the publisher will have made<br />
$1,140 on an expenditure of $1,320 supposing the<br />
amount is made within the year, he will have made<br />
more than 86 per cent. on his outlay, or 43 percent.<br />
if the amount is made in two years. There is no<br />
reason, therefore, why the author should not have<br />
232<br />
<br />
a larger percentage of the profits and still leave<br />
the publisher ample return on his capital.<br />
<br />
If the author should take 20 per cent. royalty<br />
$1,360—it must not be forgotten that the royalty<br />
is paid on the published price, not on the gross<br />
zeceipts—he leaves the publisher $920 profit, and<br />
if these sales occur in one year—tor the life of a<br />
novel is short—the publisher makes just about<br />
70°2 per cent on the capital he has invested.<br />
<br />
Taking the sales of a book up to 4,500 copies of<br />
an edition of 5,000-—not an uncommon circulation<br />
—the author ought to be able to get between<br />
16 and 20 per cent. from an American publisher<br />
and leave him an ample profit.<br />
<br />
Tt must be remembered that the book is adiscount<br />
book ; therefore, if it had been published nett it<br />
would have stood a still larger percentage. Lastly,<br />
the figures are taken on the whole in favour of the<br />
publisher.<br />
<br />
Let us compare these figures with the English<br />
cost of a similar book.<br />
<br />
£ Ss dh<br />
<br />
Composition of 22 sheets .........<br />
<br />
Printing: osc te<br />
<br />
Paper<br />
<br />
Moulding and Plates ...............<br />
<br />
BINS oie 100<br />
<br />
£200 8 0<br />
<br />
These are all liberal figures, so that if we reckon<br />
£200 for the whole this would show the price at<br />
which the regular printer would be willing to<br />
undertake the work.<br />
<br />
This fact then becomes evident that the Ameri-<br />
can cost of production is £36 cheaper than the<br />
English, so that all the talk which the publishers<br />
have for some time been cramming down the<br />
throats of English authors about the expenses of<br />
the American cost of production, is incorrect. As<br />
a matter of fact the authority who has been kind<br />
enough to supply the figures, states that the<br />
American cost could be reduced by another $50<br />
or £10. It is true that some years ago prices in<br />
the United States were higher than at present, and<br />
it is true also that the expenses incidental to<br />
American houses, of travelling and advertising, are<br />
still higher than the English.<br />
<br />
Let the illustration be taken further. We have<br />
reckoned $1,150 for the advertising and inci-<br />
dental expenses in the United States, taking a<br />
liberal scale. ‘Taking a liberal scale for the same<br />
on the English market, we should put the figure at<br />
about £130, so that we might reckon the total cost<br />
of production of the book at £330 against the total<br />
cost of production of the American book—taking<br />
the same proportion for advertising—at $1,970.<br />
<br />
THE AUTHOR.<br />
<br />
Let us now proceed to take the sales of the book<br />
in England.<br />
<br />
3s. 6d. is a good average price for each copy,<br />
after making all deductions; but as this figure,<br />
although proved correct on many occasions, has<br />
been disputed by some publishers, 3s. 4d. will<br />
satisfy all demands.<br />
<br />
The sale of 4,500 copies at 3s. 4d. would produce<br />
£750, and the English publisher would make<br />
£420 profit, and supposing the author took half<br />
this as in the former example, he would make<br />
£210. Now £210 on the published price of 4,500<br />
at 6s. would be £210 on,£1,350, or over 154 per<br />
cent. royalty, and the publisher would make over<br />
63 per cent. on his outlay.<br />
<br />
Let us now take, as in the United States<br />
example, the advertising at a more reasonable<br />
figure. Where the United States publisher would<br />
advertise to the extent of $500 the English pub-<br />
lisher would expend £60. The total cost of the<br />
book, including advertising, is now £260. The<br />
total returns from the sales of 4,500 (giving the<br />
same ample margin in numbers and price) is £750,<br />
and the total profits for division, £490. Now, if<br />
the author takes his half share he will get £245,<br />
or over 18 per-cent. The publisher, supposing the<br />
amount has been made within the year, will get<br />
over 94 per cent. on his outlay, or 47 per cent. if<br />
the amount is made in two years.<br />
<br />
Following again the last example in the United<br />
States cost, if the author is so grasping as to get<br />
20 per cent. royalty, £270, he leaves the publisher<br />
£220. If, then, the sales occur within one year<br />
the publisher makes on his outlay 84 per cent. ; if<br />
in two years, 42 per cent.<br />
<br />
To sum up, therefore, we find the following<br />
instructive results :<br />
<br />
If 5,000 copies of an ordinary 6s. or $1°50 are<br />
pliated, and 4,500-copies sold at ordinary rates,<br />
and a reasonable sum is spent on advertising.<br />
<br />
In the United States, on a half profit division<br />
<br />
the author makes just under 17 per cent. on<br />
the published price ; and the publisher, 86<br />
per cent. on his outlay, if the sales occur<br />
within one year; a 43 per cent. if the sales<br />
occur in two years.<br />
<br />
In England, on a half profit division,<br />
<br />
the author makes over 18 per cent. on the<br />
published price, and the publisher 94 per cent.<br />
on his outlay, if the sales occur within one<br />
year ; 47 per cent. if the sales occur in two<br />
years.<br />
<br />
If the author in the United States takes 20 per<br />
cent. on the published price under the same<br />
circumstances,<br />
<br />
the publisher makes 70 per cent. if the sales<br />
occur in one year; the publisher makes 35<br />
per cent,, if the sales occur in two years.<br />
<br />
<br />
<br />
<br />
<br />
<br />
If the author in England takes 20 per cent. on<br />
the published price,<br />
the publisher makes 84 per cent. if the sales<br />
occur in one year ; 42 per cent. if the sales<br />
occur in two years. Authors are requested to<br />
make their own deduction.<br />
<br />
Gon. T.<br />
<br />
SN SEP SE eee<br />
<br />
WHEN IS A PUBLISHER’S LOSS A<br />
PUBLISHER'S GAIN ?<br />
<br />
—+ > 5<br />
<br />
HE title of this article may appear paradoxical,<br />
but the article will explain itself.<br />
The clause printed below, or the same<br />
with slight variations, is frequently to be found in<br />
publishers’ agreements :—<br />
<br />
“ That the Publisher shall at the time of the delivery of<br />
the said statement pay to the Author (subject as mentioned<br />
below, and except any copies specially excepted) on all<br />
such copies sold at above half their published price, a<br />
royalty of 15 per cent. on their published price, and on all<br />
such copies sold at or below half their published price a<br />
royalty of 15 per cent. on the net receipts of such sales,<br />
and on all such copies sold at below one quarter of the<br />
published price, the royalties shall be 5 per cent. of the<br />
net receipts of such sales. In calculating royalties on such<br />
copies sold at above half their published price, thirteen<br />
copies shall be reckoned as twelve. No royalties shall be<br />
paid upon any copies presented to the author or others, or<br />
to the Press, or upon copies destroyed by fire or in transit.<br />
Provided always that the royalties provided for in this<br />
Clause shall not be payable in respect of special editions<br />
to which Clause 6 hereof shall be applicable, or to any sales<br />
under Clause 7 hereof.”<br />
<br />
The royalty of 15 per cent. on the published price<br />
has been inserted, and also the royalty of 15 per<br />
cent. when the book is sold at or below half the pub-<br />
lished price. Asa matter of fact when the royalty<br />
on the published price exceeds 10 per cent, rising to<br />
15 per cent. to 20 per cent. or 25 per cent., the<br />
royalty, in nearly every case when the book is sold<br />
at or below half the published price, remains at<br />
10 per cent. only. The publisher argues that he<br />
cannot afford to pay the same royalty on the lower<br />
figure as the higher. It will be necessary to show<br />
that even when the publisher quotes the same royalty<br />
on the lower price, he gains an advantage by<br />
selling the book to the bookseller at or below half<br />
the published price rather than at the full trade<br />
price. The following figures should be carefully<br />
studied, for although writers in The Author have,<br />
from time to time, criticised the Clause severely,<br />
the mathematical results of this method of dealing<br />
have never been actually set out.<br />
<br />
For convenience sake let the example of the six<br />
shilling book stand.<br />
<br />
If this book is sold to the bookseller at<br />
<br />
above half the published price then the author<br />
<br />
THB AUTHOR.<br />
<br />
<br />
<br />
233<br />
<br />
will obtain the following amount on. each copy<br />
sold.<br />
Op xX 1D) 4<br />
<br />
WO<br />
<br />
Now the full price, taking a fair average at which<br />
the publisher sells the 6s. book to the bookseller is,<br />
3s.6d., sometimes a little less: but as it has often<br />
been asserted by the publisher that this statement<br />
is incorrect, though it has, as often, been proved to<br />
be accurate, it will be fair to the publisher to give<br />
him a further advantage and take the published<br />
price which the publisher receives from the book-<br />
seller right through, reckoning all deductions 13<br />
as 12, &c., as 3s. 4d.<br />
<br />
It is clear, therefore, that when the publisher<br />
gets 3s. 4d. a copy, he obtains, after deducting<br />
15 per cent. the royalty due to the author,<br />
3s. 4d. — 104d. = 40d.—104d. = 291d.= 2s. 52d.<br />
But it is possible, if the book is very successful,<br />
that an agent from one of the large bookselling<br />
houses, may come forward and say, “I am going<br />
to buy a very large number of copies, but I will<br />
only purchase them if you will sell them to me at<br />
8s. 2d. a copy.” The publisher, in answer to this,<br />
to the bookseller’s astonishment may reply : “ No,<br />
if you are going to buy large quantities I can let<br />
you have them at as low a figure as 3s.” The<br />
bookseller is surprised at the publisher's generosity<br />
but willingly accepts the lower figure.<br />
<br />
The result to the author and publisher will then<br />
work out as follows :—<br />
<br />
The publisher sells at 3s., and has to pay the<br />
author 15 per cent. on this price. Therefore, he<br />
pays the author<br />
<br />
3s. X 15<br />
pee eras A ae<br />
<br />
and gets himself for the book<br />
3s. — 52d. = 36d. — 52d. = 303d.<br />
<br />
In consequence, selling to the bookseller at the<br />
lower figure, and not insisting on the usual trade<br />
terms, he gains the difference between 308d. and<br />
292d. or 12d. per copy.. This difference is con-<br />
siderable if he makes a large sale at this figure,<br />
and it is generally the fact that the price is<br />
reduced if the sale is a large one, but the result is<br />
still more startling if a 20 per cent. royalty<br />
is taken. We then get the following figures :-—<br />
<br />
Author’s royalty on a 6s. book at 20 per cent. is<br />
<br />
xX WF = 104d.<br />
<br />
ee = Lis.x32 =$x 49 =142d, = 1s. 224.<br />
<br />
If the publisher, therefore, insists on sticking to<br />
the trade price he would get per copy<br />
8s. 4d. — 1s. 22d. = 2s. 12d. per copy.<br />
Again the bookseller comes along with the same<br />
bargain as before. ‘The publisher sells at 3s.<br />
<br />
<br />
234<br />
<br />
The author's royalty on the lower price is<br />
<br />
38. x 20<br />
or = Sof 12d, = 73d.<br />
<br />
Therefore, the publisher will receive<br />
36— 71d. = 284d. = 2s, 44d.,<br />
<br />
instead of 2s. 14d., thus he gains by the sale at<br />
half price 33d., whereas when the article was at<br />
15 per cent. he gained 12d. The result is still<br />
more startling when the author gets only 10 per<br />
cent. on the lower price. It is hardly necessary to<br />
work out so self evident a fact.<br />
<br />
It is, therefore, quite clear that such a clause in<br />
an agreement is financially unsound as far as the<br />
author’s returns are concerned, as it acts on the<br />
publisher as a temptation to sell the book at half<br />
price (thus decreasing the author’s royalties<br />
and his fair return), rather than to endeavour to<br />
maintain the full trade price and allow the author<br />
the full royalty. In the hands of a fair-minded<br />
publisher there might be no dispute, and this is no<br />
doubt the argument of the unbusinesslike author.<br />
But the answer is plain, if a fairminded publisher<br />
would not take advantage of the clause, then the<br />
clause is unnecessary. Whenever, therefore,<br />
<br />
authors meet it in their agreements they should,<br />
at once, strike out the portion that refers to sales<br />
at or below half the published price.<br />
<br />
But they must not confuse this portion of the<br />
<br />
clause with bona fide remainder sales. With a bona<br />
fide remainder sale—a sale where the book fetches<br />
little more than the value of the paper, the publisher<br />
cannot, of course, afford to pay a royalty on the<br />
published price ; and it often happens that pub-<br />
lishers, when the sale of a book has really ceased,<br />
and they desire to clear their shelves, sell as a<br />
remainder, but in this case it should be understood<br />
that the whole stock is cleared off and the agree-<br />
ment cancelled.<br />
G. i. if,<br />
<br />
Oe ——_____—<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
1<br />
<br />
BLACKWOOD’S.<br />
<br />
Charles Lever.<br />
<br />
Drake: An English Epic. By Alfred Noyes.<br />
<br />
Salamanca. By Edward Hutton.<br />
<br />
A History of Human Error.<br />
<br />
Musings Without Method : Mr. Carnegie as an Arbiter<br />
of Letters : Authors and Publishers : Literature and<br />
Advertisement,<br />
<br />
BOOKMAN.<br />
<br />
Oliver Goldsmith. By J. H. Lohban.<br />
<br />
The Romance of English Folk Speech,<br />
Hamilton.<br />
<br />
Laurence Sterne.<br />
<br />
By Bevis<br />
<br />
By Ranger.<br />
<br />
‘Book MONTHLY.<br />
If I Were a Publisher. By Clement K. Shorter.<br />
Southward Ho! To Eversley, the Home of Charles<br />
Kingsley. By W. J. Roberts.<br />
<br />
THE AUTHOR.<br />
<br />
A Derelict Novel Which a Lord Chancellor Wrote and<br />
Then Suppressed. By Charles M. Clarke, LL.D.<br />
<br />
The Pen and the Book, or Wisdom for Author and Pub-<br />
lisher While They Wait.<br />
<br />
CONTEMPORARY.<br />
Religious Events in France. By F, Testus.<br />
The New Aristocracy of Mr. Wells. By J. A. Hobson.<br />
Direction for Popular Readers. By Ernest A. Baker.<br />
Archeology and Criticism. By W.H. Bennett, Litt.D.<br />
The Truth About The Monasteries. By G. G. Coulton.<br />
Nikolai Andréyevitch Rimski-Korssakov. By A, E.<br />
<br />
Weeton.<br />
Dramatic Form and Substance, By Philip Littell.<br />
FORTNIGHTLY.<br />
<br />
Letters and the Ito. By Israel Zangwill.<br />
A Saint in Fiction. By Mrs. Crawford,<br />
A French Archbishop. By Constance Elizabeth Maud.<br />
Philadelphia. By Henry James.<br />
uo Survival Value of Religion, By C, W. Saleeby,<br />
INDEPENDENT REVIEW.<br />
Flaws in Elementary Education, By W. J. Fisher.<br />
The Florentine Movement. By Aelfrida C, W, Tillyard,<br />
Religion and Metaphysics. By B. Russell,<br />
<br />
Mont.<br />
<br />
Science and Religion, By. J. G.<br />
<br />
A Child Queen of Spain, By the Comtesse de Courson.<br />
<br />
A Pilgrim of Eternity. By M.N.<br />
<br />
A Paris Centre of Social Activity,<br />
Crawford,<br />
<br />
The English Pope and His Irish Bull, By The Rey.<br />
Herbert Thurston,<br />
<br />
MONTHLY REVIEW.<br />
<br />
Dream andIdeal. By Norman Gale,<br />
<br />
Mr. Morley. By Algernon Cecil.<br />
<br />
The Moral Crisis. By F, Carrel.<br />
<br />
The Essential Factor of Progress, By C. W. Saleeby.<br />
<br />
Roman Catholics and Journalism. By Basil Tozer,<br />
<br />
Coventry Patmore : Supplementary Notes: With Some<br />
Unpublished Letters.<br />
<br />
Do Our Girls Take an Interest in Literature? By Mar-<br />
garita Yates,<br />
<br />
By Virginia M.<br />
<br />
NATIONAL REVIEW.<br />
Our “Insolvent” Stage, By Austin Harrison,<br />
<br />
NINETEENTH CENTURY.<br />
Eton Reminiscences. By The Right Hon. The Lord<br />
Monson.<br />
The Papal Attack on France.<br />
Education for Country Children.<br />
force.<br />
<br />
By Robert Dell,<br />
By R, G. Wilber-<br />
<br />
PALL MALL MAGAZINE.<br />
A Shakespeare Birthday : A Reminiscence of Charles<br />
Dickens : Written and Illustrated. By Harry Furniss,<br />
Epitah. By Eden Phillpotts.<br />
Musical Pictures. By C. Lewes Hind,<br />
<br />
TEMPLE Bar.<br />
Thomas de Quincey. By Edward Thomas. :<br />
Filippo Brunelleschi : A Study From Vasari’s “ Lives.”<br />
By Marie-Louise Egerton Castle.<br />
An Experiment in Fairy Tale, By Wm. J. Batchelder.<br />
Recognition. By Evangeline Ryves.<br />
<br />
TWENTIETH CENTURY QUARTERLY.<br />
A New Poet. By Professor Dowden.<br />
James Anthony Frowde. By A. W. Evans.<br />
Some Historians and The Reformation,<br />
A, E. N. Simms, B.D.<br />
<br />
By the Rev.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<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 />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained, But the transaction should be managed by a<br />
<br />
- competent agent, or with the advice of the Secretary of<br />
<br />
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 />
(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 />
“G.) Not to give up serial or translation rights. :<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
‘doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It isnow<br />
possible for an author to ascertain approximately the<br />
¢ruth, From time to time very important figures connected<br />
qith royalties are published in Zhe Author,<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :— :<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
43.) 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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
—___—_+—>—_+—___—_<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
a<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 />
THE AUTHOR.<br />
<br />
235<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
\0.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.¢., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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 United States 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 information<br />
are referred to the Secretary of the Society.<br />
<br />
—_——_+—<_-+_____-<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ee<br />
<br />
ITTLE can be added to the warnings given for the<br />
], assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
236<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
a<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. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion, All this<br />
<br />
without any cost to the member,<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past.<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To readgand advise upon agreements and to give<br />
advice concerning publishers, (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation.to the Secretary<br />
of the Society.<br />
<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 endeayour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10, The subscription to the Society is £1 4s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
THE AUTHOR.<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
—+— +<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble,<br />
<br />
—_—_1—9—4—_____.<br />
THE READING BRANCH.<br />
<br />
EMBERS will greatly assist the Society in this<br />
VI branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. ‘The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
———_-—>—e _______<br />
<br />
NOTICES.<br />
—_-~ +<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
I the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s, 6d. subscription for the year.<br />
<br />
Communications for “ The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connegted with literature, but on<br />
no other subjects whatever. Fray 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 />
————_+—>—e__<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
—-——1—.<br />
<br />
ENSIONS to commence at any selected age,<br />
P either with or without Life Assurance, can<br />
be obtained from. this society.<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, H.C,<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—t 1<br />
<br />
| h N important judgment has been delivered in<br />
<br />
<br />
<br />
the Superior Court of Montreal. The<br />
Province of Quebec, as everyone knows, is<br />
| the centre of the French Canadian community, and<br />
| im consequence there is a considerable demand for<br />
¢ books in the French language. The case dealt<br />
with the reproduction in French Canada of the<br />
work of Jules Mary, a popular French novelist.<br />
Mr. Justice Fortin decided that under the<br />
Imperial Acts and the Berne Convention, no right<br />
- of reproduction of the work in Canada could exist<br />
‘i withoot the consent of the author, in other words<br />
wf that there was no right of piracy. This decision<br />
ty 4 is, of course, merely corroborative of many deci-<br />
“oi sions that have been given previously in Canada,<br />
‘oad but it is of importance as dealing with the rights<br />
to of foreigners in British possessions.<br />
<br />
<br />
<br />
© & we<br />
i<br />
<br />
THE interest of members will, no doubt, be<br />
occupied by an article printed in another part of<br />
The Author, entitled “Why isan Agent?” The<br />
‘ 4@ article is from the pen of a rising American writer,<br />
‘ofa and the opinion of a literary man and a business<br />
esai man from the other side of*the water upon the<br />
<br />
« method of marketing literary works in England<br />
Fas and the United States cannot fail to cause the<br />
4st members of the Society to think seriously on the<br />
p@ subject.<br />
<br />
i From time to time The Author has contained<br />
articles dealing with agents. We refer especially<br />
to an article printed in the April (1904) issue.<br />
‘These articles point out clearly the difficulties and<br />
dangers, as well as the advantages, of an agent’s<br />
' work, but it is of considerable value to have an<br />
independent opinion from one in the habit of<br />
; marketing his own work He makes a suggestion<br />
at the end of the article and asks whether the<br />
Society could not undertake certain duties. If<br />
this meets with the approval of authors the<br />
Committee would no doubt willingly take the<br />
matter under their attention. At any rate the<br />
members should inwardly digest his ideas.<br />
<br />
There are many authors who will not fall in<br />
with the views expressed. If so, we should be<br />
glad to hear from them.<br />
<br />
DO<br />
<br />
t<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
In the last two numbers of The Author articles<br />
have appeared referring to the “Date of Publi-<br />
cation.”” The importance of this point cannot be<br />
over-estimated. It has been raised again in the<br />
report on thenew American Copyright Consolidating<br />
Bill printed this month, where the following<br />
statement is made :—*“'l'he fundamental position<br />
reached was that publication itself should be<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
237<br />
<br />
recognised as the dividing point between the<br />
common law right in an unpublished work and<br />
the statutory protection of a copyright work, we.,<br />
that copyright should date from publication.” It<br />
is hoped that this new Bill will define more clearly<br />
than some of the Acts of other countries what<br />
really constitutes publication,<br />
<br />
<br />
<br />
<br />
<br />
We have received some further information<br />
from the Kegistrar of Copyrights at the Library of<br />
Congress, Washington, and understand that the<br />
draft of the proposed new Copyright Law will,<br />
by the time this paragraph appears, have been<br />
introduced into Congress.<br />
<br />
The questions raised in the last two numbers of<br />
The Author have not been overlooked by those<br />
who have the Bill in hand. The American Pub-<br />
lishers’ Copyright League and their advisers<br />
believe they have succeeded in overcoming the<br />
difficulty.<br />
<br />
9<br />
<br />
THE ANNUAL DINNER.<br />
<br />
—_-——-+—_<br />
<br />
EMBERS of the society are reminded that<br />
the annual dinner will take place on the<br />
9th of this month at the Criterion Res-<br />
<br />
taurant at 7 for 7.30.<br />
<br />
The Right Honble. the Lord Curzon, P.C., &e.,<br />
and Lady Curzon, of Kedleston, have consented to<br />
be the chief guests of the evening on that occa-<br />
sion. In accordance with the usual custom, the<br />
chairman of the committee for the year, Sir Henry<br />
Bergne, K.C.B., K.C.M.G., will take the chair.<br />
<br />
i<br />
<br />
RICHARD GARNETT.<br />
<br />
+4<br />
<br />
HE bright Easter weather is darkened for<br />
innumerable friends by the unexpected death<br />
of Dr. Richard Garnett. The news reaches<br />
<br />
me—and with it the request that I would say a<br />
few words in his honour—in a remote part of Ire-<br />
land, where i am out of reach of books, and there<br />
is something incongruous in speaking of Dr. Garnett<br />
elsewhere but in a library. He was a man of books,<br />
in a sense more exclusive than could be used of<br />
any other man I ever met. Bibliographers there<br />
are in plenty, but none who are so familiar as he<br />
with the inside of the treasures in their charge ;<br />
librarians, too, but none to whom their shelves<br />
was so full of living, wrangling, loving, palpitating<br />
beings; collectors, but none in whom a sense of<br />
hospitality towards the objects he collected is<br />
so curiously developed.<br />
<br />
With no books, no letters, to refer to, I am<br />
238<br />
<br />
thrown sadly on my memories. They go back far,<br />
since it was in 1867 that I knew Dr. Garnett first<br />
—nearly forty years of man’s brief life. In those<br />
days he stood in front of a table in an underground<br />
passage of the British Museum, with endless shelves,<br />
still mostly empty, before him, and a network of com-<br />
plicated steel, like a cosmos of bird-cages, stretch-<br />
ing around him in every direction. He was still<br />
young, slightly timorous, but sedate, polite and<br />
responsive, pausing, with a heap of books in his<br />
arms, as he carried them to their unknown home in<br />
the steel construction, so that he might answer the<br />
question of some official. Those were days when<br />
his activities were subterranean and before he<br />
emerged to public sight in the conning-tower of<br />
the Reading Room. He wasstill unknown, still pre-<br />
paring to be recognised a few years later as the only<br />
living person acquainted with something at least<br />
about practically every book of importance in that<br />
vast collection. His life, in those days, was spent<br />
on his legs, moving from shelf to shelf, gliding<br />
along the steel floors under the steel ceilings,<br />
always with a book held up to his face, always,<br />
with a rapid gesture, weighing, placing, fitting in<br />
another ¢essera of the enormous intellectual mosaic<br />
of his memory.<br />
<br />
As a critic, or rather as an appraiser of books,<br />
Dr. Garnett was the most democratic man whom<br />
we have seen. His taste was gratified by excellence<br />
<br />
of every kind, and all he asked was that a writer<br />
should have shown skill in his own class and<br />
<br />
generation. He was not overawed by the great<br />
authors to such an extent as to despise the little<br />
ones. It might be thought that this love of equal-<br />
ity would decrease his power of being interested<br />
in what was best. But that was hardly true. He<br />
would worship with perfect decorum in the temple<br />
of Dante, and yet be presently found in a cottage<br />
with his toes to the fire, enjoying the company of<br />
Filicaja or of Trissino<br />
<br />
His uniformity of sympathy was one of his most<br />
extraordinary qualities, and so long as the language<br />
did not bar the way—and his knowledge of the<br />
European languages was very extensive—it never<br />
betrayed him. He would discourse with propriety<br />
of the sonnets of Shakespeare, and then, with no<br />
alteration in his voice, of those of some Portuguese<br />
of the sixteenth century, or of some Pole of the<br />
nineteenth. He was among the earliest of those<br />
who admired Walt Whitman with moderation,<br />
Baudelaire with discretion, Heine with enthusiasm.<br />
Nothing put him out of countenance ; of every<br />
genuine product of imaginative energy, in everyage<br />
and country, Garnett found something favourable<br />
to say. He was not bored by Beowulf, nor made<br />
angry by Diderot, nor scandalised by Nietzsche.<br />
I think it probable that there never was born,<br />
anywhere, another man who contemplated literature<br />
<br />
THER AUTHOR.<br />
<br />
from every side, with such an absence of prejudi<br />
as did Richard Garnett. In this respect alone the<br />
work that he did for English letters, in the peace-<br />
able cause of a sweet reasonableness, and in a quiet<br />
resistance to Podsnappery, was beyond all price,<br />
<br />
He wrote verse for more than fifty years with<br />
great persistency, but without any self-deception.<br />
It was his best recreation, but he pursued it with<br />
no illusion that he was a poet of genius. I did<br />
not enjoy his poetry very much, and on one<br />
occasion, through the inexcusable blunder of a<br />
third person, and to my deep chagrin, he was<br />
informed of this. The incident would not be<br />
worthy of a thought, if it were not that I recall<br />
how it emphasised his unassailable courtesy and<br />
resolute good temper. His very numerous little<br />
volumes of verse contained several things which<br />
may be of permanent value. In particular, in the<br />
volume called ‘Io in Egypt,” will be found a<br />
“Ballad of the Boat,” which is of an original<br />
and haunting beauty. It was greatly admired,<br />
I remember, by Coventry Patmore. But, of<br />
Garnett’s contributions to creative literature, there<br />
were two which were of far higher value than any<br />
of his poems. I mean the volume of stories called<br />
“The Twilight of the Gods,” and the curious little<br />
drama about the youth of Shakespeare. The<br />
former of these, which preceded, not merely the<br />
amazingly clever pastiches of such recent writers as<br />
Hughes Rebell and Pierre Louys, but even, I think,<br />
the “Thais” of Anatole France, remains unsur-<br />
passed for witty and ironic reconstruction of<br />
antique life. The latter seemed to me to reveal<br />
the odd genius of its author for a kind of humorous<br />
travesty of life and literature more brilliantly than<br />
anything else which he produced. ach of these<br />
books—they appear to have mystified the reviewers,<br />
and to have been severely neglected by the public<br />
— suggested that Garnett possessed gifts of<br />
ironic imagination, which, if he had been born<br />
a Frenchman, would have lifted him to a high<br />
popularity.<br />
<br />
I am desired to mention that he was a member<br />
of the Society of Authors since 1887, a member of<br />
the Council, and a member of the Nobel Prize<br />
Committee.<br />
<br />
EDMUND GOSSE,<br />
<br />
i ee<br />
WHY IS AN AGENT?<br />
<br />
1<br />
<br />
N our dignified and decorative capacity of ~<br />
Deputy-Assistant Floor-Manager in the<br />
Literary Shop, we are frequently called<br />
<br />
upon to cope with problems of pressing moment<br />
to our co-labourers in that famous emporium.<br />
As we stroll with negligent air but lynx-like:<br />
<br />
<br />
<br />
<br />
i<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
vigilance up and down the aisles of that depart-<br />
ment which a discriminating Management has<br />
consigned to our devoted care, we are constantly<br />
being beckoned hither and yon by perplexed but<br />
attractive sales-ladies and mystified counter-<br />
gentlemen, who submit to our austere but sym-<br />
pathetic consideration the countless questions that<br />
arise in the course of the day’s business. And so<br />
just have been our decisions in vexing cases, so<br />
penetrating our insight into the most (seemingly)<br />
inscrutable of enigmas, that our fame has spread<br />
beyond the limits of the Fiction Department ; and<br />
hardly a day passes without our being requested<br />
to step over to the Art Counter, or up to the<br />
Biography Bureau, or even (at times) down to the<br />
Shilling Shocker Cellars, to settle and pass judg-<br />
ment upon difficult points.<br />
<br />
We have but to quote from two of our most<br />
recent rulings to establish the reader’s confidence<br />
in our infallibility and to justify ourselves of what<br />
may have seemed slightly self-complacent asser-<br />
tions on our part in the foregoing paragraph.<br />
<br />
Not long since there was laid before us the<br />
query: “Why is an Author?” To which we<br />
replied instantly but in the accents of omniscience :<br />
“Because a Man must Live.” And a little later<br />
a more tremendous, a veritably staggering riddle<br />
was read us: ‘“‘ Why is a Publisher?” Yet we<br />
were not slow in reading the answer, ‘‘ Because<br />
Man was born to Trouble as the Sparks fly<br />
upward.”<br />
<br />
Comment is superfluous. We have made our<br />
point. We now proceed ruthlessly to rend apart<br />
the garment of infallibility with which we have<br />
been clothed in the eyes of the world ; and shall<br />
presently stand revealed as mere mortal clay.<br />
<br />
“Why is an Agent?” has been asked us. And,<br />
humiliating as the confession is to our proud<br />
spirit, we must manfully own that for once we are<br />
stumped; we do not know. We do not believe<br />
that anybody knows. It is inconceivable to us<br />
that the mind of man can construct an apology,<br />
however evasive and sophistical, for the existence<br />
of the literary agent. ‘To the contrary so many<br />
arguments occur to us as conclusive proof that an<br />
agent should not be permitted to exist, that we<br />
are unable to resist the temptation to put our<br />
conclusions on paper, for the instruction and (we<br />
trust) the edification of our confréres.<br />
<br />
But first we must dispose of the assertion that<br />
the agent himself has put forward excuses for his<br />
existence—an assertion calculated to cast doubt<br />
upon our claim that the mind of man is incapable<br />
of apologising for the agent. To this we reply<br />
briefly and crushingly that, as is well known, a<br />
literary agent is not human ; he is an unnatural<br />
growth, a parasite (and a voracious one) upon the<br />
body literary. Blinded by his self-imposed con-<br />
<br />
239<br />
<br />
viction that he has a living to make, and that the<br />
literary fields are more easy to till and more<br />
lucrative to the conscientious husbandman than<br />
those afforded by the gold-brick, green goods and<br />
confidence game acres (as cultivated by his cousins.<br />
across the Atlantic), the literary agent mistakenly<br />
believes himself a human being and all the others,.<br />
authors, authoresses and authoreens, merely easy<br />
marks. Sadly enough, the attitude of the body<br />
literary towards the agent is consistently such as<br />
tends to confirm him in this hallucination.<br />
<br />
~We authors continue to surrender ourselves to-<br />
the literary agent; hypnotised by his suave<br />
assurance, disarmed by his bland and _ benign<br />
smile, bewitched by his assertive concern for our<br />
material welfare, infatuated we walk into his<br />
parlour and—escaping, it is true, with our lives—<br />
leave behind us our MSS. and a tenth part of our<br />
income. The custom savours of fetish worship—<br />
to change the metaphor: the literary agent has<br />
with his own fair hands beaten out his own halo<br />
(of brass), and so, self-sanctified, has placed himself”<br />
upon a pedestal, high, inaccessible, aloof; and<br />
into his presence we authors crawl in fear and<br />
trembling, giving him reverence without question,<br />
because, forsooth, he asks it. With publishers we<br />
have learned to walk erect, as men among their<br />
fellows ; sometimes we even presume to treat them<br />
with a trace of hauteur. But we all kow-tow to<br />
the agent ; and he waxeth rich and offensive on:<br />
our tithes. ~~<br />
<br />
Now, why ?<br />
<br />
“‘ Because,” says the agent, “I am a necessity..<br />
Remove me and the wheels of the publishing<br />
world will cease to go round. I enjoy alike the<br />
familiar confidence of the publishers, the published<br />
and (though I’m sure I don’t know why I should<br />
bother with them ; besides I only pretend to) the<br />
great unpublished.<br />
<br />
“Bring me your MSS., all ye that are weary and<br />
heavy-laden, and I will dispose of them at high<br />
prices. Publishers believe so thoroughly in my<br />
judgment that an author whom I condescend to<br />
take up is a made man ; and frequently they pay<br />
<br />
-me more than a MS. is worth, just because I have:<br />
<br />
recommended it. They could buy from the<br />
author at a cheaper rate, but they like my winning<br />
ways so well that they prefer to pay me the higher<br />
price. Isn’t it wonderful ?<br />
<br />
“T save you all trouble and worry. All you<br />
have to do is to sit at home and write and send<br />
me the result. And wait. In my own good time<br />
I will advise you of the fate of your offspring.<br />
But you mustn’t vex me in the interim: it annoys<br />
me to be questioned, Once give me your MSS.<br />
and you will never be disheartened by having<br />
them returned to you. Never! If I can’t sell,<br />
I will considerately mislay ’em ; and it will take:<br />
240<br />
<br />
a communication from the Secretary of the Society<br />
of Authors to make me forget that authors suffer<br />
from heartache when their MSS. are returned.”<br />
<br />
Let us seriously consider these claims.<br />
<br />
Why, to begin with, is an agent (middleman)<br />
necessary as a buffer between author and pub-<br />
lisher ? No matter what the agent claims, with<br />
few exceptions (which will be dwelt upon herein-<br />
after) the publisher prefers to trust to his own<br />
judgment, or to that of ‘his salaried readers, as to<br />
the merits of MSS. submitted. Quite naturally :<br />
he has to pay out his own money in exchange for<br />
his purchases. He takes the risk—not the agent.<br />
In the majority of publishing houses a MSS. sub-<br />
mitted with an agent’s stamp on its title-page goes<br />
through precisely the same routine as those<br />
received from authors direct; the publisher pays<br />
for accepted MSS. precisely what he thinks they<br />
are worth to him—which, from his point of view<br />
as aman of business, is the lowest price he can<br />
induce the author to accept. The author who<br />
sells his stories or articles through an agent, then,<br />
gets just what any other author of his standing<br />
would receive—less 10 per cent. The middleman<br />
pockets this percentage for having, in a haphazard<br />
way, hit upon a publishing house that the author<br />
himself would have found in due course of time.<br />
<br />
In all other lines business-men are learning<br />
that it pays to dispense with middlemen. The<br />
middleman is out of date ; his appearance to-day<br />
is hailed as a recrudescence of the dodo would be.<br />
But in the writing trade still he obtains, a curious<br />
‘survival of a darker age—a prehistoric (and<br />
-devouring) monster.<br />
<br />
It is a curious phenomenon of the agency<br />
‘ousiness that the agent in one breath blatantly<br />
proclaims himself the conserver and promoter of<br />
the author’s interests, and in the next tells you<br />
(in a confidential whisper) that he is hand-in-<br />
glove with this-or-that editor or publisher. ‘‘So-<br />
-and-so’s magazine (or publishing house),” he will<br />
say, ‘‘ buys everything I offer it.” Now you can’t<br />
serve God and Mammon. In the three cases out<br />
of five where the agent is not lying to impress the<br />
prospective client, he enjoys unusual privileges<br />
with the publisher for—for what? For booming<br />
authors’ prices ? We wot not!<br />
<br />
Unfortunately for the authors who become their<br />
dupes, a majority of agents are publishers’ repre-<br />
sentatives, the most lucrative part of whose busi-<br />
ness is to place the foreign rights of such MSS. as<br />
the publisher has bought outright. It is only<br />
matural that such publishers should afford their<br />
agents special courtesies in the matter of rapid<br />
readings on submitted matter and early payments ;<br />
and to them, as a guid pro quo, the agents are glad<br />
to sell MSS. entrusted to them at a lower rate<br />
than they could obtain in other quarters. The<br />
<br />
THE AUTHOR.<br />
<br />
system, however gratifying to the author in the<br />
point of quick returns, can hardly be held to<br />
further anybody’s interests beyond the agent’s and<br />
the publisher’s.<br />
<br />
Agents will assure that by their efforts your<br />
existing market will be broadened, new markets<br />
created for the products of your pen. Aside from the<br />
light shed upon this by the preceding paragraph :<br />
the manager for a prominent agency once told us<br />
in a burst of (it appears) misplaced candour :<br />
<br />
“To tell you the truth, you had far better<br />
submit your stories direct than through us.<br />
When I hand an editor a story by an American<br />
writer not of the highest standing, he at once<br />
begins to wonder why the author was so keen to<br />
pay me a tenth of his price, and to suspect that<br />
if the MS. had been saleable through the author’s<br />
efforts it would never have come into my hands.”<br />
<br />
The quotation, of course, is made from memory<br />
and pretends to give only the essence of the<br />
speaker’s words.<br />
<br />
When so many circumstances weigh against the<br />
acceptance of a story, including the state of the<br />
weather, how late the editor was up last night and<br />
what his wife said to him at breakfast, it would<br />
appear obviously the course of wisdom to dispense<br />
with anything howsoever calculated to prejudice<br />
editorial judgment. A professional reader cannot<br />
help thinking that if a story has been repeatedly<br />
refused by other publications, there must exist<br />
some good reason for such a state of affairs. He<br />
feels it a point of honour to discover the damning<br />
flaw. The deduction is patent that a writer should<br />
sell his stories direct to home magazines, and only<br />
employ an agent to dispose of his foreign rights ;<br />
and in the case of a book-writer, he is a fool to do<br />
that unless he simply cannot spare the time for a<br />
two months’ vacation every year ; the expenses of<br />
the trip abroad would be fully covered by the<br />
agent’s yearly commissions.<br />
<br />
“T can get you higher prices than you could<br />
obtain by your unaided efforts.” This claim like-<br />
wise has been touched upon herein-above. We<br />
hark back merely to illustrate our point by the<br />
statement made us by the editor of a prominent<br />
New York monthly, who pointed out to us the<br />
price-mark placed upon a MSS by the agent who<br />
had submitted it, and commented: “ is<br />
bluffing. He says he wants 300 dollars for this<br />
story. If I should call him up now on the<br />
telephone, and offer him 50 dollars for the American<br />
rights, he would leave a smoking streak on the<br />
sidewalk in his haste to get here and pocket the<br />
check. A 5 dollar commission in the hand is<br />
worth a 30 dollar commission in the bush, to<br />
<br />
*s way of thinking.”<br />
<br />
Now as to the agents’ claim that by patronising<br />
<br />
them the author saves himself the wear and tear<br />
<br />
<br />
<br />
<br />
5 ee et<br />
<br />
pled er Seog<br />
<br />
we<br />
<br />
a ae tan!<br />
<br />
sto<br />
<br />
Serie ED LARS AIS eb ee: BR le.<br />
<br />
<br />
<br />
oe SS<br />
<br />
THE AUTHOR.<br />
<br />
on his nervous system and the mental worry caused<br />
by first-hand rejections of his offerings. (In this<br />
connection it should be parenthetically remarked<br />
that the author who cannot inure himself against<br />
such disappointments, learn to receive them with<br />
an unsaddened heart and faith unabated, is not<br />
made of lasting stuff). The plain truth is that by<br />
entrusting his material to an agent’s tender mercies<br />
he but exchanges one form of worry for another.<br />
What can be more wearing than to have month<br />
after month go by, without word of your fate?<br />
What more exasperating than to possess your soul<br />
in impatience for weary weeks, and finally to yield<br />
(doubting your discretion) to the temptation to<br />
prod your agent ; and to receive the reply (perhaps) :<br />
“Oh yes; I sold your story to three months<br />
ago”? And then you remember how sorely<br />
you needed money, or the encouragement of an<br />
acceptance, just three months ago... .<br />
<br />
Moreover, if an author thinks at all, he is bound<br />
to wonder how much of the publisher’s cheque the<br />
agent really retains as his proportion. For the<br />
author is invariably kept in the dark, or almost<br />
invariably. The publisher sends his cheque to<br />
the agent, who returns the receipt over his own<br />
signature, and deposits the cheque to his own<br />
account ; some six months later the importunate<br />
author gets the agent’s personal cheque—if he has<br />
been importunate enough.<br />
<br />
This is perhaps the greatest evil of the Literary<br />
Agent business. That an author is rarely a good<br />
business man has passed into an axiom—which the<br />
agent mouthes persistently to his own advantage.<br />
The author is, furthermore, generally a gentleman,<br />
in almost every case content that his agreement<br />
with the agent shall be merely verbal; as evidence<br />
of the understanding between himself and the<br />
agent he rarely can produce more than a formal<br />
receipt for his MSS—sometimes not even that—<br />
and a non-committal letter ortwo. And the agent<br />
keeps his books in his own weird way; expert<br />
accountants become hopelessly befogged when they<br />
try to extract information from them. But an<br />
examination of them is seldom demanded. The<br />
author is loth to question the agent’s good faith ;<br />
whatever he may believe, he would be distinctly<br />
humiliated if his suspicions were, perchance, proven<br />
groundless.<br />
<br />
If, then, upon mature deliberation, the young<br />
author is convinced that it is to his interests to<br />
dispose of his stories and articles through a middle-<br />
man, he should insist upon a written and stamped<br />
agreement with that middleman, even as he would<br />
insist upon it with a publishing house of the<br />
highest standing. The Society of Authors should<br />
be requested to pass upon the proposed agreement<br />
before it receives the author’s signature. And—<br />
let us be emphatic—the one essential clause of such<br />
<br />
<br />
<br />
241<br />
<br />
an agreement should be that the publisher's cheques<br />
must be drawn to the order of a responsible third<br />
party, by him to be received, cashed, and proportioned<br />
between agent and author.<br />
<br />
It is quite safe to assume that no honest agent<br />
would object to such a clause, which would but<br />
benefit his profession by weeding out, or reforming,<br />
the black sheep.<br />
<br />
As to the selection of the third party, we venture:<br />
to suggest that the Society of Authors should<br />
undertake the responsibility when so requested.<br />
Otherwise any reputable firm of solicitors should<br />
prove acceptable to both parties. In the former<br />
event the Society should make a slight charge—<br />
say, one shilling per cheque; less if possible—to<br />
cover the increased clerical expense incurred in<br />
rendering such service.<br />
<br />
One final query: Why in the name of common<br />
sense is it, that when the struggling young<br />
scribbler has demonstrated that he can sell his<br />
MSS by his own efforts (and he has got to do just<br />
that before the agent will condescend to “handle”<br />
his stories) ; why, when he has proven his worth<br />
and title to an independent literary existence, does<br />
he forthwith rush madly off and place all his<br />
output in the hands of an agent, thereby voluntarily<br />
relinquishing what he seldom can afford to do.<br />
without—one-tenth, if not more of his income ?<br />
<br />
Why<br />
<br />
But to what end these queries? We are<br />
saddened. We have winnowed the _ subject<br />
thoroughly, to our way of thinking, threshed it<br />
out with a flail of many, many words, and there is.<br />
no good grain in all the chaff. We find ourselves<br />
no nearer the solution of this eternal riddle. We<br />
must bow our head, confess ourself dumbfoundered<br />
for once, humble our erstwhile haughty self in the<br />
eyes of the stylish young saleswoman in the Poet’s<br />
Corner and the supercilious sales-gentlemen in the<br />
Fiction Department of the building. Even the<br />
mannequins in the “ Historical Romance” Booth<br />
will give us the glassy eye hereafter.<br />
<br />
For Omniscience is punctured. Infallibility has<br />
the blind staggers. We cannot say Why is an<br />
<br />
Agent.<br />
iL. XY<br />
<br />
<br />
<br />
$< —_—_——_<br />
<br />
UNITED STATES COPYRIGHT.<br />
<br />
‘ _ Se<br />
(Printed from the United States Publishers’ Weekly.)<br />
<br />
THE CopyriGHT CONFERENCE.<br />
<br />
HE third series of sessions of the Copyright<br />
Conference held at the Library of Congress,<br />
Washington, resulted in the settling of most<br />
<br />
oftheimportant principles in the new copyright code,<br />
although it was not practicable, as someone said,<br />
‘242<br />
<br />
to “solve quadratic equations in a town meeting,”<br />
and deal with the details, and, especially, the<br />
phraseology of the bill. This will be done by the<br />
Librarian of Congress and the Register of Copy-<br />
rights with the assistance of experts, especially the<br />
representatives of the American Bar Association<br />
and the Bar Association of New York, Arthur<br />
Steuart and Paul Fuller, with the purpose of putting<br />
into legal form, for submission to Congress, the<br />
principles agreed upon by the Conference.<br />
<br />
The gathering included representatives from<br />
over thirty associations, representing the producing<br />
interests—authors, dramatists, musical composers<br />
and artists; the reproducing callings—book and<br />
music publishers, printers, lithographers, etc., both<br />
on the employing and labour sides ; and, thirdly,<br />
the outside interests—as the American Library<br />
Association and the Bar Associations. It was<br />
most gratifying that the seventy representatives<br />
present came to learn that all the organisations<br />
had a common purpose of making the law and the<br />
rights of authors specific and definite rather than<br />
-of denying or limiting rights. There were differ-<br />
ences of opinion as to principles and as to details,<br />
but on the whole the Conference was most remark-<br />
able for the spirit of comity and for the willing-<br />
ness to compromise on questions where there was<br />
difference rather than agreement.<br />
<br />
The fundamental position reached was that<br />
publication itself should be recognised as the<br />
dividing point between common law right in an<br />
unpublished work and statutory protection of a<br />
copyrighted work, z.e., that copyright should date<br />
<br />
from publication. It was agreed between the<br />
representatives of the artists and of certain repro-<br />
-ductive interests, however, that on works of art<br />
exhibited before publication some simple kind of<br />
copyright notice should be shown, that there<br />
might be no question as between works in the<br />
public domain and works protected or to be pro-<br />
tected by copyright. It was also agreed that<br />
copyright protection should cover all component<br />
copyrighted or copyrightable parts of a work, so<br />
that there should be no need of repeating each<br />
copyright notice under each illustration or with<br />
each contribution, and that no material should be<br />
brought incidentally into the public domain because<br />
an illustration, for instance, had not been copy-<br />
righted previous to the copyrighting of the book<br />
-of which it might be a part. The term of life and<br />
fifty years was favoured for original works, and<br />
fifty years for reproductive works, with a shorter<br />
term of twenty-eight years for labels and prints,<br />
which the Patent Office insists on transferring to<br />
the Copyright Office. As to importations, an<br />
agreement was reached between representatives<br />
of publishers and of librarians by which public<br />
libraries and like corporate institutions were to be<br />
<br />
THE AUTHOR.<br />
<br />
allowed the privilege of importation, without con-<br />
sent of the copyright proprietor, of books from the<br />
country of origin, or out-of-print books, or books<br />
forming parts of libraries purchased abroad. It<br />
was agreed that the copyright formalities should<br />
be reduced to the simplest terms, the deposit of<br />
copies within thirty days after publication and the<br />
inscribing of a simple copyright notice on all<br />
copies made for sale or use within the United<br />
States—the extra-territorial notice being carefully<br />
provided against ; and that copyrights should not<br />
lapse, as now, for non-compliance with some for-<br />
mality, but that infringement suits could not be<br />
initiated or maintained unless the formalities had<br />
been complied with. Many other questions of<br />
principle or detail were brought before the Con-<br />
ference for discussion and, in most cases, tentative<br />
settlement—only Congress can make the final<br />
decision—but the most important are those above<br />
mentioned.<br />
<br />
It was decided that no further conference should<br />
be had unless on receipt of the final draft a majority<br />
of the associations represented should desire such a<br />
meeting. Too much cannot be said of the tact,<br />
fairness and effectiveness with which the Librarian<br />
of Congress presided over the sessions, or of the<br />
service done by the Register of Copyrights in<br />
preparing the material for the Conference, and,<br />
particularly, the draft on which discussion and<br />
action were based. It is hoped that the final draft<br />
will be ready early in April, so that the measure<br />
may go before the committees of Senate and House<br />
within that month for the necessary consideration<br />
and hearing.<br />
<br />
THE LIBRARIAN OF CONGRESS ON THE<br />
CoPYRIGHT CONFERENCE.<br />
<br />
A statement has been issued by the Librarian<br />
of Congress, Herbert Putnam, as to the work of<br />
the copyright conference which has been in session<br />
in Washington during the past week. It quotes<br />
from the President’s message on the subject, refers<br />
to former meetings and to the work of this con-<br />
ference, but does not present its results in any<br />
formulated bill to be presented to Congress. Such<br />
a measure is to be prepared and submitted to the<br />
various organizations which participated in the<br />
conference, and when approved by them will be<br />
introduced in Congress.<br />
<br />
The reference to the need for a general revision<br />
of the copyright laws, in the President’s message<br />
to Congress, December 5, 1905, was as follows :<br />
<br />
“Our copyright laws urgently need revision. They<br />
are imperfect in definition, confused and inconsistent in<br />
expression ; they omit provision for many articles which,<br />
under modern reproductive processes, are entitled to<br />
protection ; they impose hardships upon the copyright<br />
<br />
<br />
<br />
<br />
we<br />
<br />
Safty ae Aen. cerry Set.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
proprietor which are not essential to the fair protection of<br />
the public; they are difficult for the courts to interpret<br />
and impossible for the Copyright Office to administer<br />
with satisfaction to the public. Attempts to improve<br />
them by amendment have been frequent, no less than<br />
twelve acts for the purpose having been passed since the<br />
Revised Statutes. To perfect them by further amendment<br />
seems impracticable. A complete revision of them is<br />
essential. Such a revision, to meet modern conditions,<br />
<br />
- has been found necessary in Germany, Austria, Sweden,<br />
<br />
and other foreign countries, and bills embodying it are<br />
pending in England and the Australian colonies. It has<br />
been urged here, and proposals for a commission to under-<br />
take it have, from time to time, been pressed upon the<br />
Congress. The inconveniences of the present conditions<br />
being so great, an attempt to frame appropriate legislation<br />
has been made by the Copyright Office, which has called<br />
conferences of the various interests especially and prac-<br />
tically concerned with the operation of the copyright laws.<br />
It has secured from them suggestions as to the changes<br />
necessary ; it has added from its own experience and<br />
investigations, and it has drafted a bill which embodies<br />
such of these changes and additions as, after full discussion<br />
and expert criticism, appeared to be sound and safe. In<br />
form this bill would replace the existing insufficient and<br />
inconsistent laws by one general copyright statute. It<br />
will be presented to the Congress at the coming session.<br />
It deserves prompt consideration.”<br />
<br />
Speaking of the three conferences, Mr. Herbert<br />
Putnam says: “They have been notable in many<br />
respects, but particularly in these: In the number<br />
of organizations participating. There were thirty-<br />
three in all, represented in the aggregate by<br />
nearly seventy delegates. In their representative<br />
character : They included not merely authors of<br />
all sorts, including dramatists, artists, painters,<br />
sculptors, architects and composers, but the pub-<br />
lishers, including publishers not merely of books,<br />
but of periodicals and newspapers and music ; and<br />
of artistic productions and reproductions, such as<br />
lithographs, photographs and others ; printers,<br />
typographers, lithographers and others. These<br />
were represented by officers, but also in many cases<br />
by their legal counsel. In addition the confer-<br />
ences had the benefit of general legal counsel in<br />
specially appointed committees of the American<br />
Bar Association and of the Bar Association of<br />
New York.<br />
<br />
“Tt is to be noted also that the conference<br />
included not merely the creator of the thing to be<br />
protected, and the copyright proprietor in general,<br />
but representation of the interests which are con-<br />
cerned with the use of material that may be in the<br />
public domain—that is, the reproducers. So that<br />
consideration was assured of the welfare of this<br />
part of the general public and its right to be<br />
safeguarded against trespassing innocently to its<br />
own cost.<br />
<br />
“The June conference lasted three days, the<br />
November four, the March four—and each day<br />
included a double session lasting from five to<br />
seven hours ; a total of eleven full days, or nearly<br />
<br />
243,<br />
<br />
seventy hours. This was merely the conferences<br />
themselves. It takes no account of incessant<br />
correspondence and discussion in the interim since:<br />
last June.<br />
<br />
“The temper of the conferences: There was.<br />
not a perfunctory hour or quarter hour. Ordi-<br />
narily in such affairs, or in committee meetings,<br />
delegates are apt to pull out and read newspapers.<br />
or give other evidences of lack of interest in the<br />
matter under discussion. In the entire eleven<br />
days I recall but one instance, and that but for ten<br />
minutes, in which even a newspaper was in evi-<br />
dence. The consequence was that every subject<br />
brought up, although seemingly special and perhaps.<br />
of peculiar interest to one group, was considered<br />
by all.<br />
<br />
“The desire to be candid, and the disposition to<br />
be fair—this was particularly evident in the dis-<br />
position to find some reasonable mean in questions.<br />
that necessarily involved extremes of opinion ;.<br />
and a reasonable compromise in questions where<br />
interests were diverse.<br />
<br />
“The results : The conferences could not them-<br />
selves frame a bill. This had not been expected’<br />
of them. The most that had been hoped of<br />
them was :<br />
<br />
“That they should establish some general<br />
principles.<br />
<br />
“That they should bring forward into proper<br />
recognition particular hardships suffered under the<br />
existing law and appropriate measures of relief.<br />
<br />
“That by frank expression, in a body so disposed<br />
to be conciliatory, they should furnish a prac-<br />
ticable working basis between interests naturally<br />
diverse, or even adverse.<br />
<br />
“Now they have accomplished all these things.<br />
and accomplished them in a degree quite extra-<br />
ordinary and never predicted. They have estab-<br />
lished as the judgment of the groups represented<br />
certain general principles, for instance :<br />
<br />
“That where there is publication, the protection<br />
of copyright should initiate from publication. This.<br />
seems simple as stated, but the establishment of<br />
it affects in diverse ways the determination of<br />
innumerable provisions and clears away innumer-<br />
able perplexities. It does not prevent special<br />
provisions for dramas and for works of art<br />
before publication or of which publication is not<br />
intended.<br />
<br />
“That the copyright in a work should cover all<br />
the copyrightable matter therein. Equally simple<br />
as stated, but whose enunciation cleared away<br />
many embarrassments.<br />
<br />
«That in the simplification of the copyright<br />
notice, some notice must be retained sufficiently<br />
identifying the object with the record.<br />
<br />
“hat the omission of mere formalities should<br />
not of itself invalidate the copyright, even though<br />
244<br />
<br />
it should prevent recourse against innocent in-<br />
fringement. Under the present law, the deposit<br />
cf copies is not merely a requirement, but an<br />
immediate requirement, the omission of which<br />
will invalidate the copyright, since the copies must<br />
ibe deposited on or before the date of publication.<br />
<br />
The substitution of penalties for invalidation of<br />
‘copyright, through omissions of formalities not<br />
indispensable to the protection of the public.<br />
<br />
“A continuous term instead of renewals. The<br />
results: Varying terms for different classes of<br />
articles, instead of the present uniform term for<br />
all. Probably three groups, with three terms<br />
corresponding. For certain articles a term shorter<br />
than the present. The longest term, however, to<br />
insure that no author shall, within his lifetime, be<br />
‘deprived of the benefit of his copyrights, nor shall<br />
his immediate family be so deprived.<br />
<br />
“The public is much interested in these prin-<br />
‘ciples, as it will be in the particular provisions of<br />
‘any bill that may be introduced, but they are not,<br />
as a whole, in a condition yet to be promulgated<br />
nor were they formulated for promulgation. They<br />
were simply for the guidance of those who are to<br />
‘draft the bill. Besides them, the framers of the<br />
bill will have for their guidance particular pro-<br />
visions, and even particular phraseology, proposed.<br />
And among matters to be dealt with were many<br />
‘concerning the direct administration of the copy-<br />
right office, and, of course, penalties and legal<br />
procedure. Simplification of the latter with im-<br />
munity from the production in evidence of matter<br />
that cannot be produced.” :<br />
<br />
——- —_—____<br />
<br />
THREADBARE SIMILES.<br />
<br />
— 1<br />
ADDRESSED, IN ALL Huminiry, To AUTHORS.<br />
<br />
CRUEL fate compels me to Yead an<br />
<br />
enormous number of books which I have<br />
<br />
no desire to read. Of these books, a<br />
big proportion consists of novels of the class<br />
that, as a charming hostess said to me once,<br />
“one gives to one’s servants to read.” It is<br />
‘chiefly while perusing books of the latter class<br />
that I have again and again longed to raise a<br />
‘small cry of protest against the practice of using<br />
metaphors and similes so threadbare that one<br />
wonders how in the world they manage still to<br />
hang together.<br />
<br />
Thus in five novels that I have glanced through<br />
‘quite recently I have found five different ladies each<br />
with,‘ the speculative blue eye of the Saxon”; in five<br />
more five different heroes or principal characters<br />
each with “the passionate high nose of the<br />
Norman”; and in three others three male<br />
“characters each afflicted—for I consider that it<br />
<br />
THE AUTHOR.<br />
<br />
is an infliction — with “the prominent high —<br />
cheek-bone that is said to indicate Caledonian —<br />
descent.”<br />
I turn to a pile of novels of the same stamp<br />
<br />
that I had occasion to read some weeks ago, and<br />
find four young men, who ought to know better,<br />
“boasting the features of an Antinous”; six<br />
young ladies, engaged in a corps de ballet, “ whose<br />
faces rivalled in sweetness the faces of Guido<br />
virgins ’—fancy !—and whose tresses resembled<br />
respectively<br />
<br />
1. a raven’s wing,<br />
<br />
2. burnished copper,<br />
<br />
3. burnished gold,<br />
quite an advertisement for a Bond Street beauty<br />
specialist. Not satisfied with this, one of them<br />
has—here we have originality run riot—é lips<br />
curving like a cupid’s bow,” while the fairest of all<br />
these fair girls, she upon whom a sheepish young<br />
lord, who is the principal boy of the story, has<br />
fixed his affections, goes, if the vulgarism may be<br />
allowed, one better than all her colleagues. For<br />
she possessed, we are told, “a dainty shell” which<br />
‘she chose to call her ear.”<br />
<br />
So that clearly, in spite of her physical allure-<br />
<br />
ments, she must have been a ballet-dancer of weak<br />
intellect, if one can imagine such a thing, who by<br />
<br />
this time is probably babbling of green fields and<br />
green chartreuse.<br />
<br />
But if the heroine of low-grade intellect is<br />
coming into vogue in fiction, in some instances<br />
the hero, in the phraseology of the Turf, runs her<br />
<br />
very close. In a book by a deservedly-popular<br />
novelist, a writer who is very far removed from the<br />
producers of “ servant-class stories,” we find the<br />
young gentleman in love lashing himself into such<br />
a paroxysm of affection that for the time he must<br />
assuredly have been to all intents and purposes<br />
non compos. This is how he “spreads” himself,<br />
to use an expressive word from America :<br />
<br />
‘Oh, I am jealous of him,” he burst out passion-<br />
ately. “I am jealous of the wind that caresses<br />
your cheek ; of the carpet that feels your tread ;<br />
of the star that peeps in at your window. Iam<br />
jealous of all who come near you, or think of you,<br />
or speak to you... .”<br />
<br />
Another subject for strait waistcoats and padded<br />
cells.<br />
<br />
A dozen times—I do not exaggerate—in some<br />
of these novels, the dear old similes are trotted<br />
out that date back to one’s cradle days, and<br />
probably “so long that the memory of man<br />
runneth not to the contrary.” Creatures of a<br />
species long extinct are still “as extinct as the<br />
dodo.” Men, women, little children even, find<br />
themselves compelled to accomplish, sometimes<br />
they set themselves to accomplish, “tasks of a<br />
Sisyphus.” Twenty different men, in twenty<br />
<br />
<br />
<br />
<br />
po<br />
<br />
(Oo .<br />
aw<br />
<br />
<br />
<br />
qs<br />
101<br />
<br />
te<br />
3<br />
to”<br />
hoa<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
different books, are “ waiting, like Mr. Micawber,<br />
for ‘something to turn up.” If only they would<br />
sometimes wait like somebody else, they would<br />
afford their readers such a_ pleasant interlude.<br />
Perhaps the simile that constitutes the worst<br />
offender of all, however, is the one that runs:<br />
‘*As Mr. Punch said to those about to marry—<br />
‘Don’t !’” Glance through any batch of library<br />
books, skim your newspapers, even, and you will<br />
come across it sooner or later. And, after all,<br />
was it such a very brilliant observation? Person-<br />
ally I have always thought it rather foolish ; but<br />
then, as the Gaiety super said, “ You know, dear,<br />
I am only a cyphon,” in this community of Giants<br />
of the Pen, and, I repeat, I speak in all humility.<br />
<br />
If we must have metaphors and similes, how-<br />
ever, and ebullitions of affection, and occasionally<br />
platitudes ; and if the attributes of our heroes and<br />
heroines in fiction must necessarily be contrasted<br />
with the attributes of characters in real life, why<br />
not strike out a new line and contrast the personal<br />
characteristics, qualities and charms of the imagi-<br />
nary characters with those of distinguished<br />
persons who are alive now? I believe the first<br />
batch of novelists, no matter to what grade they<br />
may belong, to make this innovation, would<br />
increase their royalties on sales enormously.<br />
<br />
Those four young men, for instance, who<br />
boasted the features of an Antinous ; why not<br />
have given them the chiselled countenance of one<br />
of our leading actors, or the classic profile of a<br />
distinguished barrister? In like manner, the<br />
heroes with the Norman nose said to indicate an<br />
energetic temperament; why not have endowed<br />
them with the firm mouth of a Labour Member, or<br />
the broad brow of our Napoleon of the Press ?<br />
High cheek-bones may denote Caledonian descent,<br />
but, when all is said and done, they are not<br />
physically attractive. The cheery smile of a<br />
jovial baronet, or the strongly-marked eye-brows<br />
of a certain popular lecturer, would look far<br />
better, and for the rather harsh Caledonian accent<br />
there are several Irish leaders of enterprise whose<br />
rich brogue could be substituted.<br />
<br />
Think, too, of the additional interest in the<br />
form of what I believe is called “the personal<br />
equation” all this would impart to the story, and<br />
of the fresh form of excitement it would stir up<br />
when the gloriously beautiful visions of the<br />
novelist’s dreams came to be compared with their<br />
living prototypes. Thus:<br />
<br />
“Tiady Gwendoline Belthaven was indeed a<br />
most remarkable woman. ‘Tall above the average,<br />
gowned to perfection in an admirably-cut costume<br />
of some soft, clinging material (I find that this is<br />
still a very popular style of confection when the<br />
writer is a man), she stood there before them all a<br />
veritable ... ”’ then, instead of saying Minerva,<br />
<br />
245.<br />
<br />
or Cleopatra, or Juno, or some equally well-<br />
favoured and no doubt eminently desirable dame,<br />
in her time, our author would adopt the plan [<br />
have suggested, and insert the name of the statu-<br />
esque favourite of our burlesque stage, or of the<br />
handsome lady now nightly drawing crowded<br />
houses to witness more serious drama, or the:<br />
naine even of the tall and world-famed contralto:<br />
of the concert platform.<br />
<br />
Teeth like pearls, and the smile of an angel,<br />
would become back numbers. We should have<br />
instead the smile and the teeth of one or other of<br />
the beautiful ladies of the picture postcards. In<br />
lien of that commonplace, eyes like stars, or the<br />
eyes of a gazelle, and the form of a Venus or some<br />
other goddess of a remote epoch, the heroine of one<br />
of our front-rank novelist’s next masterpiece would<br />
possess ‘‘the great orbs of my Jiady So-and-So,<br />
and the admirably moulded figure of Mademoiselle.<br />
...? This, or That—a combination sufficiently<br />
irresistible to set any heroine upon a pinnacle at<br />
one bound.<br />
<br />
The proposal opens up a vista of possibilities,<br />
and is worthy of serious consideration.<br />
<br />
Basti Tozer..<br />
<br />
—_—__—_—_.- 9 —___—<br />
<br />
MUSICAL COPYRIGHT.*<br />
oe<br />
<br />
HE three properties—literary, dramatic and<br />
<br />
musical—are so closely allied, and matters<br />
<br />
which refer to one, bear in so many instances<br />
<br />
upon the others, that a book dealing with either<br />
<br />
literary, dramatic or musical law, separately must, if<br />
<br />
it is to be complete and satisfactory, exhaust nearly<br />
<br />
all those points of view which bear on the other pro-<br />
<br />
perties as well. In the case ofa law that deals with<br />
<br />
two or three subjects at the same time, it is exceed-<br />
<br />
ingly difficult to take one of the subjects as apart<br />
<br />
from the rest and write a satisfactory treatise<br />
upon it.<br />
<br />
Perhaps it is because of this difficulty that a.<br />
perusal of Mr. Cutler’s book gives one the idea<br />
of confusion. The arrangement does not seem to:<br />
be clear, and although there seem to be no points:<br />
which have been missed out, yet an unsatisfactory<br />
impression is left as to the rights and limitations<br />
of this particular property.<br />
<br />
Mr. Cutler makes a considerable point in his<br />
preface of the fact that the book is written by one<br />
who is a musician as well as a lawyer, “there are<br />
cases where the cultured musician would scent out an<br />
origin, common both to a supposed piratical copy<br />
of a given theme and to the theme itself, and the<br />
family likeness may be sufficiently definite to take<br />
<br />
KC.<br />
<br />
<br />
<br />
* “Musical Copyright,’’ E. Cutler, Simpkin,<br />
<br />
Marshall, & Co. 1905.<br />
246<br />
<br />
<br />
<br />
away the right to complain of an infringement,<br />
but the mere lawyer in such cases might be misled<br />
into advising an action by the close similarity<br />
between the original phrase and the copy.” ‘This<br />
knowledge may make the author an invaluable<br />
witness or even advocate in an infringement of<br />
musical copyright, but does not necessarily aid him<br />
in writing a treatise on the subject. He constantly<br />
refers in no measured terms to the present position<br />
of musical copyright under the existing acts and<br />
to the urgent need of amendment, but seems to con-<br />
‘sider the matter rather from the point of view of the<br />
publisher than of the author of the property. _<br />
<br />
In the course of his disquisition on international<br />
rights he mentions the different decisions referring<br />
to mechanieal reproductions. Though such repro-<br />
-ductions have been held under British Courts not to<br />
be infringements of copyright he rightly concludes<br />
that there is no reason why they should not be<br />
infringements of performing right.<br />
<br />
But it is not likely that a case bearing on this<br />
performing right will ever come forward before the<br />
English Courts, for first, the law makes the reten-<br />
tion of the performing right difficult and compli-<br />
cated, and secondly, the English composers in most<br />
cases throw this right wantonly away, transferring it<br />
to the publishers for little or no consideration, and<br />
the publishers do not trouble to market the right<br />
successfully. They only care to hold the control<br />
as distinct from the composers.<br />
<br />
Matters are managed differently in France, and<br />
composers should make a combined effort to<br />
maintain this property.<br />
<br />
After International Rights come Colonial Copy<br />
and Performing Rights and here, although the<br />
statutes are set out, there appears to be no mention<br />
of the Canadian Act of 1900, the passing of which<br />
filled a gap in the protection of Canadian Rights.<br />
<br />
The last chapter deals with the United States<br />
Rights, and then follow the appendices.<br />
<br />
But the first of these dealing with the Retro-<br />
‘spective effect of the International Copyright Act,<br />
1886, ought really to have been incorporated into<br />
the body of the book, as the point is one of great<br />
importance and considerable difficulty. This is a<br />
distinct fault of arrangement and we venture to<br />
suggest, at the same time, that instead of naming<br />
the cases in the marginal notes it would have been<br />
much better to name the point of law especially<br />
interpreted. To the ordinary reader the name of<br />
a case carries no information.<br />
<br />
: The book after careful study is accurate in detail,<br />
in fact on some points the detail is too laboured.<br />
<br />
‘The arrangement, however, is unsatisfactory and<br />
the respective values (to use a term borrowed from<br />
artistic criticism) of the different headings of his<br />
subject have not been fully grasped, and the<br />
Perspective has not been fairly handled.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
OPERATIC FICTION.*<br />
—<br />
<br />
Y the well-intentioned series of volumes he<br />
is bringing out, called “The Music Lover’s<br />
Library,” Mr. T. Werner Laurie is helping<br />
<br />
in a praiseworthy manner, the cause of art in this<br />
country. This literary concert scheme having<br />
made its début with the book entitled “Chats on<br />
Violins,” the second item of the programme which<br />
now follows consists of ‘“ Stories from the Operas :<br />
With Short Biographies of the Composers.”<br />
Signor Lobskini, the singing master with the<br />
splendid tenor voice, would have ‘‘ pooh-pood”<br />
this book. Uneducated musicians sadly under-<br />
value the words they sing. All they care about<br />
is to display the musical, or unmusical, sounds<br />
which issue from a pair of stentorian lungs through<br />
an instrument called the larynx. Words, to such<br />
minds, have no business to represent ideas. They<br />
may be the wings of action, the soul’s ambassadors,<br />
and all that sort of thing, but they have nothing<br />
whatever to do with the audience. Especially is<br />
this the case in grand opera, where the language<br />
sung is probably unfamiliar to the listener. So<br />
the public, having paid its money, does not at all<br />
agree with the roaring Lobskinis, who strut behind<br />
the footlights. The listeners naturally desire to<br />
know the story of the opera. It is an awful thing<br />
to sit an entire evening in a stuffy atmosphere<br />
witnessing a number of energetic creatures simu-<br />
lating all the emotions of love, hate, joy, or grief,<br />
without daring to ask one’s neighbour the meaning<br />
of it all, for fear of being regarded as an ignorant<br />
worm. So here the reader is presented with twenty<br />
fluently-told narratives, summarising the legend,<br />
history, or plot portrayed by the performance of as<br />
many operas. The author is Miss Gladys David-<br />
son. She confines herself to explaining what the<br />
literary voice of some of the best-known operas is<br />
designed to utter, but usually completely fails to<br />
do. To attempt tosketch the historical development<br />
of opera, its beginnings, reforms, classical period,<br />
its romantic school, or distinctive treatment in<br />
various countries, is not her mission. Neither<br />
does she waste space in deploring, that, from a<br />
literary standpoint, the opera libretto has too<br />
often been a disgrace to its author. Save in the<br />
case of Gluck, Wagner, Boito, and a very few<br />
other composers, the musician has shown small<br />
appreciation of the sister art of poetry, or sym-<br />
pathy with the poet. In consequence, stilted and<br />
atrocious verbiage has in many cases been wedded<br />
to sublime music. In ancient times the man who<br />
conceived the words composed also the melody,<br />
<br />
<br />
<br />
* “Stories from the Operas: with short Biographies of<br />
the Composers,” by Gladys Davidson. T. Werner Laurie,’<br />
Clifford’s Iun, London. 3s. 6d. net.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
and until musicians are again trained in early<br />
youth to fathom the beauties of painting in words,<br />
as well as in sound, the lop-sided alliance of two<br />
minds to produce a magnum opus, which should be<br />
equally meritorious in all departments, must result<br />
-either in the music being superior to the libretto,<br />
or the words surpassing the value of the music.<br />
<br />
It is well, therefore, that books dealing with the<br />
stories told by librettists in the great operas should<br />
stimulate literary interest in that department of<br />
art. Asa writer, Miss Davidson merits applause.<br />
She unfolds simply, and without affectation, plots<br />
of certain melodramas, the music of which gives<br />
pleasure to thousands. Perhaps that enjoyment<br />
will be increased in the future, after the reader, by<br />
perusal of this book, has been enabled to divine<br />
what all the beautiful singing is about. Unfor-<br />
tunately, only twenty stories are told. When we<br />
remember that hundreds of operas are included in<br />
the repertoire alone of Covent Garden, it will be per-<br />
ceived that Miss Davidson’s scope is very limited.<br />
<br />
But this is by no means the first book of its kind.<br />
In 1889, Messrs. Ward and Downey published<br />
twenty-three “ Operatic Tales,” by F. R. Chesney.<br />
Is is interesting to observe the manner in which<br />
the selection of stories varies in the two volumes.<br />
Both writers treat of Lohengrin,” “ Figaro,”<br />
“ Faust,” “Carmen,” and ‘ Mignon.” Apart from<br />
these works, the two story-tellors take different paths.<br />
While Miss Davidson omits Beethoven’s ‘“ Fidelio,”<br />
Gluck’s ‘‘ Orfeo,” Weber’s ‘“ Freischiitz,” Rossini’s<br />
“William Tell,” and Wagner’s ‘“ Meistersiinger,”<br />
Mr. Chesney turns his back on Mozart’s “ Don<br />
Juan,” Meyerbeer’s ‘ Robert the Devil,” Wagner’s<br />
“Tristan,” and the “ Nibelungen Ring.” The four<br />
sections of that great cycle, by the way, were dealt<br />
with, in a delightful manner, by Mr.. Philip Leslie<br />
Agnew in his “ Run through the Nibelung’s Ring,”<br />
published in 1898, and the way in which the entan-<br />
glements of the “ Ring” are differently unravelled<br />
in that and the present book, is entertaining to ob-<br />
serve. As already noted, Miss Davidson makes no<br />
attempt to display her knowledge of opera libret-<br />
tists. The student should, therefore, refer to that<br />
able work “The Opera,” by Mr. Streatfeild, which<br />
was published by Mr. Nimmo in 1897. On the<br />
<br />
_ contrary, these short stories furnish mental nourish-<br />
ment of a lighter kind. They are the sort of<br />
pabulum the rest-seeker, who is dog-wearied by<br />
overwork, may put into his portmanteau when<br />
taking an holiday, and peruse as he reclines on a<br />
mossy bank with a cigar between his teeth, and a<br />
straw hat tilted over his nose. Literary balm of<br />
this kind should bring repose to a tired mind, and<br />
Solace a weary heart. In proof of our rash asser-<br />
<br />
<br />
<br />
tion, may we quote, at random, from the opening<br />
of the story intituled “ Martha” ?—“The Lady<br />
Henrietta was dull.<br />
<br />
She sat one summer morning<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
247<br />
<br />
<br />
<br />
<br />
<br />
in the gilded boudoir of her fine house at Rich-<br />
mond and heaved sigh upon sigh. For although<br />
maid-of-honour to Queen Anne, and the loveliest<br />
and most fascinating of all the Court beauties, she<br />
found no satisfaction in life. She was wearied to<br />
death of balls and routs, of the ceaseless flatteries<br />
of her many admirers, of the tiresome monotony<br />
of court life. And, satiated with pleasure, she had<br />
retired to her own home for a few days’ respite, to<br />
<br />
indulge in vapours to her heart’s content.’’ Could<br />
anything be more rhythmical or lovely? And<br />
mark, there is a pretty virtue in “vapours.” For,<br />
<br />
about this book, there is none of that swaggering<br />
vapour which was so terrifyingly characteristic of<br />
Van Tromp’s Dutchmen. In this volume, the<br />
story of “ I] Trovatore ” is, likewise, ben trovato.<br />
As regards Miss Davidson’s literary style, it<br />
may be defined as aeritorm and of fairylike timbre’<br />
flowing, as it does, through nearly three hundred<br />
pages with the merry tinkle of a silvery brook<br />
without wearying the reader. Ladies might call<br />
the style “dainty.” But that, to our captious<br />
self, suggests squeamishness and affectation. The<br />
distinctive manner of Miss Davidson’s dictum, is,<br />
we prefer to say, befittingly feminine. It is deli-<br />
cately womanish. For that reason, doth it not<br />
possess a refinement and charm too often sadly lack-<br />
ing in the masculine and brutal pen of mere man ?<br />
<br />
A. R,<br />
ee<br />
<br />
“THE MOTORIST’S A.B.C.”<br />
<br />
————.<br />
<br />
AUTOMOBILE PROPRIETARY LIMITED v. T. FISHER<br />
UNWIN, BEFORE Mr. Justice KEKEWICH.<br />
HIS was an application by the proprietors of<br />
<br />
the ‘Automobile Handbook” which is issued<br />
under the auspices and by the authority of the<br />
<br />
Automobile Club of Great Britain and Ireland, foran<br />
<br />
interim injunction to restrain the defendant from<br />
<br />
publishing a book which he had announced by<br />
preliminary advertisements under the title of “ The<br />
<br />
Motorist’s A.B.C. —a practical handbook for the use<br />
<br />
of Owners, Operators, and Automoble Mechanics,”<br />
<br />
by Elliott Brooks. The plaintiffs became aware of<br />
the defendant’s publication in consequence of the<br />
defendant having sent a copy of his book for<br />
review in advance of publication to The Automo-<br />
bile Club Journal which is published by the<br />
plaintiffs. ‘The plaintiffs discovered on examining<br />
the volume that ‘“‘ The Motorist’s A.B.C.” had, as<br />
a headline to the pages throughout the book, the<br />
words “The Automobile Hand-book,” and this<br />
they held constituted infringement. The defendant<br />
in his affidavit pointed out that his book was<br />
entitled “The Motorist’s A.B.C.” which name<br />
appeared on the back of the volume, on the side of<br />
the volume, and also on the title page, and that in<br />
<br />
<br />
248<br />
<br />
<br />
<br />
his published descriptions of the book the volume<br />
was described as “The Motorist’s A.B.C.” and<br />
never as “ The Automobile Handbook.” Further,<br />
that his volume was of a different size, a different<br />
price, that the literary contents were altogether<br />
different ; that his work contained 100 illustrations<br />
whereas the plaintiffs’ book contained no illustra-<br />
tions, and that the binding was different both as<br />
to material and colour, that the volume was<br />
different in its general style and get up, and that<br />
it was not a tourist’s book for automobilists such<br />
as was the plaintiff’s book. Further, the defendant<br />
pointed out that his book “The Motorist’s A.B.C.”<br />
was an American production which he had pur-<br />
chased for publication in this country and that the<br />
title page had been specially printed and that the<br />
title was his own invention. Defendant further<br />
alleged that. plaintiffs’ book was practically un-<br />
known in the trade, and was not mentioned in the<br />
various trade catalogues he had consulted, and he<br />
had never seen or heard of the book prior to these<br />
proceedings being taken.<br />
<br />
The plaintiffs were represented by Mr. Ogden<br />
Lawrence, K.C. and Mr. Sebastian, and the de-<br />
fendants by Mr. H. A. Colefax. After adjourn-<br />
ment the matter was settled by arrangement, the<br />
plaintiffs agreeing to the issue of the present<br />
edition of the book as it stands, and the defendants<br />
agreeing in any future editions the words the<br />
Automobile Handbook shall not appear at the head<br />
of each of the pages of his book. The plaintiffs<br />
further agreed to pay costs of both sides, the<br />
defendant’s costs being fixed at 20 guineas.<br />
<br />
a<br />
<br />
CORRESPONDENCE.<br />
<br />
——<br />
Totrems FoR AUTHORS.<br />
<br />
Srr,—If a totem would really be of any use to<br />
any author, why not adopt the simplest one, which<br />
even the man in the street could not fail to under-<br />
stand and to interpret correctly ?<br />
<br />
In other words, the best means of identification<br />
seems to me to be one which requires no system of<br />
registration, which is patent to everyone, and<br />
which cannot be copied without the legal troubles<br />
attendant on forgery—I mean a copy of the<br />
author’s own signature.<br />
<br />
The present writer’s “totem” would then be<br />
simply :—<br />
<br />
7 Plrman¥ (olin<br />
<br />
Nees<br />
<br />
THE AUTHOR.<br />
<br />
DicTionaRY OF Music.<br />
<br />
Sir,—In your contributor’s rightly appreciative<br />
article, in this month’s Author, on the new edition<br />
of Groye’s “ Dictionary of Music,” he erroneously<br />
comments upon the omission of any reference to<br />
the well-known library of my friend, Dr. W. H.<br />
Cummings, F'.S.A., in the article upon “ Musical<br />
Libraries.”<br />
<br />
He has probably been mislead byJnot finding<br />
this celebrated collection mentioned under the<br />
sub-title, London; but if he will refer to the other<br />
sub-title, Dulwich, in the same article, he will find<br />
it is treated of there.<br />
<br />
I quite agree with your contributor that such an<br />
omission, if it occurred, would have been a blemish,<br />
indeed, upon such a careful reswmé as the article<br />
in question.<br />
<br />
Faithfully yours,<br />
F. St. Jonn Lacy, A.R.A.M.<br />
<br />
Note.—In reply to the above charitable comment<br />
on our criticism, we may be forgiven for having con-<br />
nected the Principal of the largest Music School in<br />
the metropolis with “ London.” Considering that<br />
Dulwich is as much within the County of London<br />
as is Stoke Newington, it was only reasonable<br />
to conclude—as most people who refer to the<br />
dictionary will do—that if Mr. Bumpus’s library<br />
is given under the heading of London, and Dr.<br />
Cumnniings’s is not, the latter has been overlooked.<br />
Why it should have been sandwiched in between<br />
Dublin and Dundee puzzles us. But, as it comes<br />
immediately after Dublin, we venture to add that<br />
the excellent musical library of Dr. Culwick, which<br />
contains many precious and rare volumes belonging<br />
to the organist of the Dublin Chapel Royal, is<br />
omitted, and we fail to see this excellent collection<br />
specified under Drumcondra or even Donnybrook.<br />
<br />
A. R.<br />
<br />
AGENTS.<br />
<br />
S1r,—I should like to call the attention of<br />
<br />
members of the society to the question of agents,<br />
<br />
who are not agents.<br />
The matter has been discussed once or twice<br />
in these columns, but it does occur sometimes to<br />
my knowledge that gentlemen purporting to act<br />
as agents have really acted as principals. Even<br />
without any fraudulent intent such a position is<br />
untenable.<br />
Constant READZR, | https://historysoa.com/files/original/5/516/1906-05-01-The-Author-16-8.pdf | publications, The Author |
517 | https://historysoa.com/items/show/517 | The Author, Vol. 16 Issue 09 (June 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+09+%28June+1906%29"><em>The Author</em>, Vol. 16 Issue 09 (June 1906)</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> | 1906-06-01-The-Author-16-9 | | | | | 249–276 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-06-01">1906-06-01</a> | | | | | | | 9 | | | 19060601 | Che Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. X VI.—No. 9.<br />
<br />
JUNE Ist, 1906.<br />
<br />
[Prick SIxPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
ee ee<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 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 />
ae<br />
<br />
List of Members.<br />
<br />
THE List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society. They will<br />
be sold to members or associates of the Society only.<br />
<br />
All farther elections have been chronicled from<br />
month to month in these pages.<br />
<br />
ee<br />
<br />
The Pension Fund of the Society.<br />
<br />
Tue Trustees of the Pension Fund met at the<br />
Society’s Offices, March 5th, 1906, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. ‘They have now pur-<br />
chased £200 Cape of Good Hope 34 per cent.<br />
Inscribed Stock, bringing the investments of the<br />
fund to the figures set out below.<br />
<br />
VoL, XVI.<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 />
Console 24%. 2... ess te £1000 0 0<br />
<br />
<br />
<br />
Local Goans - 3.2.6 ee, 500 0 0<br />
Victorian Government 38 % Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
War lnoan 2262. 201. 9 3<br />
London and North Western 3 % Deben-<br />
ture SUCK 8 250 0 0<br />
Egyptian Government Irrigation<br />
Trust 4 % Certificates ............... 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
StOCK es 200 0 0<br />
Potal = 18s: £2,643 9 2<br />
Subscriptions, 1905. £8. a:<br />
<br />
July 13, Dunsany, the Pee Hon. the<br />
<br />
Lord : 0.5 0<br />
Oct. 12, Halford, B M. 0 5 0<br />
Oct. 12, Thorburn, W. M. 010 0<br />
Nov. 9, ‘“ Francis Daveen ”’ 0 5 0<br />
Nov. 9, Adair, Joseph Tf 0<br />
Nov. 21, Thurston, Mrs. 1126<br />
Dec. 18, Browne, F. M. 0 5 6<br />
<br />
1906.<br />
March 7, Sinclair, Miss May Lot 0<br />
March 7, Forrest, G. W. 2 2.00<br />
March 8, Simpson, W. J. 0 50<br />
March 8, Browne, F. M. 0 5 0<br />
April 12, Pryor, Francis 20° 25,0;<br />
Donations, 1905.<br />
Nov. 6, Reynolds, Mrs. Fred. Tt 0<br />
Nov. 9, Wingfield, H. 010 6<br />
Nov. 17, Nash, T. A. 1 1.0<br />
Dec. 1, Gibbs, F. L. A 010 6<br />
Dec. 6, Finch, Madame 118 6<br />
Dec. 15, Egbert, Henry G0 5 0<br />
Dec. 15, Muir, Ward . : 1 1 0<br />
Dec. 15, Sherwood, Mrs. A. . 010 0<br />
Dee. 18, Bde ALL. 010 6<br />
Dec. 18, 8. F. G. 010 0<br />
<br />
<br />
<br />
<br />
<br />
<br />
250<br />
<br />
1906. £ 8. d.<br />
Jan. 2, Jacobs, W. W. : : . db 2 Oo<br />
Jan. 6, Wilkins, W. H. (Legacy) 50 0.0<br />
Jan. 10, Middlemas, Commander A. C. 9 10 0<br />
Feb. 5, Roe, Mrs. Harcourt 0 5 0<br />
Feb. 5, Yeats, Jack B. : 010 O<br />
Feb. 12, White, Mrs. Caroline 010 0<br />
Feb. 13, Bolton, Miss Anna 0 5 0<br />
Feb. 28, Weyman, Stanley B15 0<br />
March 7, Hardy, Harold 010 0<br />
March 12, Harvey, Mrs. : 1 0 0<br />
March 27, Williams, Mrs. E. L. 1 1.0<br />
April 15, Caine, William r 2 :<br />
<br />
eel<br />
<br />
April 15, Steel, Mrs. F. A.<br />
<br />
i<br />
<br />
COMMITTEE NOTES.<br />
<br />
—1—<br />
<br />
HE monthly meeting of the managing com-<br />
a mittee of the society was held on May 7th,<br />
at 39, Old Queen Street, Storey’s Gate, S.W.,<br />
at four o’clock. The minutes of the last meeting<br />
were read and signed, and then the new members<br />
were elected. The numbers were satisfactorily<br />
maintained. In all, 22 were elected, bringing the<br />
total for the current year up to 98.<br />
<br />
The list of agenda was not so heavy as at the<br />
April meeting, but various cases were discussed.<br />
One, referring to a contract with a publisher,<br />
the committee regretted they were unable to sup-<br />
port, as the point in dispute was not of a purely<br />
literary character. Another question arose out of<br />
a dispute on a contract between a member and<br />
a publisher in the United States. The opinion of<br />
the society’s United States lawyer had come to<br />
hand during the past month, and was laid before<br />
the committee and fully considered. They decided<br />
to take the matter up in the United States Courts<br />
under an arrangement with the member, should he<br />
so desire. It is possible, however, and the com-<br />
mittee trust, that the question may be settled<br />
without legal action. In another case in which<br />
the committee authorised the taking of counsel’s<br />
opinion, the opinion was considered by them, and<br />
the secretary was instructed to forward a copy to<br />
the member concerned. As the opinion was adverse,<br />
the committee decided it was impossible to take<br />
legal action, but were willing, if necessary, to<br />
negotiate with the publisher on the member’s<br />
behalf.<br />
<br />
Another case dealt with a point of artistic copy-<br />
right on which the committee had already taken<br />
counsel’s opinion. This opinion had been referred<br />
back to counsel for elucidation on one or two<br />
points. Here again, as the opinion—that of an<br />
eminent K.C.—was against the member, the com-<br />
<br />
mittee regretted their inability to proceed to legal<br />
<br />
THB AUTHOR.<br />
<br />
action. The opinion was forwarded to the member<br />
for his consideration. A question between a<br />
member and one of the most important publishing<br />
houses in the kingdom, arising out of a half-profit<br />
agreement and the accounts rendered under it,<br />
was next considered by the committee. The<br />
accountant’s report had been submitted to the<br />
April meeting and considered, but other questions<br />
arising out of the report had to be put to the pub-<br />
lishers dealing with certain items in the accounts.<br />
These questions had been duly put by the<br />
accountant, but information had been refused. In<br />
consequence, the committee decided to take the<br />
matter up, and, as the agreement contained an<br />
arbitration clause, to submit it to arbitration.<br />
The result will be of considerable importance to<br />
all those members who deal with these publishers.<br />
<br />
One other question, an infringement of copyright,<br />
was considered. he infringer had communicated<br />
with the society’s solicitors. He acknowledged the<br />
infringement, and stated that it had been an<br />
unconscious plagiarism on his part. The infringer<br />
has agreed to write a letter to the member of the<br />
society which he may use in any way he thinks fit,<br />
and it is hoped that the matter will be satisfactorily<br />
arranged in the course of a few weeks without the<br />
need of taking action.<br />
<br />
——— 1+ —<br />
<br />
Cases.<br />
<br />
Since the last issue of 7'’ze Author ten cases have<br />
passed through the secretary's hands. The first<br />
refers to an infringement of copyright in Austria-<br />
Hungary. Some time must elapse before this case<br />
is finally adjusted, but the society is in communi-<br />
cation with a solicitor in Budapest. Six cases have<br />
occurred in which money was withheld from authors<br />
on one excuse or another. Of these, three have<br />
been satisfactorily concluded ; the other three, as<br />
they came into the secretary’s hands late in the<br />
month, are still in the course of negotiation.<br />
There is one agency case for the settlement of<br />
accounts, and this will be carefully investigated<br />
and most probably arranged before the next issue.<br />
‘A similar case has occurred with a publisher where<br />
the secretary is also in satisfactory negotiation<br />
with the responsible party.<br />
<br />
Six cases still remain open since the last issue.<br />
Four out of the six are bound to remain open a<br />
little longer, as the dates of settlement have been<br />
postponed, but, on the dates which have been fixed,<br />
the questions will be terminated satisfactorily. The<br />
other two cases, we regret to say, have been con-<br />
siderably impeded, owing to the reluctance of the<br />
authors, for some reason or other, to take legal<br />
proceedings against the parties concerned. As has<br />
been pointed out, not only in The Author, but by<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
7 Monro, Harold : ;<br />
<br />
Snow, Miss Lilian Mabel<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the committee, this is a very serious position : for<br />
the publisher or agent who thinks the society is<br />
not in earnest in its applications on behalf of its<br />
members may possibly become difficult to deal<br />
with on subsequent occasions. Unfortunately, this<br />
position often happens in the case of those pub-<br />
lishers and agents who ought especially to be kept<br />
to their legal contracts. This means, in other<br />
words, that the more unbusinesslike the party the<br />
more necessary it is that he should feel the weight<br />
of the society’s action.<br />
<br />
———+<br />
<br />
May Elections.<br />
<br />
Bramley - Moore, Rev. 26, Russell Square,<br />
William, M.A. . W.C.<br />
<br />
Coleridge, the Hon. Mrs. 11, Roland Gardens,<br />
Gilbert : : S.W.<br />
<br />
Davies, Mrs. Goodwyns, Cosham,<br />
<br />
Hants.<br />
<br />
DuDeney, Thomas, 78, Hillfield Road,<br />
L.R.A.N. Hampstead, N.W.<br />
<br />
Dowding, Miss Margaret The Market Place,<br />
<br />
Keith (M.K.D.) .<br />
Duff, Miss Lily Grant<br />
<br />
Chippenham, Wilts.<br />
11, Chelsea Embank-<br />
ment, S.W.<br />
Westbourne, 64, Kloof<br />
Road, Cape Town.<br />
Rosemary Cottage, Hast<br />
Sheen, Surrey.<br />
<br />
Ford, Sydney Y.<br />
Frankland, George<br />
<br />
Graham Fergus :<br />
<br />
Hamilton A. Kirkham 68, Frederick Street,<br />
<br />
(Arthur Kirkham) Gray’s Inn Road,<br />
W.C.<br />
<br />
Hamilton, Miss Myra 14, Hanover Square, W.<br />
<br />
Kennaway, Miss Ethel St. Helens, ‘Teign-<br />
<br />
mouth, S. Devon.<br />
162, Westbourne Ter-<br />
race, W.<br />
<br />
19, Lichfield Road,<br />
Cricklewood, N.W.<br />
43, Connaught Square,<br />
<br />
W.<br />
294, Essex Road, Is-<br />
lington, N.<br />
Westbury Lodge, Fare-<br />
ham, Hants.<br />
<br />
Levy, Miss Margaret<br />
<br />
Lucas, Clarence<br />
<br />
Robinson, M. J.<br />
<br />
mye. hl<br />
Straus, Ralph 58, Bassett Road, North<br />
<br />
Kensington, W.<br />
<br />
Tweedale, Mrs. Violet Balquholly, Turriff,<br />
N.B.<br />
<br />
Wise, Charles ; . Weekley, Kettering.<br />
<br />
Wroughton, Miss Cicely. 77, Chester Square,<br />
S.W.; Creaton<br />
Lodge, Northamp-<br />
ton,<br />
<br />
251<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
—_-—>—+—_<br />
<br />
Cn the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work,<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
AGRICULTURE.<br />
<br />
RuRAL ENGLAND. By H. Riper HaGGarp. Two<br />
Volumes. New Edition. With a New Preface. 9 x 6,<br />
584 and 623 pp. Longmans. 12s. n.<br />
<br />
ART.<br />
<br />
MODERN BOOKBINDINGS : THEIR DESIGN AND DECORA-<br />
TION. By 8. I. PRIDEAUX. 82 x 5}. 131 pp. Constable.<br />
10s, 6d. n.<br />
<br />
THE VALUES OF OLD ENGLISH SILVER AND SHEFFIELD<br />
<br />
PLATE. From the XVth to the XIXth Centuries. By<br />
J. W. CALDicoTrT. 123 x 103. 293 pp. Bemrose.<br />
42s. n,<br />
<br />
THE ReD LINE GUIDE TO THE VICTORIA AND ALBERT<br />
MUSEUM, SouTH KENSINGTON. (Art Collections Main<br />
Building). 93 x 74.66 pp. Kelih. 6d.<br />
<br />
BIOGRAPHY,<br />
<br />
MIRABEAU AND GAMBETTA, FRIENDS OF OLD ENGLAND.<br />
<br />
With some account of Jacques Bonhomme. By ARTHUR<br />
<br />
PAVITT and BARON ALBERT YVELIN Dg BEVILLE.<br />
Complete Edition. With Talleyrand’s “ Entente Cor-<br />
<br />
diale,” 1792. 74 x 5. 216 pp. E. Wilson. 2s, 6d.<br />
WALTER PATER. By A. C. BENSON. (English Men of<br />
Letters). 74 x 5. 226 pp. Macmillan. 2s. n,<br />
<br />
BOOKS FOR THE YOUNG,<br />
THE STORY OF JOAN OF ARC. By ANDREW LANG.<br />
<br />
6 x 43. 119 pp. T. C. and E.C. Jack. Is, 6d. n.<br />
COOKERY.<br />
Tur New Cookery OF UNPROPRIETARY Foops. By<br />
EUsTAcE MILES. 7 x 4%. 128 pp. Partridge. Is. n.<br />
EDUCATIONAL.<br />
<br />
FRENCH ABBREVIATIONS. Commercial, Financial, and<br />
General. Explained and Translated by E. LATHAM,<br />
64 x 41. 255 pp. London: EH. Wilson. Paris ;<br />
Boyveau & Chevillet. 2s, 6d. n.<br />
<br />
A GRAMMAR OF THE GERMAN LANGUAGE. By G. H.<br />
CLARKEand C. J. Murray. 72 x 54. 404 pp. Cam-<br />
bridge University Press. 6s. n.<br />
<br />
THE COMPLETE ANGLER. By IZAAK WALTON. 120 pp.<br />
<br />
ENGLAND IN THE SIXTEENTH CENTURY. By RAPHAEL<br />
HOLINSHED. 128 pp.<br />
<br />
CAPTAIN COOK’S SECOND VOYAGE, 128 pp.<br />
<br />
ENGLISH SCHOOL TExtTs. Edited by W. H. D. Rouse,<br />
(Litt. D.) 6} x 44. Blackie. 6d. each.<br />
<br />
FICTION.<br />
<br />
RinG IN THE New. By RICHARD WHITEING.<br />
309 pp. Hutchinson. 6s.<br />
<br />
THE PREY OF THE STRONGEST.<br />
<br />
TE x 6.<br />
<br />
By Mor.Ley ROBERTS.<br />
<br />
7% x 51. 325 pp. Hurst and Blackett. 6s.<br />
<br />
A TrAmp CAMP. By BART KENNEDY. 7% x 5}. 338pp.<br />
Cassell. 6s.<br />
<br />
THe ENeMY IN OvR Mipst. By WALTER Woop,<br />
72 x 5. 320 pp. J. Long. 6s.<br />
<br />
PARSON BRAND, AND OTHER VOYAGERS’ TALES. By L.<br />
CopE CoRNFORD. 7% x 5}. 352 pp. E. Grant<br />
Richards. 6s.<br />
<br />
FENWICK’S CAREER. By Mrs. HUMPHRY WARD. 7} x 5,<br />
<br />
468 pp, Smith Elder, 6s.<br />
<br />
<br />
252<br />
<br />
Henry NORTHCOTE. By J. C. SNAITH. 7h x 5. 342<br />
pp- Constable. 6s.<br />
<br />
Tar GREY DOMINO.<br />
CRESPIGNY. 7% x 5.<br />
<br />
Rep Recorps. By ALICE PERRIN.<br />
Chatto and Windus. 6s.<br />
A BENEDICK IN ARCADY. By HALLIWELL SUTCLIFFE.<br />
74 x 5. 343 pp. Murray. 6s.<br />
Tus ARENA. By HAROLD SPENDER.<br />
Constable. 6s.<br />
<br />
WoMEN AND CrrcuMSTANCE. By Netra SYRETT.<br />
7k x 5. 349 pp. Chapman and Hall. 6s.<br />
<br />
Hrart’s DevieHt. By LovIS Tracy. 73 x 5. 336 pp.<br />
Ward Lock. 6s.<br />
<br />
By Wit or Woman. By A.W. Marcumont. 73 x 5.<br />
317 pp. Ward Lock. 6s.<br />
<br />
A Younc MAN FROM THE Country. By MADAME<br />
<br />
By Mrs. PHILIP CHAMPION DE<br />
341 pp. Nash 6s.<br />
<br />
73 x 5. 306 pp.<br />
<br />
73 x 5. 381 pp.<br />
<br />
ALBANESI. 8 X 5} 343 pp- Hurst & Blackett. 6s.<br />
Tue BuAcK MoTOR Car. By Harris BURLAND.<br />
> 7% x 54. 364 pp. B. Grant Richards. 6s.<br />
<br />
THE LOsT.EARL OF ELLAN. A Story of Australian Life.<br />
By Mrs, CAMPBELL PRAED. 74x 5. 398 pp. Chatto<br />
& Windus. 6s.<br />
<br />
THe UNDYING Past.<br />
Translated by BEATRICE MARSHALL,<br />
Lane. 6s.<br />
<br />
THE REVELATIONS OF INSPECTOR Moregan. By OSWALD<br />
CRAWFURD, O.M.G. 74 x 5. 319 pp. Chapman and<br />
Hall. 6s.<br />
<br />
QUEEN OF THE RUSHES.<br />
331 pp. Hutchinson. 6s.<br />
<br />
Two LONDON Farris. By G. R. Sims. 7} x 5. 222pp.<br />
Greening. 3s. 6d.<br />
<br />
Tiny LUTTRELL. By E. W. HORNUNG. Cheap Edition.<br />
88 x 54. 149 pp. Cassell 6d.<br />
<br />
GEOGRAPHY.<br />
<br />
No Man’s Lanp. A History of Spitzbergen from its<br />
discovery in 1596 to the Beginning of the Scien-<br />
tific Exploration of the Country. By Sra MARTIN<br />
Conway. 9% x 63. 377 pp. Cambridge University<br />
Press, 10s. 6d. n.<br />
<br />
By HERMANN SUDERMANN.<br />
Tk x 5. 382 pp.<br />
<br />
By ALLEN RAINE. 7% x «5.<br />
<br />
GEOMETRY.<br />
<br />
THE ELEMENTS OF GEOMETRY IN THEORY AND PRACTICE.<br />
Part I. By A. EH. PIERPOINT, B. Sc. 73} x 5. 156 pp.<br />
Longmans. 2s.<br />
<br />
HISTORY.<br />
<br />
ON THE SPANISH Man. By JOHN MASEFIELD. 9 x 5h.<br />
344 pp. Methuen. 10s. 6d. n.<br />
<br />
Tyr CHURCH AND THE BARBARIANS. Being an outline<br />
of the History of the Church from A.D. 461 to A.D. 1003.<br />
By THE Rev. W. H. Horton. (The Church Universal,<br />
Vol. Ill.) 71 x 5. 228pp. Rivingtons. 8s. 6d.<br />
<br />
LAW.<br />
A Digest of ENGLISH Civit Law. By EDWARD JENKS<br />
<br />
(Editor). Book II. Part. I. LAW oF CONTRACT<br />
(General). By R. W. Les. 10 x 63. 74 and 25 pp.<br />
Butterworth.<br />
<br />
INTRODUCTION AND NoTES TO SIR HENRY MAINg#’S<br />
“ ANCIENT LAW.” By SiR FREDERICK POLLOCK, BART.,<br />
LL.D. 9 x 53. 62pp. Murray. 2s. 6d. n.<br />
<br />
LITERARY.<br />
<br />
From A CoLLEGE Winpow. By A. C, BENSON. 84 x 54.<br />
326 pp. SMITH ELDER. 7s. 6d. n.<br />
<br />
MONOGRAPHS : GARRICK, MACREADY, RACHEL and BARON<br />
SrockmMaR. By Sir THEODORE Marrin, K.C.B.,<br />
K.C.V.0. 9 x 5%. 841 pp. Murray. 12s. n.<br />
<br />
FRANcOISE. Tolstoy’s Adaptation of a Story by GUY DE<br />
<br />
- MAUPASSANT. With Introductory Remarks by AYLMER<br />
<br />
MAupE, 6 x 4%. 28pp. C.W. Daniel. 3d.n.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
MUSIC.<br />
Eia@ar. By E. Newman. (The Music of the Masters),<br />
64 x 44. 188pp. Lane. 2s. 6d. n.<br />
NAVAL.<br />
<br />
A DEATHLESS STORY; OR, THE BIRKENHEAD AND ITS<br />
Heroes. By A. C. ADDISON and W. H. MATTHEWs.<br />
83 x 5g. 318 pp. Hutchinson. 6s.<br />
<br />
POETRY.<br />
<br />
A PoMPEIAN EPISODE. 46 pp. THInTy RHYMES. 55 pp.<br />
By ARTHUR LEWIS. 63 x 4}. Elkin Mathews. 1s. n.<br />
each.<br />
<br />
A CuristMAs REVERIE, By ARTHUR E. CALEB. 5 x 4,<br />
Smith. 6d. n.<br />
POLITICAL.<br />
Sipz LIGHTS ON THE Home RuLE MovEMENT. By Sir<br />
<br />
RoBERT ANDERSON, K.C.B., LL.D. 9 x 53. 233 pp.<br />
Murray. 9s. 0.<br />
<br />
REPRINTS.<br />
<br />
THe Works oF JoHN RuskIN (Library Edition Vol.<br />
XXIII). Edited by E. T. Cook and A. WEDDERBURN-<br />
10 x 63. 479 pp. Allen. 21s. net.<br />
<br />
DocUMENTS ILLUSTRATING ELIZABETHAN POETRY. By<br />
Sir PHILIP SIDNEY, GEORGE PUTTENHAM and W.<br />
Werpse. Edited by Laurin Macnus. 6% x 4.<br />
221 pp. Routledge. 2s. 6d.<br />
<br />
WALDEN ; OR, LIFE IN THE WOODS. By H. D. THOREAU.<br />
With an Introduction by THEODORE WatTs-DUNTON.<br />
299 pp. Frowde.<br />
<br />
TWENTY-THREE TALES. By TOLSTOY. Translated by<br />
L. and A. MAUDE. 271 pp. Frowde 1s. n.<br />
<br />
Tue WORKS OF GEOFFREY CHAUCHR. Vol. Ill. The<br />
Canterbury Tales. From the Text of PROFESSOR<br />
SKBAT. 595 pp. Frowde. 1s. 6d. n.<br />
<br />
TRAVEL.<br />
<br />
Tur Wortp or To-Day. Vol. V. By A. R. Hope<br />
Moncrierr. 102 x 7}. 266 pp. The Gresham<br />
Publishing Co.<br />
<br />
In Tuscany. By MONTGOMERY CARMICHAEL. Third<br />
Edition. (With New Preface). 8 x 54. 353 pp.<br />
Burns and Oates. 6s. 2.<br />
<br />
PICTURES FROM THE BALKANS. By JOHN FOSTER<br />
Fraser. 7% x 5. 298 pp. Cassell. 6s.<br />
<br />
Tue LAND OF PARDONS. By ANATOLE LE BRAZ.<br />
Translated by FRANCES M. GOSTLING. 9 x 58. 296 pp.<br />
Methuen. 7s. 6d. n.<br />
<br />
LHASA AND ITs MYSTERIES. With a Record of the<br />
<br />
Expedition of 1903-4. By L. A. WADDELL. Third and<br />
Cheaper Edition. 93 X 5g. 530 pp. Methuen.<br />
7s. 6d. D.<br />
TOPOGRAPHY.<br />
Tue SILVERY THAMES. Described by WALTER JERBOLD.<br />
Illustrated by E. W. HASLEHUST. 10 x 138. 124 pp.<br />
Leeds and London: Alf. Cooke. 21s. n.<br />
<br />
Tur HARROGATE TOURIST CENTRE.<br />
Historic Glories. By J. BAKER.<br />
Simpkin Marshall. 2s. n.<br />
<br />
8 x 10. 42 pp.<br />
<br />
—___+——_+—_____—_<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
ee REAT Bowlers and Fielders : their Methode<br />
<br />
at a Glance,” by G. W. Beldam and C. B. |<br />
<br />
Fry, is a companion volume to “Great —<br />
Batsmen,” by the same’ authors, published last —<br />
Like ‘Great Batsmen,” the present work |<br />
<br />
summer.<br />
<br />
Its Beauties and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Lal<br />
it<br />
£<br />
<br />
2k<br />
ia<br />
a<br />
<br />
ne<br />
7 "<br />
4}<br />
J<br />
1<br />
isle e<br />
<br />
A<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
is founded upon action photography. Included in<br />
the work are chapters by Mr. F. R. Spofforth, Mr. B.<br />
J. T. Bosanquet, Mr. R. O. Schwarz, and Mr. G. L.<br />
Jessop. Messrs. Macmillan & Co. are the publishers.<br />
<br />
Mr. Edward Latham has just published, through<br />
Mr. Effingham Wilson, of 54, Threadneedle Street,<br />
E.C., and Boyveau and Chevillet, of 20, Rue de la<br />
Banque, Paris, a volume of French Abbreviations,<br />
Commercial, Financial and General. In his Pre-<br />
face the author expresses the hope that, although<br />
the work has been written mainly for students, it<br />
may yet be consulted with advantage by those who<br />
claim the French language as their native tongue.<br />
<br />
The Red Line Guide to the Victoria and Albert<br />
Museum, South Kensington, compiled by Mr.<br />
H. P. Mitchell, and published by J. J.<br />
Kelih & Co., Limited, is designed to help the<br />
visitor to see what he wishes in the most con-<br />
venient way. It directs him by a red track on the<br />
plan to the leading objects in the various sections<br />
of the Museum, and gives short accounts of them<br />
of a nature to enable him to understand something<br />
of their qualities and histories.<br />
<br />
“ Ruth,” by Edith Elizabeth Fisher, published<br />
by the Broadway Publishing Company, New York,<br />
is a story of middle-class life, the scene of which is<br />
laid in England. The complications in the tale<br />
are due to the fact that elderly people, through a<br />
mistaken sense of duty, attempt to interfere with<br />
the love affairs of the young.<br />
<br />
Mr. Alston Rivers will publish in the autumn a<br />
children’s story entitled, “ Longlegs, Shortlegs,<br />
and Fatty,” by T. Wilson Wilson.<br />
<br />
“The Censorship of the Church and its Influ-<br />
ence upon Production and the Distribution of<br />
Literature,” by Geo. Haven Putnam, is a study of<br />
the history of the prohibitory and expurgatory<br />
indexes, together with some consideration of the<br />
effects of State Censorship, and of Censorship by<br />
Protestants. The work presents a schedule of the<br />
indexes issued by the Church, together with a list<br />
of the more important of the decrees, edicts, pro-<br />
hibitions, and briefs having to do with the prohibi-<br />
tion of specific books from the time of Gelasius I.,<br />
567 A.D., to the issue in 1900 of the latest Index<br />
of the Church, under Leo XIII. The author<br />
presents a section of titles of the more important<br />
of the books condemned. He has attempted to<br />
indicate the influence exerted by the censorship of<br />
the Church on the undertakings of authors, pro-<br />
fessors, publishers, and booksellers in each one of<br />
the European States in which the regulations of<br />
the Index came into force. In the final chapter is<br />
presented a summary of the conclusions reached by<br />
certain representative Catholics of to-day in regard<br />
to the present literary policy of the Church of<br />
Rome.<br />
<br />
“From a College Window,” which has been a<br />
<br />
253<br />
<br />
feature of The Cornhill for some time past, has been<br />
published in book form by Messrs. Smith, Elder,<br />
& Co. Mr. A. C. Benson is the author of the<br />
work.<br />
<br />
Messrs. Chatto and Windus published in May a<br />
new volume of stories by Mrs. Alice Perrin, under<br />
the title of “Red Records.” The stories deal<br />
mainly with the weird and supernatural in India,<br />
in camp and station, as well as in the villages and<br />
the jungle.<br />
<br />
The same publishers are publishing a new<br />
edition, at 3s. 6d., of Mrs. Perrin’s earlier stories,<br />
“ Kast of Suez.”<br />
<br />
Mr. Angus Hamilton’s book “ Afghanistan” is<br />
an exhaustive account of the conditions of<br />
Afghanistan, which Mr. Hamilton visited recently.<br />
The domestic life of the Ameer is dealt with, and<br />
a description of the Oxus, its fords, trade, and the<br />
strategic value of the roads which approach it, is<br />
given. Mr. Heinemann is publishing the book,<br />
with a map and illustrations, at 16s. nett.<br />
<br />
The title of Miss Rosa Nouchette Carey’s novel,<br />
to be published by Messrs. Macmillan & Co. in the<br />
autumn, to which we referred in our last issue, is<br />
“No Friend like a Sister.”<br />
<br />
We regret that, in announcing the publication<br />
of the eleventh edition of Lieut.-Col. E. Gunter’s<br />
“ Officers’ Field Note and Sketch Book,” in the<br />
May issue, we placed “Ist 8. C.,” instead of<br />
«P.§. C.,” after his name.<br />
<br />
Mr. John Bloundelle-Burton’s new romance,<br />
entitled “Traitor and True,” will be published<br />
almost immediately by Mr. John Long. The<br />
story, which is laid in the reign of Louis XIV., and,<br />
consequently, forms one of the cycle of Bourbon<br />
romances written by the author, deals with one of<br />
the many plots to which Le Dieudonné was con-<br />
tinually exposed during his long reign. ‘This plot<br />
is, however, distinct from most of the others,<br />
owing to the fact that it was carefully hushed up<br />
after justice had been done on the chief conspirator,<br />
owing to the exalted rank of himself and his family.<br />
Mr. Bloundelle-Burton has fallen in with this deter-<br />
mination, and the real name of the traitor remains<br />
hidden under another.<br />
<br />
«The Lake of Wine,” by Bernard Capes, is the<br />
new story in ‘The Novelist,” Messrs. Methuen’s<br />
series of sixpenny novels.<br />
<br />
“T’Entente Cordiale (More or Less)” is the<br />
title of a work described by its author—Mr.<br />
Raymond Needham—as a study in symbolism pro-<br />
ductive of a little mild abuse. Acting on the<br />
observation of Rochefoucauld that the greatest act<br />
of friendship is not to expose one’s faults to a<br />
friend, but to show him his, the author has<br />
endeavoured to prove his friendship. Messrs.<br />
<br />
R. A. Everett & Co. are publishing the book at<br />
the price of 3s. 6d.<br />
<br />
<br />
<br />
<br />
254<br />
<br />
Mr. Oswald Crawfurd has written, and Messrs.<br />
Chapman and Hall have published, a volume of reve-<br />
lations dealing with certain aspects of criminal life<br />
considered from the point of the real, not the<br />
amateur detective. Its ,title is “The Revelations<br />
of Inspector Morgan.”<br />
<br />
In the “Twenty-three Tales by Tolstoy” newly<br />
translated by Mr. and Mrs. Maude, are two stories<br />
not contained in any other English edition of<br />
Tolstoy’s works. The tales are, for the most part,<br />
children’s stories and folk-stories. The stories are<br />
published by the Oxford University Press.<br />
Another tale adapted by Tolstoy from Guy de<br />
Maupassant, translated by Mr. Maude, has been<br />
published by Mr. C. W. Daniel as a 3d. booklet. In<br />
the preface Mr. Maude compares Bernard Shaw’s<br />
«Mrs. Warren’s Profession” with Tolstoy’s<br />
“Power of Darkness.”<br />
<br />
A coincidence is to be noted between the<br />
serial story which has been running for some<br />
weeks in the Daily Mail, dealing with a German<br />
invasion of England, and ‘‘The Enemy in our<br />
Midst,” the novel by Walter Wood, which was<br />
recently published by Mr. John Long. ‘This also<br />
treats entirely with the subject of a German raid<br />
on England. “The Enemy in Our Midst” was<br />
written for Messrs. C. Arthur Pearson, Ltd., and was<br />
published serially by that firm twelve months ago.<br />
<br />
Early in the autumn Messrs. Cassell & Co.,<br />
Ltd., will bring out in volume form the first series<br />
of “ Survivors’ Tales of Great Events,” which Mr,<br />
Wood is writing for ‘“‘ The Royal Magazine.”<br />
<br />
“ Cyrus the!Great King,” an historical romance<br />
by Sir Edward Durand, Bart., C.B., has just been<br />
published by Sidney Appleton in London. The<br />
price of the book is 10s. 6d. nett. The author in<br />
his argument, which acts as a preface, states:<br />
“The story is laid during that period of the<br />
world’s history when God raised up Cyrus (a<br />
chosen instrument to crush idolatry, to restore<br />
the People of the Captivity, to rebuild the Temple,<br />
and in this sense to prepare the way for the coming<br />
of the Christ), having called Him by name some<br />
century and a half before His actual advent.” The<br />
dramatis persone comprise most of the well-known<br />
historical characters of the period.<br />
<br />
In addition to the volume of Tolstoy’s<br />
stories, translated by Mr. Aylmer Maude and<br />
noticed above, we have received from the<br />
Clarendon Press two very interesting volumes of<br />
the World’s Classics, one “The Poetical Works<br />
of Geoffrey Chaucer,” from the text by Professor<br />
Skeat, and the other ‘‘ Walden, or Life in the<br />
Woods,” by H. T. Thoreau, with an introduction<br />
by Mr. Theodore Watts-Dunton. The format of<br />
these books is so well known to members that<br />
there is no need to comment upon it. The fact<br />
tbat, “The Poetical Works of Geoffrey Chaucer ”<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
are from the text by Professor Skeat is sufficient<br />
to insure the contents of that book being of excel-<br />
lent quality. Professor Skeat has long been known<br />
as the greatest authority on Chaucer’s works,<br />
The other volume may not appeal to so large a<br />
public, though nowadays, as Mr. Watts-Dunton<br />
says in his preface, when Nature seems to be the<br />
fashion, when every newspaper that aspires to be<br />
up-to-date sends its own special commissioners to<br />
scour the country to interview her in her every<br />
changing mood, Thorean will at last come into<br />
his own. If the public is limited, lovers of natural<br />
history, at any rate, will read the volume with<br />
interest.<br />
<br />
Among the editors of other volumes in prepara-<br />
tion are Mr. R. Warwick Bond, Mr. Austin Dobson,<br />
Dr. Robertson Nicoll, and Mr. A. Waugh.<br />
<br />
Mr. Ernest Newlandsmith’s new book, entitled<br />
“Art Ideals,” will shortly be published by Mr.<br />
©. W. Daniel. Mr. Newlandsmith will be remem-<br />
bered as the author of “The Temple of Art”<br />
(Longmans, Green, & Co.), of which latter work<br />
a new and revised edition has now been published<br />
by the Order of the Golden Age, Paignton.<br />
<br />
Mr. Lewis Melville is writing a book of histori-<br />
cal memoirs, to be entitled “The First Gentleman<br />
of Europe.” It deals with the social history of<br />
the later Georgian period, and refers to the Prince<br />
of Wales who became George IV. It is also a<br />
history of his boon companions, and does not over-<br />
look the unfortunate Queen Caroline.<br />
<br />
Mr. and Mrs. C. N. Williamson’s new book,<br />
“Lady Betty Across the Water,” tells of the<br />
experiences and adventures of a young English<br />
girl who visits America for the first time. The<br />
book abounds in contrasts, and sharply compares<br />
English and American manners and customs.<br />
Messrs. Methuen & Co. are the publishers.<br />
<br />
The same publishers have issued an English<br />
translation by Mrs. Gostling of a book about<br />
Brittany, by Monsieur le Braz, the well-known<br />
Breton writer.<br />
<br />
“Gladys’s Repentance ” is the name of Edith<br />
©. Kenyon’s new story for young people which is _<br />
now being illustrated by Mrs. Skinner. This book<br />
will be the same size and the same price (2s. 6d.) _<br />
as Miss Kenyon’s stories, ‘A Girl in a Thousand ”<br />
and “ Love’s Golden Thread.” — It will be issued in<br />
the early autumn by Messrs 8. W. Partridge & Co.<br />
<br />
Miss Margaret Todd will publish very shortly a<br />
new novel entitled “ Growth.” Arrangements are<br />
being made for its publication in England and the<br />
United States simultaneously.<br />
<br />
“The Matrimonial Lottery” is the name of a—<br />
new novel by Miss O’Conor-Hecles, author of -<br />
“ Aliens of the West,” “The Rejuvenation of Miss —<br />
Semaphore,” etc., which will soon be published by —<br />
Mr. Everleigh Nash. The story is humorous.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“ The Flower of France,” a play by Mr. Justin<br />
Huntly McCarthy on the subject of Joan of Are,<br />
has been given for copyright purposes at the Scala<br />
Theatre.<br />
<br />
“For Life and After,” an adaptation by Mr.<br />
George R. Sims of his novel of the same title, has<br />
been produced at Reading.<br />
<br />
Mr. Bernard Shaw’s play “ Arms and the Man,”<br />
was produced at the Theatre Royal, Copenhagen,<br />
towards the end of April last.<br />
<br />
“Olf and the Little Maid,” a one-act play by<br />
M. E. Francis, produced at the Haymarket Theatre<br />
on May 8th, narrates a man’s love for a maid, and<br />
his promise of marriage given on the strength of<br />
his success in a lottery. Owing to the lottery<br />
proving to be a swindle, and the consequent<br />
change in his circumstances, he offers the girl<br />
back her freedom, but as her feelings are not<br />
affected by the incident, the play terminates<br />
happily by her consent to the marriage. Miss<br />
Dorothy Minto and Mr. Sydney Valentine are<br />
included in the caste.<br />
<br />
“ Raffles,” by E. W. Hornung and Eugene<br />
Presbrey, was produced at the Comedy Theatre on<br />
May 12th. The play deals with an incident in<br />
the career of Raffles, who combines many good<br />
social qualities with a taste for burglary, which he<br />
indulges at the expense of those whose hospitality<br />
he accepts. The caste includes Mr. Gerald Du<br />
Maurier, Miss Jessie Bateman, and Mr. Laurence<br />
Irving.<br />
<br />
Mrs. Henry de la Pasture’s play, ‘‘ The Lonely<br />
Millionaires,” produced at the Adelphi Theatre on<br />
May 15th, narrates the story of a girl whose father,<br />
a retired cotton spinner, is anxious that she should<br />
make a good marriage. The daughter, however,<br />
foolishly elopes with her Italian drawing master—<br />
a married man. From this situation she is rescued<br />
by her father’s private secretary, who proves to be<br />
a millionaire and a baronet. The play terminates<br />
by the girl contracting an alliance such as her<br />
father desired, by marrying her rescuer. Mr. Oscar<br />
Asche and Miss Lily Brayton are included in the<br />
caste.<br />
<br />
“The Means of Shakespeare’s Imagination,” is<br />
the title given by Mrs. Craigie to her lecture<br />
delivered, under the auspices of the London<br />
Shakespeare League, at the Botanical Theatre,<br />
University College, Gower Street, on May 2nd.<br />
Mrs. Craigie affirmed that Shakespeare’s inspira-<br />
tion was drawn from contemporary French, English,<br />
Spanish, and Italian literature and manners, and<br />
that he did not influence his own age, but was<br />
influenced by it. She incidentally expressed the<br />
belief that if we could restore the soliloquy, give<br />
patience to the audience to listen to it, and the<br />
actor elocution to speak it, a great revival would<br />
be seen in the British drama.<br />
<br />
?<br />
<br />
THE AUTHOR.<br />
<br />
255<br />
PARIS NOTES.<br />
<br />
ee<br />
<br />
LLE. LOUISE READ, the friend and<br />
executrix of Barbey d’Aurévilly, has given<br />
us two more volumes by the celebrated<br />
<br />
novelist and critic. “A cdté de l’Histoire * is a<br />
collection of about twenty-three articles on the<br />
most diverse subjects, some of which, although<br />
written so long ago, are astonishingly up-to-date,<br />
as they apply to questions of to-day. Writing of<br />
the Russian Empire d’Aurévilly says: Mysté-<br />
rieuse eb impénetrable puissance, protégée par son<br />
climat et aussi par deux Génies au doigt sur la<br />
bouche, comme le Silence antique—le Génie de la<br />
police et celui de la diplomatie . . . la mystique<br />
et schismatique Russie est plus grande encore par<br />
Vopinion qu’on a d’elle que par tout ce qu’on fait<br />
en réalité les forces vives et cohérentes d’un pays.”<br />
<br />
Another of these articles is on the ‘“ Chinese<br />
Empire” and another on a book entitled ‘“ Chris-<br />
tianism in China, Tartary, and Thibet.” The<br />
chapter on “ Les Civilisations ” is one of the most<br />
remarkable. Among the others are “La Diplo-<br />
matie au XVII° siécle,’ ‘“ Deux Diplomates,”<br />
* Saint-Simon ” and ‘‘ Royalistes et Républicains.”<br />
<br />
The “Deuxiéme Memorandum” (1838)f is the<br />
title of the second book, recently published. It is<br />
a diary in which d’Aurévilly noted down the<br />
events and impressions of each day at the begin-<br />
ning of his journalistic career. All that he did,<br />
the most trivial events of his every-day life, the<br />
books that he read, the visits he paid, everything<br />
is noted briefly. At the end of the volume are some<br />
more notes, dated 1864, and written for the Ange<br />
Blane, or the Baronne de B. .. ., during d’Auré-<br />
villy’s stay at his father’s home. In these later<br />
notes the light, witty, cynical tone has given way<br />
to a more serious and more profound way of look-<br />
ing at life. The old home is full of memories, the<br />
card-table is still there, around which he had seen<br />
merry groups, the garden his mother had loved is<br />
overgrown with weeds, the silence and the intense<br />
melancholy are deeply felt by him. When he<br />
leaves he writes: ‘“ Cette ville a de mon coeur sous<br />
ses payés et dans les pierres de ses maisons.”<br />
Rarely has any author described in so touching and<br />
sincere a way the effect of the return after many<br />
years to the home of one’s childhood.<br />
<br />
“Ames Cévenolles,”t byJ.Hudry-Menos, isa.<br />
remarkable psychological study in the form of a<br />
novel. It is a story which should appeal to<br />
English readers, who will recognise in the sturdy<br />
conscientious Huguenots of the Cevennes<br />
<br />
<br />
<br />
* “A cdte de I’ Histoire” (Lemerre),<br />
+ “ Deuxiéme Memorandum” (Stock).<br />
t “ Ames Cévenolles” (Armand Colin).<br />
<br />
<br />
256<br />
<br />
mountains the same obstinacy and hard, unrelenting<br />
narrow-mindedness which animated the most rigid<br />
of their Puritan ancestors. The story is based on<br />
the conflict of the old and new ideas : a Protestant<br />
pastor who expects his son to succeed him in the<br />
Church and Presbytery, the education and evolu-<br />
tion of this son, his love for a girl who had been<br />
brought up in the old belief, the tyranny of the so-<br />
called religious parents and a tragic dénouement,<br />
all this holds the reader’s attention from the first<br />
* page to the last. There is nothing exaggerated,<br />
and no attempt to defend one side or the<br />
other. It isa simple story simply told, but each<br />
character lives, and one feels that the whole story<br />
is just one example of the hundreds of similar<br />
<br />
tragedies enacted constantly in our very midst in<br />
the name of religion. The descriptions of the<br />
country and of the simple customs of the in-<br />
habitants of the Cevennes, together with the<br />
ardent patriotism, make the book essentially<br />
French, but the characters themselves are s0<br />
human, that they belong to all countries, and<br />
make the novel itself one to be read universally.<br />
<br />
“Le Voile du Temple,” by M. Jean Dornis, is<br />
another powerful novel based on religious con-<br />
flicts. There are some very fine pages in this<br />
book, which from the first chapter to the last is<br />
full of ideas.<br />
<br />
Among recent books are “Le Dernier Condé, ”*<br />
by M. Charles Laurent.<br />
<br />
“Qrezels’t by the Comte de Saint-Aulaire.<br />
<br />
“Les Pierres d’Oxford,”t by M. G. Grappe.<br />
<br />
«Esai sur la Poésie anglaise au XIX* siécle,” §<br />
by M. G. Grappe.<br />
<br />
“La Renaissance catholique en Angleterre au<br />
XIX° siécle,”|| by M. Thureau-Dangin.<br />
<br />
“Le Testament volé,’ by J. H. Rosny.<br />
<br />
A curious book has been written by M. Henri<br />
Maassis, entitled “Comment Emile Zola composait<br />
ses Romans ’”’** (d’aprés ses notes personelles et<br />
inédites).<br />
<br />
The Prince of Monaco is giving to the French<br />
nation an Oceanographic Institute, together with<br />
the magnificent Oceanographic Museum of Monaco.<br />
The gift is valued at ten million francs.<br />
<br />
The Osiris prize of £4,000 has been awarded by<br />
the five academies to M. Albert Sorel, member of<br />
the French Academy, and member of the Academy<br />
of Moral and Political Science.<br />
<br />
<br />
<br />
* “Le Dernier Condé” (Ollendorff).<br />
<br />
+ “Grezels” (Perrin).<br />
<br />
t “Les Pierres d’Oxford” (Sansot).<br />
<br />
§ “Essai sur la Poésie anglaise au XIXe. sitcle”<br />
(Sansot).<br />
<br />
|| ‘La Renaissance catholique en Angleterre aux XIXe.<br />
siécle” (Plon).<br />
<br />
J “Le Testament volé” (Fontemoing).<br />
<br />
** “Comment Emile Zola composait ses romans”<br />
(Fasquelle).<br />
<br />
THE AUTHOR.<br />
<br />
At the Thédtre Francais “ Paraitre”’ is still<br />
being given, and at the Vaudeville “‘ Le Bourgeon.”<br />
<br />
At the Renaissance “ La Griffe” is having great<br />
success, and at the Thédtre Antoine “ Le Canard<br />
Sauvage.”<br />
<br />
The great event in the theatrical world here is<br />
the appointment of M. Antoine as director of the<br />
second State Theatre, the Odéon. The new direc-<br />
tor intends to make various changes in the house<br />
itself, both in the lighting arrangements and in<br />
the arrangement of the seats. Among the first of<br />
the new pieces that he will produce are “ La<br />
Maison des Juges,” by M. Gaston Leroux, “La<br />
Faute de V’Abbé Mouret,” and Shakespeare’s<br />
“ Julius Cesar,” translated by M. de Grammont.<br />
<br />
M. Gémier is to be director of the Théatre<br />
Antoine, which is to retain the name of its<br />
founder. Mme. Jane Hading has just started for<br />
a tour in England, which is being arranged by<br />
M. Frédéric Mayer. Among other pieces she is<br />
to play “Le Retour de Jérusalem,” “ La Chate-<br />
laine,” and ‘‘ Le Maitre de Forges.” After a tour<br />
in the provinces she will play at the Coronet Theatre<br />
on the 11th of June. Avyva Havin<br />
<br />
$$ —_—<br />
<br />
SPANISH NOTES.<br />
<br />
—<br />
<br />
F the gentler sex is the dominant note in my<br />
I Spanish report this month the reason is not<br />
far to seek, for the advent of our Princess<br />
<br />
Ena as Queen Victoria of the country cannot be<br />
without its influence on the women of all classes<br />
in Spain. The enthusiasm for the English Queen<br />
has been spontaneously exhibited in the twenty-<br />
four short articles and poems from the pens of<br />
Spanish ladies, which appear in the Spring<br />
number of Zhe Woman's Agricultural Times.<br />
Miss Bradley, the editress of the magazine, can<br />
therefore be credited with having published the<br />
first Anglo-Spanish periodical ; and the biogra-<br />
phical notes added to these contributions by<br />
Colonel Luis de Figuerola Ferrétti, the initiator<br />
of the proceeding, give a most interesting apergu of<br />
the advance made by literary women in Spain. At<br />
the recent Spanish dinner at the Lyceum Club,<br />
honoured by the presence of the Spanish Ambas-<br />
sador and his Legation, Martin Hume, the well-<br />
known writer on subjects relating to the Peninsula,<br />
remarked that the entente cordiale between Spanish<br />
and English women could only be the result of the<br />
education of woman in Spain ; and this education<br />
the eminent author will see is already possessed<br />
by the Spanish ladies patriotic enough to publish<br />
their hopes for their country in a foreign magazine.<br />
To refer to the first of these Spanish collaborators<br />
in the “ W.A.T.,” the name of Emilia Pardo de<br />
<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 />
Bazan is renowned through Spain as that of a<br />
novelist, litterateur and dramatist of the highest<br />
rank. Then the cap and gown marking the<br />
pictures of the Senora doctora Arroyo de Marquez<br />
and of the Sefora doctora Sotis de Reyes show<br />
that these ladies have taken their places as lady<br />
doctors in Madrid, and in both cases they are<br />
efficient partners of their husbands in the same<br />
profession ; and their addresses to their future<br />
Queen plead for her Royal patronage for the<br />
project of children’s hospitals in Spain, and for<br />
the creation of a Faculty of Medicine exclusively<br />
for women. The little poems to the English<br />
Queen-elect by Carmen Blanca y Trigueros,<br />
Maria del Pilar Contreras de Rodriguez, Carolina<br />
de Soto y Coro, and Rosa Equilaz de Parada<br />
Santin breathe the poetic spirit peculiar to the<br />
country. The cordial hope expressed by Con-<br />
cepicon Gimeno de Flaquer that her country-<br />
women may find lucrative employment in the<br />
“lighter branches of agriculture” is characteristic<br />
of the lady, who inaugurated the first meeting on<br />
Feminism in Spain, which was held in the<br />
Atheneum of Madrid, under the presidency of<br />
H.R.H. the Infanta Eulalia. The lines of the<br />
Countess del Val are an expressive welcome to her<br />
future Queen ; and, like most of the writers in<br />
this Spanish Supplement, the Countess is on the<br />
executive committee of ladies of the Ibero-<br />
American Union, which is so active in all that<br />
pertains to the progress of woman’s education ;<br />
and when one mentions that some of the other<br />
writers, like Matilde del Real, are Inspectors<br />
General of girls’ schools, whilst Blanca de les<br />
Rios de Lamperez is an authoress, who was<br />
accorded by the Royal Academy of Spain a special<br />
prize for one of her works, one sees that education<br />
has made a decided stride in the circles of these<br />
active women. Moreover, when one knows that<br />
some of these Spanish contributors to the “ W.A.T.”<br />
have posts on the newspapers of their country, one<br />
realises the increasing influence of women in Spain.<br />
Sefiora Carmen Burgos de Segui’s article gains in<br />
importance as we hear that in her commission<br />
from the Minister of Education to report upon the<br />
Educational Institutes of the Continent she has<br />
visited Paris and Rome, and hopes soon to come<br />
to London. Her lecture in the Eternal City on<br />
Feminism in Spain was a great success.<br />
<br />
The Anglo-Spanish royal marriage also stimu-<br />
lated the editor of the Ganaderia e industrias<br />
rurales, the agricultural publication of Valladolid,<br />
to tender through Colonel Figuerola Ferretti<br />
invitations to Englishwomen interested in the<br />
lighter branches of agriculture as employments for<br />
woinen to send short articles on the subject to his<br />
magazine; and the responses he received must<br />
have shown our Spanish sisters that the movement<br />
<br />
257<br />
<br />
is now a very real one in England. This recent<br />
simultaneous expression of English feeling in a<br />
Spanish publication and of Spanish sentiment in<br />
an English magazine—both publications having<br />
similar aims—-mark a great stride in the entente<br />
cordiale of Spanish and English women, which, if<br />
continued, will be a practical form of the union of<br />
Spain and England so sympathetically set forth<br />
in the message sent to the Lyceum from our<br />
ambassador at Madrid by the voice of his sister,<br />
Miss de Bunsen, on the evening of the banquet to<br />
the Spanish Legation.<br />
<br />
The advent of our English princess as Queen<br />
in Spain certainly signalises a great awakening of<br />
intellectual interest in England. Hitherto, the<br />
Peninsula seemed to limit its attention to Paris,<br />
now attention is turned to London. Sefiora Cabrera<br />
di Iborra writes full of enthusiasm for English<br />
works which she is ready to translate, and the success<br />
of Maria de Otocha Ossoris y Gallardo in this line<br />
has given additional value to her contribution to<br />
the “ W.A.T.” ; and the clever arguments laid down<br />
in the same magazine for an hygienic education by<br />
the Sefiora doctora Concepcion Alexandre show<br />
that she is a student of logic as well as medicine.<br />
Salome Nufiez y Topete is a capable journalist ;<br />
and the address contributed by Consuelo del Rey<br />
de Zambuena shows that she is rightly regarded as<br />
an expert exponent of advanced views on woman’s<br />
education, and in this article (as in that of<br />
Mercedes Wehrle) the ideal of that education is<br />
seen to be in accordance with the system adopted<br />
in England.<br />
<br />
In fact, the deeper one delves, the more one sees<br />
that as “one touch of nature makes the whole<br />
world kin,” the note of intelligence when fairly<br />
struck resounds in Spain as well as in England,<br />
and, as Janotha, the Court pianist, writes to Spain,<br />
“the joy and happiness now reigning in that<br />
country will send forth melodies like ‘wireless<br />
telegraphy all over the world.”<br />
<br />
RACHEL CHALLICE.<br />
<br />
a<br />
<br />
WHY IS AN AGENT?<br />
<br />
<br />
<br />
An Answer to “L. J. V.”<br />
<br />
I.<br />
<br />
T is an easy, if somewhat useless, achievement<br />
to put up a thing and then to knock it down.<br />
This, however, has been successfully accom-<br />
<br />
plished by “L. J. V.,” in three pages of the May<br />
Author. In answer to his query “Why is an<br />
Agent?” he has clearly proved an incapable and<br />
fraudulent literary agent to be both fraudulent<br />
and incapable !<br />
<br />
One might just as easily argue that because one<br />
<br />
<br />
258 THER AUTHOR.<br />
<br />
has met with a fraudulent and incapable lawyer—<br />
and who hasn’t ?—therefore the whole legal pro-<br />
fession is useless.<br />
<br />
«J, J. V.” gives as a fair sample of the agent a<br />
person who not only keeps books whom nobody can<br />
see, who decides on the destination of an MS.<br />
haphazard, but who also, when he does happen to<br />
place anything—a weak admission on the part of<br />
“Z, J. V.,” surely !—either forwards to the author<br />
no money at all, or else deducts the larger part of<br />
it, over and above his exorbitant commission, to<br />
gwell his already swollen banking account.<br />
<br />
That sharks exist among literary agents—as<br />
among other callings—ready to prey upon the<br />
<br />
oung and foolish, must of course be admitted.<br />
But that all agents are the same, I, for one, most<br />
emphatically deny. There are literary agents and<br />
literary agents, and, given an honourable one and<br />
one who knows his business—such are to be found<br />
if one is not too lazy to make inquiries—the advan-<br />
tages of employing him are obvious.<br />
<br />
Briefly, a capable agent knows the literary<br />
requirements of the different editors and publishers.<br />
He knows the length and style of the short stories<br />
and articles suitable for such-and-such a periodical,<br />
and the style of matter most likely to suit the<br />
various publishing firms—exclusive knowledge<br />
which only years of ceaseless study can attain. He<br />
knows, moreover, which magazines are “full up,”<br />
so does not waste valuable time in submitting in<br />
that quarter. In the course of business he is bound<br />
to be asked by editors for articles and stories, which<br />
commissions he naturally passes on to those of his<br />
clients most capable to undertake them.<br />
<br />
Again, a reliable agent not only obtains payment<br />
on acceptance—he holding himself responsible for<br />
the good faith of his client—but he also, for the<br />
most part, does obtain higher prices. This does<br />
not necessarily imply that he bargains with editors<br />
—a practice which would soon lower his standing—<br />
but owing to his knowledge of the pecuniary value<br />
of the work he submits, and by refusing all offers<br />
until that price is reached. The unknown author<br />
is ready to accept the first price that is offered, so<br />
long as he gets into print, and editors, it must be<br />
admitted, trade upon this fact when they are<br />
dealing direct with the unknown author.<br />
<br />
The publisher, as a rule, offers the lowest price<br />
he thinks will be agreed to; he never offers more<br />
than he thinks an MS. is worth to him. But<br />
between these two prices is a large margin—a<br />
margin which the agent, knowing the literary<br />
market, is in the position to curtail considerably.<br />
<br />
Thirdly, a capable agent will not submit to an<br />
editor or publisher unsuitable work. Therefore it<br />
stands to reason that a publishing firm, knowing<br />
this fact, will read and consider very carefully all<br />
work submitted by that agent—a course he cannot<br />
<br />
possibly pursue with the greater part of the MSS.<br />
sent in. That he can “induce publishers to buy<br />
everything he offers them”? is, of course, only what<br />
an agent who knows nothing about his business<br />
would tell a prospective client who knew nothing<br />
about im. With the literary agent with whom<br />
“LL. J. V.” is unfortunately acquainted, we are not<br />
here dealing.<br />
<br />
No honourable agent will expect a client to bind<br />
himself to submit all his work through his hands<br />
for a fixed pericd. If the client cannot increase<br />
his output by employing the agent who can advise<br />
him as to the literary market, he should at once<br />
cease dealings with that agent.<br />
<br />
No honourable agent would accept an offer from<br />
an editor or publisher for his client’s work without<br />
first receiving his client’s consent. In the same<br />
way, he would not be in a position to refuse an<br />
offer, but he would advise the author as to whether<br />
he should accept it. Again, he would always make<br />
a point of enclosing the editor’s letter containing<br />
the offer when writing on the subject. That an<br />
agency of any standing whatever should make false<br />
payments when a letter to the publisher would at<br />
once expose the fraud, is, on the face of it, a<br />
doubtful contingency.<br />
<br />
Another objection raised by the long-suffering<br />
“«Z. J. V.” is the uncanny silence of an agent<br />
before he places the MS., for which he does not pay.<br />
Would this writer have his agent inform him every<br />
time his MS. was returned ? Why disappoint an<br />
author in this way? Of what advantage is it to<br />
him? And consider, say with a hundred clients,<br />
the extra expense and trouble such correspondence<br />
would entail. But an honourable agent is always<br />
ready to answer all queries concerning MSS., to<br />
show his correspondence and books, or to return an<br />
MS. when requested.<br />
<br />
The final query of “L. J. V.” is, Why should<br />
an author who has placed his own work employ an<br />
agent ? The obvious answer is, Because he wishes<br />
to increase his output—a course which an agent<br />
who makes it his business to know the require-<br />
ments of the six hundred odd periodicals, not to<br />
mention publishers, in daily need of literary fuel,<br />
is undoubtedly able to bring about.<br />
<br />
Lastly, do not employ an agent until you have<br />
made the most stringent inquiries concerning him.<br />
Satisfied as to his integrity and ability, stick to<br />
him—as long as he helps to increase your income.<br />
But because you do not take the precaution to<br />
make inquiries—for which, being members of the<br />
Society of Authors, there is no excuse—and as a<br />
result place yourself in the hands of a shark, do not<br />
promptly label all agents as sharks, and sweepingly<br />
assert that they are of no use.<br />
<br />
GrorGE G. Maanus.<br />
<br />
<br />
<br />
<br />
<br />
cite!<br />
<br />
EB get<br />
af fe<br />
a iy iy<br />
<br />
1 it bi<br />
<br />
<br />
<br />
<br />
<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 />
II.<br />
<br />
In the May issue of the Au/hor an interesting<br />
article appeared on literary agencies, on which<br />
you invited comment. As it seems to me there<br />
are two points altogether missed by the article. I<br />
should like if possible to draw attention to them<br />
if they are not touched upon by some better<br />
accredited critic of the article ?<br />
<br />
Putting aside the financial bearings of the<br />
question, it would appear that a writer sends his<br />
works to an agent, firstly because he believes the<br />
agent has a wider knowledge of the magazines<br />
than himself, and is therefore in a position to<br />
place his work more quickly than he can do it<br />
himself. It surely must often happen that a work<br />
fails to be accepted, less because it is wanting in<br />
merit, than because it is not fitted by length, or is<br />
unsuitable in style or subject to the special<br />
magazine to which the writer first sends it, though<br />
he very possibly may get it accepted, after many<br />
false tries, necessitating much discouragement, as<br />
he has so slowly to learn the why and wherefore<br />
his MSS. are rejected. The agent should surely<br />
be able to give the writer advice as to curtailing<br />
or brightening his work, which might ensure its<br />
acceptance. The only allusion the writer of the<br />
article in the May Author makes to the knowledge<br />
an agent ought to possess on the suitability of a<br />
writer’s work to certain magazines, is a passing one<br />
that an agent will “by haphazard ” place his client’s<br />
work in the hands of a publisher or editor whom<br />
the writer would have discovered for himself in<br />
time. This may perhaps be true of publishers,<br />
whose numbers are limited, but a glance at any<br />
writers’ year-book, or press guide, shows a multi-<br />
plicity of magazines, among which a writer may<br />
struggle for years before he finds his feet.<br />
Editors generally presume that a writer must read<br />
their particular magazines before venturing to send<br />
in acontribution. There would be very little time<br />
for writing if an author tried to read even a fraction<br />
of the magazines which might take his work. Is<br />
not this where the superior knowledge of the agent<br />
should come in, and save the author’s time ?<br />
<br />
Saving of time is also the reason I drew attention<br />
to the other point I think the writer of the article<br />
overlooked. He makes no allusion to the mere<br />
clerical work which the author has to undertake,<br />
if he is determined to find the right market for his<br />
wares. It may take the best part of a morning to<br />
get off half-a-dozen MSS. to their different destina-<br />
tions, the clerical work comprising not only the<br />
mere folding and stamping, but methodical entries<br />
in the register, the writing of a fresh letter to each<br />
editor, possibly the re-typing or re-covering of the<br />
MSS. This is all, of course, the A BC of the<br />
writer’s daily task ; but if an agent can save him<br />
so many hours of work, it must be an advantage,<br />
<br />
259<br />
<br />
even if the wear and tear on his nerves entailed by<br />
the personal reception of rejected MSS. be not<br />
also taken into consideration.<br />
<br />
I have not written as in any sense holding a<br />
brief for literary agencies, for I have not yet tried<br />
a competent professional one, a fact which rather<br />
inclines me to wonder if I could not have been<br />
saved many wearisome hours of clerical work, and<br />
many unnecessary discouragements, if I had called<br />
in the assistance of a competent agent, and it is<br />
from those who have used them that one would be<br />
<br />
glad to have the reply. Maupe C. Knieut<br />
<br />
9<br />
<br />
UNITED STATES COPYRIGHT.<br />
<br />
1<br />
<br />
G. anp C. Merriam Oo. v. THE UNITED<br />
Dictionary Co.<br />
<br />
OLLOWING is the decision rendered April<br />
10th by the United States Circuit Court of<br />
Appeals for the Seventh Circuit on the appeal<br />
<br />
from the Circuit Court for the Northern District of<br />
Illinois in the suit brought by G. and C. Merriam<br />
Co. against the United Dictionary Co. to restrain<br />
infringement of copyright in their ‘ Webster’s<br />
High School Dictionary ” :—<br />
<br />
This is an appeal from a final decree of the<br />
United States Circuit Court for the Northern Dis-<br />
trict of Illinois dismissing the bill of complaint<br />
of the appellant for want of equity, the case<br />
having been heard upon the pleadings and an<br />
agreed statement of facts.<br />
<br />
The bill was filed to restrain infringement of<br />
copyright in the book entitled “ Webster’s High<br />
School Dictionary.” The facts briefly stated are<br />
as follows :—<br />
<br />
Appellant, before the publication in this or any<br />
foreign country, was the owner of the literary pro-<br />
perty in and the right to copyright the book<br />
“Webster's High School Dictionary,” and on<br />
August 9th, 1892, published and copyrighted the<br />
same simultaneously in Great Britain and the<br />
United States. Thereafter appellant continued to<br />
publish and sell this book in the United States,<br />
complying with all the requirements of the statutes<br />
and printing the statutory notice of copyright in<br />
every copy published or sold in this country. The<br />
book, under the name ‘“ Webster’s Brief Inter-<br />
national Dictionary,” was subsequently published<br />
commercially in England under an agreement be-<br />
tween appellant and George Bell and Sons, entered<br />
into on July 18th, 1894. ‘This contract expressly<br />
provides that George Bell and Sons will net either<br />
directly or indirectly sell in or import the book<br />
into the United States, or sell to others for the<br />
purpose of importation, and George Bell and Sons<br />
agree to use all reasonable means to prevent such<br />
<br />
<br />
260 THE AUTHOR.<br />
<br />
importation by others. Under this contract the<br />
book has been published and sold in England. The<br />
copies so published and sold in England by George<br />
Bell and Sons have not borne the notice of the<br />
American copyright, but have been in full com-<br />
pliance with all the provisions of the English copy-<br />
right law, and appellant has in England a valid<br />
and subsisting copyright in the book. No copies<br />
of the English book have ever been imported into<br />
or sold in the United States either by appellant or<br />
George Bell and Sons, or anyone acting for or on<br />
behalf of either. The appellee, United Dictionary<br />
Company, is an Illinois corporation, organised<br />
June, 1904, with a capital stock of 1,500 dollars.<br />
George W. Ogilvie, who was the organiser of<br />
defendant corporation in January, 1905, caused a<br />
newsdealer in Chicago to cable to England and<br />
procure for him a copy of “ Webster's Brief Inter-<br />
national Dictionary.” This book was received in<br />
due course and turned over to Ogilvie. This and<br />
another copy subsequently imported by Ogilvie<br />
are the only copies of “ Webster’s Brief Inter-<br />
national Dictionary,” as far as the record shows,<br />
that ever came into thiscountry. Upon receipt of<br />
the first copy the appellee, United Dictionary Com-<br />
pany, of which Ogilvie is director and principal<br />
stockholder, had the pages of ‘“ Webster’s Brief<br />
International Dictionary ” photographed and repro-<br />
duced verbatim, and had plates made which com-<br />
pletely reproduced that book, and which also<br />
reproduced ‘‘ Webster’s High School Dictionary,”<br />
except the first three and the last thirty-four pages,<br />
the remainder of the two books being identical,<br />
This reproduction was with full knowledge of the<br />
American copyright and of the identity of the<br />
books.<br />
<br />
It is expressly stipulated that “said Ogilvie<br />
obtained said copy of said ‘ Webster’s Brief Inter-<br />
national Dictionary,’ not for the purpose of selling<br />
said individual copy, but for the purpose and intent<br />
of having the United Dictionary Company reprint<br />
and republish said book without the consent of<br />
either complainant or George Bell and Sons.”<br />
<br />
Appellee advertised the intended publication of<br />
its book in The Publishers’ Weekly, and has circu-<br />
lated pamphlets and printed matter in which this<br />
announcement is made. The book has not yet<br />
been published, but will be unless its publication<br />
is restrained ; and if published, will constitute an<br />
infringement of appellant’s copyright in the book<br />
““Webster’s High School Dictionary,” if that<br />
copyright be valid.<br />
<br />
The question chiefly argued in this court is,<br />
whether the failure, under the circumstances of<br />
this case, to insert in the books published in Eng-<br />
land the copyright notice required by the United<br />
States copyright law works a forfeiture of the<br />
United States copyright, notwithstanding an exact<br />
<br />
and literal compliance with the United States<br />
statute in regard to all books published or circulated<br />
by or with the consent of appellant in the United<br />
States.<br />
<br />
Wright, District Judge, delivered the opinion of<br />
the court :<br />
<br />
Appellant’s copyright of ‘Webster’s High<br />
School Dictionary” was in strict conformity to<br />
law, and is unassailable in the United States<br />
unless the publication in Great Britain omitting<br />
notice of copyright as required by Section 4,962,<br />
Revised Statutes, deprives it of the right tomaintain<br />
an action for infringement.<br />
<br />
Appellee imported two copies of the British<br />
publication of the book for its use ; that is, to re-<br />
print and republish it in this country for sale. The<br />
importation and publication is sought to be justi-<br />
fied by appellee because the publication in Eng-<br />
land was printed from type set or plates made<br />
within the limits of the United States, and more<br />
particularly appellee’s insistence is that the publi-<br />
cation is justified because of the failure of appellant<br />
to insert in the books published in England the<br />
copyright notice required by the United States<br />
copyright law.<br />
<br />
In support of these contentions it is argued that<br />
the only prohibition contained in the law is against<br />
the importation of books not made from plates<br />
from type set in the United States during the life<br />
of the copyright, and that the books in question<br />
having been made from plates from type set in the<br />
United States, there exists no law against the<br />
importation of them, and having been lawfully im-<br />
ported, and being thus properly in the United<br />
States, and containing no notice therein of a<br />
United States copyright, they were legally subject<br />
to be produced by reprint or publication by any<br />
person, notwithstanding the copyright of the<br />
United States edition of the book.<br />
<br />
The prohibition against importation found in<br />
Section 4,956, Revised Statutes, we think was not<br />
intended to do more than its plain terms import,<br />
considered with the context of the whole section.<br />
Manifestly the object of that prohibition is to pre-<br />
vent from being done abroad the work of producing<br />
copyright books designed for sale in the United<br />
States. The prohibition of that section has no<br />
application to the facts in this sale in the United<br />
States. Appellant had already provided another<br />
edition of the book for sale in the United States<br />
by obtaining copyright according to law, which<br />
was duly protected thereby. However, in the ulti-<br />
mate view we entertain of the question involved<br />
we do not consider the absence of a specific prohi-<br />
bition in the statute against the importation of a<br />
book in the situation of appellant’s English publi-<br />
cation as of controlling effect. The vital question<br />
is whether protection can be afforded against<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
infringement of the copyright appellant obtained<br />
from the United States, or whether the facts<br />
stated constitute an infringement.<br />
<br />
If the importations of the British book were in<br />
large numbers designed for sale in the United<br />
States in competition with the domestic copyright,<br />
then the question would be not only of illegal<br />
importation, but of infringement of the domestic<br />
copyright, as well as the same now is of infringe-<br />
ment by reproducing in this country the foreign<br />
publication.<br />
<br />
It has been argued with force that because Sec-<br />
tion 4,956, Revised Statutes, provides that no<br />
person shall be entitled to a copyright unless he<br />
shall, on or before the day of publication in this or<br />
any foreign country, deliver to the Librarian of<br />
Congress a printed copy of the title of the book,<br />
and also two copies of the book not later than the<br />
day of publication thereof in this or any foreign<br />
country, that therefore the publication of the book<br />
being, as contended, thereby authorised, the pro-<br />
vision in Section 4,963 for the insertion of the<br />
copyright notice in the several copies of every<br />
edition published has reference to the several<br />
copies of every edition, wherever published, in this<br />
or any foreign country.<br />
<br />
Appellant did comply with these requirements<br />
in obtaining its domestic copyright. The law does<br />
not require this to be done in both countries, the<br />
requirement being that the copies be delivered<br />
before or on the day of publication in this or any<br />
foreign country. Appellant having fulfilled this<br />
requirement before the day of publication in this<br />
country, it had done all the law demanded in this<br />
regard. Other than this the provisions of this sec-<br />
tion relative to the deposit of copies of a publica-<br />
tion in a foreign country, the demand for copies to<br />
be delivered to the librarian is but supplementary<br />
to the provisions of Section 4,953, and should be<br />
limited to the purposes of that section, which<br />
enables authors or proprietors of a book in a<br />
foreign language to obtain copyright in this<br />
country. No provision is made in that section for<br />
a case like the one we are considering. The only<br />
reference in that section to a case like this is con-<br />
tained in the proviso: “That this Act shall only<br />
apply to a citizen or subject of a foreign state or<br />
nation when such foreign state or nation permits<br />
to citizens of the United States of America the<br />
benefit. of copyright on substantially the same<br />
basis as to its own citizens.” By other legislation<br />
<br />
it is provided that existence of the conditions de-<br />
scribed in the proviso shall be determined by the<br />
President of the United States by proclamation<br />
from time to time as the purposes of the law may<br />
require.<br />
<br />
So, in the case of a domestic owner of a literary<br />
production, which is also of domestic origin and in<br />
<br />
261<br />
<br />
our own language, which is the case of appellant,<br />
we find no special provision in the law for copy-<br />
right abroad, but do find in the proviso quoted<br />
that such a case has been anticipated by legislative<br />
recognition or sanction, confirmed by executive<br />
proclamation, thus pointing out the way, if not<br />
creating the right, to citizens of the United States<br />
to obtain from foreign nations copyright benefits.<br />
Congress did not assume to give to citizens of this<br />
country the right to a foreign copyright, but<br />
doubtless did all they could do, encouraged foreign<br />
nations, who alone could grant the benefits, to do<br />
so, and in legal effect authorised citizens of this<br />
country to seek copyright benefits in foreign<br />
countries upon the conditions provided for them.<br />
<br />
Under these circumstances appellant obtained<br />
from Great Britain a copyright of the book in ques-<br />
tion, and was thus induced to publish it in Eng-<br />
land, which enabled appellee to obtain a copy for<br />
its use. So far as appears, the copyright granted<br />
by the English Government was in strict con-<br />
formity to the laws of that nation. Indeed, ifat all,<br />
it had to be as prescribed by the law of England,<br />
for Congress had no authority to define the con-<br />
ditions upon which a copyright might be granted<br />
by a foreign nation. The Congress by their legis-<br />
lation did not assume such authority, but merely<br />
as an act of amity provided that when a foreign<br />
state or nation permits to citizens of the United<br />
States the benefits of copyright on substantially<br />
the same basis as to its own citizens, then a citizen<br />
or subject of such foreign state or nation should<br />
have the privileges relative to copyright as con-<br />
ferred by law upon citizens of this country. The<br />
law of England does permit to citizens of this<br />
country the benefit of copyright on substantially<br />
the same basis as to its own subjects, as evidenced<br />
by the proclamation of the President of the United<br />
States.<br />
<br />
It is true that the book so copyrighted and pub-<br />
lished in the foreign country contains no notice<br />
that a copyright exists in the United States. The<br />
law of England does not require that it should<br />
contain such a notice of its own copyright. The<br />
English copyright is valid in that country. It<br />
was obtained by appellant, a citizen of the United<br />
States, with both the legislative and executive invi-<br />
tation and sanction of its own country. Shall it<br />
now be held by the courts of the United States that<br />
because of such invitation and sanction appellant<br />
was induced to and did obtain a valid copyright in<br />
a foreign nation, it thereby invalidated the one it<br />
had obtained in its own country. We do not believe<br />
the Congress intended to have their enactments<br />
interpreted to au absurdity such as that would be.<br />
It was never intended that the notice of copyright<br />
in this country should be inserted in foreign<br />
copyright editions of the same book not designed<br />
<br />
<br />
<br />
<br />
262<br />
<br />
for sale in the United States. In the case of Eng-<br />
land, if such conditions were held to have been<br />
imposed, the effect would be to burden citizens of<br />
the United States with conditions that nation had<br />
not cast on its own subjects, and this would be<br />
inconsistent with the terms of the proviso of the<br />
statute hereinbefore quoted, by means of which<br />
these reciprocal rights were effected, to the purpose<br />
that if foreign nations should permit citizens of<br />
the United States the benefit of copyright on sub-<br />
stantially the same basis as its own citizens, then<br />
the latter should have like benefits in this country.<br />
<br />
If appellant had inserted a notice of the American<br />
copyright in the English editions of the book,<br />
would it have been true? It is plain that it would<br />
not. There can be no just pretence that the<br />
identical matter of the English edition had ever<br />
been submitted to the forms of law essential to a<br />
copyright in the United States. The title and the<br />
first three and last thirty-four pages of the English<br />
edition were different from the domestic edition.<br />
This being true, is it not evident that to have in-<br />
serted such a notice would have been a violation of<br />
Section 4,963, Revised Statutes, subjecting the<br />
offender to a penalty of 100 dollars ? It is not to<br />
be imagined the law demanded a violation of<br />
itself.<br />
<br />
An infringement may result in the wrongful use<br />
of a part as well as the whole of a publication pro-<br />
tected by copyright. Appellant rightfully published<br />
its book in England in conformity to the laws of<br />
that country, with the approval of the law of its<br />
own sovereignty, at the same time having a copy-<br />
right in the United States entitled to the protec-<br />
tion of its laws from illegal infringement. The<br />
publication by appellee of the book imported from<br />
England would be an infringement of appellant’s<br />
copyright, and should be enjoined.<br />
<br />
The decree of the Circuit Court is reversed, and<br />
the cause remanded for further proceedings not<br />
inconsistent with the views herein expressed.<br />
<br />
———1 << —___—_—<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
——<br />
<br />
BLACKWOOD’S.<br />
<br />
The Early Royal Academy: The Story of Its Founda-<br />
tion, and The Romances of Some Original Members.<br />
<br />
Drake: An English Epic. Book III. By Alfred Noyes.<br />
<br />
Grammar to the Wolves. By P. A. Wright Henderson.<br />
<br />
Musings Without Method: Paris in the Seventeenth<br />
Century : An Amateur of the Arts.<br />
<br />
BOOKMAN,<br />
Sir Richard Burton. By Thomas Lloyd.<br />
Swinburne’s Tragedies. By Alfred Noyes.<br />
<br />
Book MONTHLY.<br />
<br />
A Great Unknown. Special Peeps at Mudie and His<br />
World of Readers. By James Milne.<br />
<br />
<br />
<br />
THB AUTHOR.<br />
<br />
Treasure Trove : Some Unpublished Verse of Our English<br />
Poet Crabbe. By M. Jourdain.<br />
<br />
Wanted Humourists: Has The Triumphant Woman<br />
Novelist Killed Them All? By C. E. Lawrence.<br />
<br />
CONTEMPORARY.<br />
<br />
China and The West. By Dr. Timothy Richard.<br />
<br />
The Moral Consciousness of Jesus. By Wm. Douglas<br />
Mackenzie.<br />
<br />
In The Footsteps of Ramon Lull. By Havelock Ellis,<br />
<br />
Pre-Raphaelitism and The Present. By L. March<br />
Phillipps.<br />
<br />
CHAMBERS'S JOURNAL.<br />
<br />
Other Times, Other Manners. By Percy Fitzgerald.<br />
<br />
English Antiquities, Genuine and Spurious. By George<br />
Clinch.<br />
<br />
CORNHILL.<br />
<br />
The Spring Call: A Poem. By Thomas Hardy.<br />
<br />
A French Traveller in Charles II.’s England. From an<br />
Unpublished MS. By D. K. Broster.<br />
<br />
FORTNIGHTLY.<br />
Heinrich Heine. By H. B. Samuel.<br />
The English Stage in the Eighteenth Century. Part I.<br />
By H. B. Irving.<br />
Mr. J. M. Barrie’s Dramatic and Social Influence. By<br />
Edith A. Browne.<br />
The Cradle of Modern British Art. By Julius M. Price.<br />
<br />
INDEPENDENT REVIEW.<br />
Darwin and Mendel. By L. Doncaster.<br />
The Shadow and The Substance : Two French Plays.<br />
Archbishop Temple. By The Rev. Hastings Rashdall.<br />
The Poetry of Blake. By G. L. Strachey.<br />
MACMILLAN’S.<br />
Religious Drama. By Robb Lawson.<br />
Some Types of Modern France.<br />
Rhythm and Rhyme. By Geo. Bourne.<br />
Henry Sidgwick. By Prof. James Sully.<br />
MONTH.<br />
Science and Religion. By J. G.<br />
The English Pope and His Irish Bull, 1. By The Rev.<br />
Herbert Thurston.<br />
A Child Queen of Spain. By The Comtesse de Courson.<br />
Reality in Teaching. By R. Smythe.<br />
MonTHLY REVIEW.<br />
Spiritualism. By Isabella Blackwood.<br />
Accursed Races. By Frederick Boyle.<br />
<br />
NATIONAL REVIEW.<br />
<br />
The Genesis of Italian Unity. By The Right Hon. Sir<br />
Rowland Blennerhassett, Bart.<br />
<br />
The Value of a Public School Education. By Reginald<br />
<br />
Lucas.<br />
A Century of Children’s Books. By Eveline C. Godley.<br />
<br />
NINETEENTH CENTURY.<br />
The Future of Shakesperean Research. By Sidney Lee.<br />
Eugenics and St. Valentine. By Havelock Ellis.<br />
The Vocation of the Journalist. By D. C. Banks.<br />
The Lighter Side of Hannah More. By Norman<br />
Pearson.<br />
The Individual versus The Crowd. By Sir Martin<br />
Conway.<br />
PALL MALL MAGAZINE.<br />
To The Artist: A Poem. By Eden Phillpotts.<br />
<br />
TEMPLE BAR.<br />
Honoré de Balzac: A Sketch. By Mary F. Sandars.<br />
Balzac by Himself: A New Translation of a Letter to<br />
Madame Hanska.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
ot<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (@ 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 />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
a<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—_-——9 —<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 />
263<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.¢., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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 United States 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 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 for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
—___—_+-——+ ___—_<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
ae<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
264<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
—__—_——_-—>__+____——_<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. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion. All this<br />
<br />
without any cost to the member.<br />
<br />
2, Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the .experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4, Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
TO MUSICAL COMPOSERS.<br />
<br />
ee<br />
<br />
HE Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
part of 100. The members’ stamps are kept in the<br />
<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to<br />
the members, who are thus saved much unnecessary trouble,<br />
<br />
Se<br />
<br />
THE READING BRANCH.<br />
ae<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 />
7+ 7<br />
<br />
NOTICES.<br />
Sg<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
I the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
very heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
21st of each month. Worckstee =<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. Cyerou<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 />
et<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 te<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 />
o><br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
a<br />
<br />
EENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society. Be<br />
<br />
Full particulars can be obtained from the City<br />
<br />
Branch Manager, Legal and General Life Assurance —<br />
<br />
Society, 158, Leadenhall Street, London, E.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
GENERAL NOTES.<br />
<br />
—— —<br />
<br />
T appears to be a growing habit for certain<br />
members of the Society of Authors to use the<br />
fact of their membership for purposes entirely<br />
<br />
«4c outside the scope of the Society’s work.<br />
A What the Society does and does not do is fully<br />
~ set forth in the prospectus issued from the office,<br />
+ and in various other ways from time to time in<br />
these pages.<br />
But as this misuse has raised some difficulties<br />
«and doubts in the minds of other members, it may<br />
mo be as well to state that membership of the Society<br />
ob does: not give any literary status, and certainly<br />
“0D does not give any sovial status.<br />
<br />
; That because a man isa member, and can obtain<br />
<br />
the assistance of the Society as an author, his mem-<br />
<br />
bership does not necessarily constitute him either<br />
<br />
a capable literary agent or a capable publisher.<br />
<br />
That, if he happens to be either an agent or a<br />
<br />
publisher, the committee strongly deprecate this<br />
<br />
use of his position as member as a lever to raise<br />
his business in either of the above trades. That<br />
as far as the committee are able, they restrict his<br />
use of the Society’s machinery to the advancement<br />
of his interests and to the protection of his property<br />
as an author.<br />
<br />
It is hoped that this statement will be sufficient<br />
to lay to rest once and for all the doubts that have<br />
<br />
arisen.<br />
<br />
<br />
<br />
In the May Author an article was printed entitled<br />
“Why is an Agent?” The reason for printing it<br />
was stated in these columns. It has aroused con-<br />
siderable comment from members and others. To<br />
some of these we gladly give publicity.<br />
<br />
Personally, we think, and have often stated, that<br />
the agent is absolutely essential. He has done in<br />
the past, and will do in the future, excellent work<br />
for the profession, but we also have often stated<br />
that as the author is dealing on the most con-<br />
fidential terms with an agent, terms as confidential<br />
ds those that exist between solicitor and client,<br />
doctor and patient, so to a greater degree than in<br />
ordinary business must he beware that his confidence<br />
is not misplaced.<br />
<br />
We cannot even agree with the dictum of an<br />
agent—one of no mean standing—who stated<br />
recently that an agent could be of no use to an<br />
author until he had found himself. It is true that<br />
an author may not be profitable to an agent until<br />
he has found himself, but the agent from his full<br />
knowledge and his practical ability can be of the<br />
<br />
- greatest help to all those authors, famous or other-<br />
wise, whose talents are either naturally ill adapted<br />
for business, or whose temperaments revolt from<br />
business worries.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
265<br />
<br />
The advantages that are derived from the exist-<br />
ence of this middleman are too numerous to place<br />
the proposition in doubt, and the constant com-<br />
plaints are not sufficient to shake our steadfast<br />
belief in his powers. For complaints do not show<br />
that all agents are unnecessary, but merely that<br />
some agents are inefficient.<br />
<br />
Ture Canadian Magazine for May contains an<br />
amusing and cynical article by Stephen Leacock on<br />
“The Passing of the Poet.” He endeavours to<br />
draw the conclusion that the present lines on which<br />
the higher civilisation is run tend to destroy poetry<br />
and sentimentality.<br />
<br />
“It is pleasing to turn,” he says, “from this excessive<br />
sentimentality of thought and speech to the practical and<br />
concise diction of our time. We have learnt to express<br />
ourselves with equal force but greater simplicity. To<br />
illustrate this I have gathered from the poets of the earlier<br />
generation, and from the prose writers of to-day, parallel<br />
passages that may be fairly set in contrast. Here, for<br />
example, is a passage from the poet Gray, still familiar to<br />
scholars :—<br />
<br />
‘Can storied urn or animated bust<br />
Back to its mansion call the fleeting breath ;<br />
Can honour’s voice invoke the silent dust,<br />
Or flattery soothe the dull, cold ear of death ?’<br />
‘‘Precisely similar in thought, though different in<br />
form, is the more modern presentation found in Huxley’s<br />
‘Physiology ’ :—<br />
<br />
‘Whether after the moment of death the ventricles<br />
of the heart can be again set in movement by the<br />
artificial stimulus of oxygen, is a question to which<br />
we must impose a decided negative.’ ”<br />
<br />
This is excellent jesting. Please note the remark<br />
« gtill familiar to scholars.” We cannot, however,<br />
admit its truth. ‘Poeta nascitur non fit,” and<br />
will come to life again some day, however rapid our<br />
existence, however practical our methods.<br />
<br />
True poetry throughout the world’s history has<br />
gone through changing periods of life and death,<br />
and it cannot be supposed when the human race<br />
has advanced to what we are pleased in our present<br />
ironical mood to think is its very highest phase,<br />
that the genius of poetry has forsaken us never to<br />
return.<br />
<br />
me<br />
<br />
THE ANNUAL DINNER.<br />
<br />
——<br />
<br />
HE annual dinner of the Incorporated Society<br />
of Authors was held on May 9th, at the<br />
Criterion Restaurant, instead of the Hotel<br />
<br />
Cecil, where it has taken place upon recent occasions.<br />
Sir Henry Bergne, K.C.M.G., Chairman of the Com-<br />
mittee of Management, presided, having upon his<br />
left hand as “the guest of the evening,” Lord<br />
Curzon of Kedleston. Altogether about two<br />
<br />
<br />
266<br />
<br />
hundred and fifty members and guests were<br />
<br />
resent, the latter including, besides Lord Curzon,<br />
M. Raoul de Saint Arroman, vice-president of<br />
the Société des Gens de Lettres ; Dr. G. R. Parkin,<br />
C.M.G.; M. Georges Pettillean, representative of<br />
the Société des Gens de Lettres in England ; The<br />
President of the Royal College of Surgeons of<br />
England ; The Right Hon. Sir Horace Rumbold,<br />
P.C., G.C.B., G.C.M.G. ; M. Pierre de Sales, member<br />
of the Committee of the Société des Gens de<br />
Lettres ; The Right Hon. Sir Charles Scott, G.C.B.,<br />
and many others.<br />
<br />
After the Chairman had given the healths of<br />
“His Majesty the King,” and “ Her Majesty the<br />
Queen and Royal Family,” which were drunk with<br />
loyal enthusiasm,<br />
<br />
Mr. Anthony Hope Hawkins proposed the<br />
toast of “Lord Curzon of Kedleston and Lady<br />
Curzon,” opening his speech with an expression<br />
of his regret, shared by all present, that Lady<br />
Curzon’s health had not permitted her to be<br />
present, and with a reference to the serious illness<br />
which, before Lady Curzon’s last return to India,<br />
had evoked such universal and hearty sympathy<br />
throughout the Empire. To Lord Curzon Mr.<br />
Hawkins referred as the guest of the society, but<br />
not a stranger to it, for he had long been a<br />
member, and had occupied a place upon the<br />
council. Dr. Johnson had said of Warren Hastings<br />
that it was a new thing to find a clerk in the India<br />
Office translating poetry —a new thing for a<br />
governor of Bengal to patronise learning. We<br />
might not compare ourselves with Dr. Johnson, but<br />
we might compare Lord Curzon with Warren<br />
Hastings. He had marked out for himself'a subject,<br />
and had written a most elaborate work, which made<br />
that subject his own for years to come. What he<br />
had written had foreshadowed what he was going<br />
to do, and what he had done was vindicated and<br />
illustrated by what he had written. Lord Curzon’s<br />
services to the Empire needed no words from him in<br />
order to commend the toast to the audience, but he<br />
himself from a personal point of view felt much<br />
indebted to the chairman for having invited him<br />
to propose it. His acquaintance with the high<br />
reputation of “Lord Curzon dated from his own<br />
first week at Oxford, when he heard him spoken of<br />
by all as the most promising undergraduate at the<br />
University. Lord Curzon was now resting, and if<br />
he were to enjoy a long rest it would be one earned<br />
by good work well done, but he predicted that it<br />
would not be long before their guest that evening<br />
would again be summoned to office, or to what was<br />
perhaps even more important—to the exercise<br />
of an influence even greater than office (loud<br />
cheers).<br />
<br />
On rising to reply to the toast of his health and<br />
that of Lady Curzon, Lord Curzon said that his<br />
<br />
<br />
<br />
THB AUTHOR.<br />
<br />
first word must be one of apology at the unfore-<br />
seen, but enforced absence of Lady Curzon, who<br />
had not recovered from a severe attack of influenza<br />
the first fruits of her return to the dubious ameni-<br />
ties of the British climate. He was glad to bea<br />
member of the Incorporated Society of Authors,<br />
a body of persons joined together in order to<br />
protect the fraits of their productive and creative<br />
faculties from the frand of the pirate, and the wiles<br />
of the oppressor. He did not know whether every- —<br />
one present was an author, but he believed himself<br />
to be right in assuming that the majority should<br />
be so described, and he felt almost appalled at the<br />
forces imprisoned beneath the apparently innocent<br />
surface of the gathering before him, and he also<br />
wondered what would happen if some man with a<br />
dynamite bomb secreted beneath the hall were to<br />
blow them all into the air (laughter). He had no<br />
doubt that there would be no appreciable difference<br />
in the intellectual and moral conditions of the race,<br />
for the present was an age of such extraordinary<br />
fertility of literary production that nearly every-<br />
body wrote, and the majority of them wrote<br />
remarkably well. He was glad to see that that<br />
observation received the endorsement of those<br />
present. It was a period of such marvellous<br />
versatility that were they all to be suddenly<br />
eliminated, a similar number, equally competent<br />
would arise to take their places, and the world<br />
would roll on tearless and unmoved. There never<br />
was a time when the literary faculty was more<br />
widely diffused, or when literary actors played so<br />
many parts. The president of their society,<br />
Mr. George Meredith, had given to the world the<br />
noblest prose and the noblest poetry. Mr. Swin-<br />
burne in the maturity of his intellect taught them<br />
how to write political pamphlets. Mr. Thomas<br />
Hardy seemed to have deserted the field of fiction<br />
in which he had won such unsurpassed distinction,<br />
and now gave to the world reflective and imagina-<br />
tive verse of a very high order. There was also<br />
the attractive writer who sat on his left (Mr. Anthony<br />
Hope Hawkins), and who dramatised his own ad-<br />
mirable and romantic creations. Mr. Barrie had<br />
gone over almost entirely to the stage ; and lastly<br />
there was Mr. Rudyard Kipling who wrote every-<br />
thing exceedingly well, and who, to judge from his<br />
speech delivered a few evenings before at the<br />
banquet of the Royal Academy, could distance<br />
all competitors in public speaking, if he chose to<br />
adopt that as his profession.<br />
<br />
Referring to his own presence in the assembly<br />
of authors, Lord Curzon said that as Mr. Anthony<br />
Hope Hawkins had remarked, he had written and<br />
published books, including that rashest of experi-<br />
ments a volume of speeches. He had also written,<br />
<br />
on one occasion, a book about India, which had 4<br />
been illustrated and prepared for the press—it<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
had even been printed, for, thanks to the kindly<br />
offices of the Incorporated Society of Authors, he<br />
had parted with his rights in it for a considerable<br />
sum—when just at that moment he became Viceroy<br />
of India, and upon his work, like the knife of the<br />
guillotine, fell tke fiat of Lord Salisbury, that no<br />
present or prospective Viceroy of India ought to<br />
do anything so improper as to bring out a book<br />
about the country he was about to govern. Asa<br />
result, his contract was torn up, his book was with-<br />
drawn, and to that day it had never appeared—one<br />
of the small, neglected, blessings of mankind.<br />
<br />
He had escaped from one other danger or com-<br />
pliment, as the case might be. All his books had<br />
been sold out before the era of the Z%imes book-<br />
sale, and he had therefore been spared the pang<br />
of seeing a work published at two guineas stand-<br />
ing on a bookshelf with a seductive label upon it,<br />
offering it to the public for the modest sum of<br />
eighteenpence ; indeed, he might count as one of<br />
the proudest moments of his literary life, an occasion<br />
when he had been compelled to buy for ten<br />
pounds, at a second-hand book shop, a work which<br />
had been originally published at the modest price<br />
of two pounds.<br />
<br />
Turning to the question of India and of native<br />
Indian literature, Lord Curzon observed that it<br />
was difficult to speak in general terms of litera-<br />
ture in connection with a country such as India,<br />
having a population of three hundred millions,<br />
of whom only about fourteen and a half million<br />
men and one million women could read and write<br />
at all, while of these, not more than one million<br />
men and one hundred thousand women could read<br />
and write the English language. This meant that<br />
literary development in India was circumscribed<br />
in area. He had himself, however, done what he<br />
could to encourage and to patronise literary effort<br />
in India, having as Governor-General opportunities<br />
for so doing, by conferring long and high-sounding<br />
titles, accompanied by artistic badges worn on the<br />
person—a power which he wished the chairman of<br />
the Society of Authors might enjoy in England.<br />
He regretted that the achievements of Indians<br />
writing in English should be regarded in England<br />
largely as matters of amusement, and that only the<br />
amusing eccentricities of what was known as Babu<br />
English should be cited as examples. These were<br />
quoted in newspapers and unfair inferences were<br />
drawn. He himself had indeed been addressed in<br />
a petition as “ Your Orpulent and Predominant<br />
Excellency,” and had wondered whether the<br />
intention of the petitioner would best be served<br />
by inserting a C. or by omitting an R. Another<br />
had written of himself with relation to the Viceroy,<br />
“as a baby waiting to receive his mother’s milk ” ;<br />
and yet another had compared himself and his<br />
request to “a peacock looking towards the sky to<br />
<br />
267<br />
<br />
quench his thirst.” It was, however, a style which<br />
at times might reflect a sly gift of humour, as<br />
upon the occasion when he had been out upon a<br />
shooting expedition, and the telegram had reached<br />
Caleutta “ Viceroy in camp, another Rajah killed.”<br />
To him, however, when he considered the differ-<br />
ence between the two languages, the noteworthy<br />
feature consisted not in the absurdity of the mis-<br />
takes, but in the brilliancy of the successes<br />
obtained. He found it difficult to explain the<br />
facility and the ability with which the educated<br />
natives of India acquired and spoke in this foreign<br />
tongue, for such English was to them, a facility<br />
and brilliancy which distinguished them in public<br />
speaking, where many would not lose by com-<br />
parison with eloquent members of the British<br />
Houses of Parliament, in pursuing the profession<br />
of barrister, and in presiding in the courts as<br />
judges. This facility, in his opinion, was greater in<br />
them than in any Anglo-Saxon race. It might<br />
not be widely diffused, but he would ask the<br />
Society of Authors to appreciate the fact that the<br />
English language was finding a bome in India,<br />
and that the educated people there were so eager<br />
in acquiring it, that the time might well come when<br />
an English literature would grow up in India,<br />
written by Indian writers, and an Incorporated<br />
Society of English Authors of Indian birth might<br />
hold its session in Calcutta. With regard to what<br />
Mr. Anthony Hope Hawkins had said as to Dr.<br />
Johnson’s opinion of the clerk in the Indian office<br />
translating poetry, he would refer to the Govern-<br />
ment office as the official nursery of literature of<br />
high quality. The India office had given us<br />
Mill and Charles Lamb ; the Board of Education,<br />
Matthew Arnold; the Inland Revenue Office,<br />
W. M. Rossetti ; the Record Office, Mr. Maurice<br />
Hewlett ; the War Office, Mr. Frank Marzials ;<br />
the Post Office, Anthony Trollope and Mr. W. W.<br />
Jacobs. Indeed, it seemed to him that the Civil<br />
Service was in reality an Incorporated Society of<br />
Authors. In conclusion, he again thanked those<br />
present for their reception of the toast of Lady<br />
Curzon and himself.<br />
<br />
Sir Henry Bergne then proposed the toast of<br />
“The Society,” quoting at the outset the words<br />
of Mark Twain, when upon a similar occasion he<br />
proposed “ Literature,” saying, ‘I approach this<br />
toast with feelings of profound melancholy ;<br />
Shakespeare is dead—Milton is no more—I myself<br />
am feeling far from well.” He himself, he said,<br />
in the same way, but in a more chastened spirit,<br />
felt depressed on account of the duty imposed by<br />
custom upon him as chairman to propose the<br />
toast of a great literary society, although not him-<br />
self a distinguished author. Consolation, however,<br />
lay in the fact that the reply would be in the<br />
hands of one having every right and title to speak<br />
<br />
<br />
268<br />
<br />
to it.* Sir Henry Bergne hoped that here it would<br />
be recognised as a sign of saving grace that the<br />
toast had been so ordered as to preserve the<br />
proper relative positions of Man and Super-man.<br />
Man might propose the toast, Super-man would<br />
win approving glances from every bright eye in<br />
making the full and appropriate response.<br />
<br />
He recalled the passage :<br />
<br />
“| sometimes think that never blows so red<br />
<br />
The rose, as where some buried Czesar bled ;<br />
<br />
That every hyacinth the garden wears .<br />
Dropped in her lap from some once lovely head.<br />
<br />
And suggested that the annual festival of the<br />
Society might be regarded as a sacrificial rite,<br />
where, out of the agonies of distinguished authors<br />
and authoresses, or of undistinguished chairmen<br />
compelled to make speeches, there might some<br />
day rise the blossoms of a more perfect and glorious<br />
English literature.<br />
<br />
He would quote another verse from the same<br />
poem, so well known as to be almost hackneyed :<br />
<br />
‘A book of verses underneath the bough,<br />
A jug of wine, a loaf of bread, and thou<br />
<br />
Beside me singing in the wilderness.<br />
<br />
Oh | Wilderness were Paradise enow.”<br />
<br />
From this his hearers might appreciate Old<br />
Omar’s idea of the proper way to celebrate a<br />
festival, in contrast with those of the present day—<br />
a big dinner, followed by speeches in a hot room<br />
on a fine evening in May. “What a blessing,”<br />
Sir Henry ejaculated, “to live in an age of<br />
progress.”<br />
<br />
Turning to the affairs of the Society, he enlarged<br />
upon its continued prosperity. Its finances were<br />
in a sound condition, its numbers increasing, so<br />
that he hoped before long it would be able to<br />
count 2,000 members. On its list of members<br />
were to be found almost all the most distinguished<br />
names in contemporary English literature ; and<br />
not only so, but there could be reckoned among<br />
them many of high distinction, not only in letters,<br />
but in the greater field of the world’s action. Of<br />
such there could not be a more brilliant example<br />
than Lord Curzon, to whose eloquent and admirable<br />
speech those present had listened with so much<br />
pleasure. Two other names in this connection<br />
he would also mention, that of Major-General<br />
Baden-Powell, whose name not long ago resounded<br />
throughout the world, and that of Mr. Douglas<br />
Freshfield, who, in addition to great gifts as a<br />
writer, had shown his personal grit and determina-<br />
tion in difficult and dangerous feats of mountain<br />
exploration.<br />
<br />
In conclusion, the Chairman reminded the<br />
Society that its special work lay in securing for<br />
the author throughout the world due recognition<br />
<br />
<br />
<br />
* Mr. Bernard Shaw.<br />
<br />
<br />
<br />
THRE AUTHOR.<br />
<br />
of his right in his own intellectual property, and<br />
he claimed for the committee that it was their<br />
endeavour to tread humbly but steadfastly in the<br />
footsteps so firmly planted by their honoured<br />
founder, Sir Walter Besant. ‘“ Festina lente’<br />
was sometimes a good motto, and it was his own<br />
conviction that by patient and persistent action<br />
on the part of the Society, the goal would surely<br />
in the end be reached. He gave accordingly the ©<br />
toast of “ The Society,’’ coupled with the name of<br />
Mr. Bernard Shaw.<br />
<br />
| Mr. George Bernard Shaw said that in acknow-<br />
<br />
"edging the toast of The Society of Authors he was<br />
<br />
practically acknowledging the toast of the profes-<br />
sion of literaturein England. Thatprofession, asthe<br />
public saw it, had many aspects. It had the philo-<br />
sophic aspect that they who belonged to it were<br />
really the creators of the mind of the country. He<br />
did not know whether the country was aware of how<br />
largely it was dependent for its ideas on what it<br />
read. This creation of mind was the chief and<br />
great function of authorship, and it was the con-<br />
sciousness of that function which gave the pro-<br />
fession its dignity and themselves their self-respect<br />
and courage. No author who lacked that con-<br />
sciousness had either self-respect or courage.<br />
<br />
Then, they had another aspect of it, an aspect<br />
which presented itself that evening, the aspect of a<br />
brilliant, distinguished, flattered, and envied pro-<br />
fession.<br />
<br />
“But,” he went on to say, “‘there is a third<br />
aspect which we, as a Society of Authors, are never<br />
able to lose sight of. Literature is also, unfortu-<br />
nately, a sweated trade. That is one ofthe reasons<br />
for the existence of our Society. If we had<br />
literary property recognised to the fullest extent,<br />
we should still have almost all our work to do.<br />
<br />
“ Those of you who, like myself, have studied<br />
sweating as an industrial phenomenon, are aware<br />
that it occurs at its very worst in those trades<br />
where the employer, instead of having the work<br />
done in his own factory, gives it out to workers<br />
who do it in their own homes. You can get at the<br />
factory through your factory inspector and your<br />
Factory Acts, but you cannot get at the private<br />
home. Now this giving out of work to be done at<br />
home is the universal practice in our literary<br />
industry, and it results in such sweating that I<br />
have often said that the greatest service anyone<br />
could render to our profession would be the dis-<br />
covery of a method of writing books with the aid<br />
of a steam engine of several hundred horse-power,<br />
because that would lead to books being written in<br />
factories, where the unfortunate author would have<br />
the protection now enjoyed by the factory opera-<br />
tive.<br />
<br />
‘There is another condition characteristic of the<br />
worst sweating, and that condition also, I am sorry<br />
<br />
<br />
<br />
<br />
a<br />
<br />
Se<br />
ae<br />
<br />
ivig<br />
<br />
pie<br />
a<br />
cite<br />
ie<br />
H<br />
}<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
to say, exists in our profession. I mean the com-<br />
petition of subsidized labour. You must have<br />
noticed how delicately Lord Curzon in his speech<br />
touched for a moment on the sore subject of the<br />
civil servant who, with a State-guaranteed income<br />
and pension at his back—an income to which, by<br />
the way,-the author as taxpayer has to contribute—<br />
fills up his spare time when public business is<br />
slack by reviewing and writing for the magazines.<br />
However, I do not complain of the competition of<br />
the civil servant. I suspect that his tendency is<br />
to raise prices rather than to lower them, because<br />
in his beanfed financial security he is able to make<br />
a compliment of writing, and to stand out for good<br />
terms with a bumptiousness which is beyond the<br />
daring of those of us who must take what is<br />
offered or starve. No, the really terrible competi-<br />
tion that we have to face is the subsidized compe-<br />
tition of the married woman. Many ladies, the<br />
wives of professional or city men, have a graceful<br />
talent for literature which they turn to account,<br />
not to save themselves from starvation, but to gain<br />
the special social consideration which comes with<br />
a little literary reputation, and to add a few<br />
luxuries and a certain profuseness of pocket money<br />
to a household already provided with necessities by<br />
the husband. Now if any of the ladies present are<br />
in this position, I cannot too earnestly implore<br />
them never to accept a cheque for a piece of<br />
literary work without asking themselves whether,<br />
if they were single women, with nothing but their<br />
pens between them and starvation, or worse still,<br />
widows with children depending on them, the sum<br />
would be sufficient to support them in reasonable<br />
decency during the time occupied by the work.<br />
In fact, reasonable decency is hardly sufficient :<br />
we poor authors are expected to keep up, not<br />
merely a respectable appearance, but a romantic<br />
one (assent and laughter).<br />
<br />
«Tam afraid that we authors are not always as<br />
clubbable—not as public spirited—not even as<br />
professionally spirited as we ought to be. We are<br />
often shamefully deficient in social conscience.<br />
You see, our profession does not bring us into<br />
daily collision with other people and other in-<br />
terests, as political and business occupations would.<br />
For instance, our distinguished guest, Lord<br />
Curzon, who has governed India and who has<br />
written books, could tell you that governing India<br />
is a very different thing from writing a book about<br />
India. As an author, he could shut himself up in<br />
his own study, invent an India solely to please his<br />
own imagination, invent its history, invent its<br />
politics, its philosophy, its religion, in short, invent<br />
a whole world without being pulled up by contact<br />
with a single real person or a single actual<br />
emergency. He might come out of his study,<br />
after dazzling literary and imaginative feats, an<br />
<br />
269<br />
<br />
ignorant, an unsocial, and consequently a most<br />
inconsiderate man. But ten days of governing<br />
India must either have killed him, or made him<br />
a man of the real world, with an instinctive habit<br />
of never acting or even thinking without reference<br />
to the opinions and welfare of millions of other<br />
men. That is the habit and that is the spirit<br />
which the Society of Authors is striving to foster<br />
and create in the relatively small circle of our<br />
profession. Av ithout union and collective action<br />
we are helpless. When we begin working, we are<br />
so poor and so busy that we have neither the<br />
time nor the means to defend ourselves against<br />
the commercial organisations which exploit us.<br />
When we become famous, we become famous sud-<br />
denly, passing at one bound from the state in which<br />
we are, as I have said, too poor to fight our own<br />
battles, to a state in which our time is so valuable<br />
that it is not worth our while wasting any of it<br />
on lawsuits and bad debts. We all, eminent and<br />
obscure alike, need the Authors’ Society. We<br />
all owe it a share of our time, our means, our<br />
influence. /It is of even greater service to those<br />
who never make any direct use of it than it is to —<br />
those unlucky members whose cases, have<br />
to be taken up and contested for them/by our |<br />
indefatigable secretary, Mr. Thring ; for it is just<br />
the knowledge that Mr, Thring is there, ready to<br />
pounce on the evildoer, that prevents cases<br />
arising. I am proud to say that the committee<br />
work of the Society is done, as it ought to be<br />
done, by men who, like our honoured chairman,<br />
Sir Henry Bergne, have nothing to fear for them-<br />
selves personally from the chicanery, the commer-<br />
cial oppression, and I am afraid I must even say,<br />
the contumely against which they are defending<br />
their less fortunate colleagues. And yet even<br />
eminent literary men seem still capable of astonish-<br />
ingly unprofessional conduct. Not long ago I<br />
received an application for an article at the not |<br />
unreasonable price of one hundred guineas. Need EY<br />
say that it came from America? I replied that I<br />
had not time to write it. The answer was that<br />
that did not matter at all: the article would be<br />
written for me: all that was wanted was my<br />
name. So you see, ladies and gentlemen, that<br />
many nameless members of our profession enjoy<br />
the privilege of writing brilliant and highly-priced<br />
articles, though the price does not go into their own<br />
pockets. However, that is not the point of my<br />
story. It happened that Mr. Thring at that<br />
moment commanded me, whether I had time or<br />
not, to write a review for our paper, Tur AUTHOR,<br />
of a book entitled ‘The Confessions of a Pub-<br />
lisher. I obeyed Mr. Thring meekly, as I always<br />
do ; and I did my best to make that publisher wish<br />
he had never been born; but I naturally felt<br />
aglow of professional virtue at having 80 nobly<br />
<br />
<br />
270<br />
<br />
devoted to my profession the time I might have<br />
spent in earning one hundred guineas. Fancy<br />
my feelings when an eminent man of letters, who<br />
is actually a member of the Society, took the<br />
opportunity to write a whole column in the<br />
Morning Post, making fun, not of the publisher,<br />
but of me and the Society of Authors. I have<br />
often wondered since what that eminent literary<br />
man did with the money that he got for that<br />
article. As it is a matter of public knowledge<br />
that he did not fling it at the feet of his editor<br />
and then go into the nearest field and hang him-<br />
self, and as I can assure you that he did not send<br />
it as a donation to the Society, I can only conclude<br />
that it never struck him that his action was in any<br />
way unprofessional. But what would have been<br />
said to a doctor, to a lawyer, to an officer in the<br />
army, or to a clergyman who should have behaved<br />
in that way? ‘That is the sort of thing we still<br />
have to fight against. The literary skill, the<br />
satire, the special pleading that belong in all<br />
honour to us are wantonly placed at the service<br />
of our commercial antagonists ; and beginners in<br />
literature are taught by the leaders whom they<br />
admire and imitate, that it is amusing, clever, and<br />
fashionable to sneer at the attempts of your own<br />
profession to organise itself as all other honourable<br />
professions are organised.<br />
<br />
“Organisation ought not to be difficult to us,<br />
because we have one great advantage over the<br />
other professions. We have the great advantage<br />
of being loved in our professional capacity. No<br />
man wants to see his doctor professionally, though<br />
he may delight in his company as a private man.<br />
Our lawyer is never welcome when his business is<br />
law. Our clergyman—but here I perceive I am<br />
getting into difficulties ; so let me hasten to make<br />
my real point, which is, that the public is always<br />
delighted to spend day after day in our company<br />
professionally, however soon private intercourse<br />
with us might pall. There is really no excuse for<br />
us if we remain only partially organised. We are<br />
a poor profession—many of our members are<br />
absent from this modest banquet quite simply<br />
because they cannot afford it—but there is no<br />
reason why we should not be a strong and united<br />
profession. You will excuse me, I am sure, for<br />
having devoted my speech with some seriousness<br />
to this issue, instead .of entertaining you in the<br />
lighter vein which is considered appropriate—I<br />
don’t know why—to after dinner oratory.”<br />
<br />
Major-General Baden-Powell, rising to propose<br />
the toast of the guests, said that early in the<br />
evening his neighbour, a lady, had asked him<br />
a pertinent question. She had inquired why<br />
he joined the Society. To this he had answered<br />
that he had once written a book, and had found<br />
that if he had only the financial success of his<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
literary ventures to depend upon it might be<br />
wise to establish a claim upon the pension<br />
fund. The finances of the Society were in good<br />
order, and he thought it might be able to afford<br />
him at least a small tombstone. He had tried<br />
writing another book, and had found, through<br />
joining the Society and after seeking the advice of<br />
its secretary, that there was brotherly sympathy<br />
between all in the profession of writing. He<br />
reminded those present who had had the pleasure<br />
of dining with the Sette of Odde Volumes, of the<br />
inquiry addressed by custom to each member in<br />
turn, “ Who are your guests to-night?” and “ For<br />
what reason did you ask them here ?” and pro-<br />
ceeding to refer to those present as guests, and to<br />
their claims to honour at the hands of the Society<br />
of Authors, he mentioned that one of them,<br />
M. Georges Petilleau, had nearly had written<br />
upon his tombstone that he tried to teach him<br />
(General Baden-Powell) French. He concluded<br />
by referring to the other distinguished guests<br />
present, to the representatives of the Société des<br />
Gens de J.ettres and to Dr. Parkin,—men whom<br />
the Society knew by their works, whom they desired<br />
to meet face to face and honour.<br />
<br />
M. Raoul de Saint Arroman, vice president of<br />
Société des Gens de Lettres replied as follows :<br />
<br />
‘“‘Monsieur le Président, Mesdames, Messieurs:<br />
J’ai pour premier devoir de vous exprimer les vifs<br />
regrets du président de la Société des gens de<br />
lettres, Monsieur Victor Margueritte, que des<br />
obligations impérieuses retiennent 4 Paris. Il m’a<br />
confié la mission a la fois trés agréable et trés<br />
lourde de le représenter & ce magnifique et con-<br />
fraternel banquet, ou l’autorité de son talent et le<br />
charme de sa parole lui eussent conquis, j’en suis<br />
certain, toutes les sympathies.<br />
<br />
“Tl regrettera d’autant plus de n’y avoir point<br />
assisté que, fils d’un général héroique de Parmée<br />
francaise, il était beaucoup mieux qualifié que moi<br />
pour répondre au toast gracieux que vient de nous<br />
porter le major général Baden Powell, un des<br />
héros de Parmée anglaise.<br />
<br />
“Si je n’avais, tout pres de moi, mon ami le<br />
romancier Pierre de Sales, qui me contait ce matin<br />
sa joie de se retrouver 4 Londres ou il passa quel-<br />
ques mois de son adolescence et ou il etit le bonheur<br />
d’apprendre votre admirable langue, je serais bien<br />
plus confus de ne pas la savoir et de ne pouvoir<br />
répondre en anglais aux choses si éloquentes et si<br />
pleines d’humeur qui viennent d’étre dites. J’ai<br />
pour excuse, qu’au temps déja lointain de ma<br />
jeunesse, nous ne nous souciions que trés peu de<br />
Pétude des langues vivantes. Cela a changé depuis,<br />
fort heureusement. En tout cas, si je ne sais pas<br />
anglais, je ne l’admire pas moins. Je professe<br />
<br />
pour votre langue une admiration profonde parce<br />
qu’elle constitue un systéme complet de pensée et<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Wexpression, qu’elle resserre les formes de la parole<br />
<br />
et qu’elle est une langue d'action bréve et signi-<br />
ficative. Elle va droit, vite et loin. Tout ce qui<br />
<br />
n’est pas indispensable, vous ne vous en embarrassez<br />
pas ; vous le supprimez purement et simplement et<br />
est merveille de vous voir sous entendre une foule<br />
de choses. Seuls, parmi les grands peuples de<br />
VEurope, vous osez vous affranchir de l’usage<br />
encombrant des terminaisons du verbe.<br />
<br />
«(est ainsi que vous avez créé une langue quasi-<br />
monosyllabique, originale, en un mot pratique et<br />
positive comme le peuple anglais lui méme.<br />
<br />
“Ft c’est avec une maitrise admirable que se<br />
servent de cet incomparable instrument vos<br />
écrivains, poétes, romanciers, dramaturges que nous<br />
lisons assidiiment et dont nous aimons les géncreux,<br />
puissants et délicats talents.<br />
<br />
“ Mais si j’ai le chagrin de ne pas savoir l’anglais,<br />
jai du moins la satisfaction de voir autour de mot<br />
se développer l’amour de cette langue et j’ai le<br />
droit de vous assurer que la jeunesse francaise<br />
Vétudie assez énergiquement pour espérer qu'un<br />
jour viendra ot elle parlera anglais aussi correcte-<br />
<br />
ment que la jeunesse anglaise parle le francais. Et<br />
ce ne sera pas l’une des moindres garanties de la<br />
pérennité d’une entente cordiale que les événements<br />
se plaisent 4 rendre de plus en plus parfaite.<br />
<br />
“ Je ne pense pas altérer la yérité en constatant<br />
que cette entente, dont nos deux nations se sont<br />
réjouies, présentait a /’origine un caractére surtout<br />
politique et commercial. Laissez-moi souhaiter<br />
qu’elle s’étende aux questions littéraires et artisti-<br />
ques qui méritent, elles aussi, toute notre sollicitude.<br />
D’ailleurs serions-nous trop audacieux en nous en<br />
attribuant les prémisses ? Et ne nous est-il pas<br />
permis de supposer que nous en avons, nous gens<br />
de lettres des deux cétés du détroit, jeté les bases,<br />
lorsque, en septembre 1893—et si je commets une<br />
erreur de date, mon compatriote et confrére Georges<br />
Petilleau rectifiera, puisqu’il était mélé A cette<br />
manifestation—vous avez accueilli et fété un<br />
groupe de littérateurs de France, dont notamment<br />
Emile Zola, Aurélien Scholl et Francis Magnard<br />
faisaient partie ?<br />
<br />
“Nous ne Pavons pas oublié. Aussi bien le<br />
monde des lettres de France a-t-il vu avec une<br />
extréme satisfaction renaitre, se développer et<br />
s’affermir nos communes sympathies.<br />
<br />
“ Permettez-moi donc de souhaiter que cette ére<br />
nouvelle, si féconde pour nos deux grands pays en<br />
résultats politiques et économiques nous conduise<br />
4 une solidarité nécessaire pour la protection de<br />
nos communs intéréts artistiques et littéraires.<br />
<br />
“Tl semble qu’ un jour donné, plus ou moins<br />
prochain, des questions comme celle du copy-right<br />
et du domaine public pourraient tenter votre<br />
esprit. Ne serait-il point fort intéressant, en effet,<br />
d’examiner, par exemple, s'il ne serait pas équit-<br />
<br />
<br />
<br />
<br />
<br />
271,<br />
<br />
able que la propriété d'une ceuvre ne s’éteignit plus<br />
42 ans aprés la date de la publication ? alors qu’en<br />
France elle ne s’éteint que 50 ans aprés la mort de<br />
Vauteur,<br />
<br />
| Cette question importante mérite, je crois,<br />
d’étre soumise aux délibérations de votre illustre<br />
compagnie ov j’ai le plaisir de rencontrer, comme<br />
secrétaire, l’avoué honoraire de la Société des gens de<br />
lettres de France, M. Georges Herbert Thring, que<br />
je saisis occasion de remercier ici de ses bons offices.<br />
<br />
“ Monsieur le Président, Mesdames, Messieurs, en<br />
terminant je puis vous assurer que je rapporterai<br />
fidilement I’écho de l’inoubliable accueil que vous<br />
avez réservé aux représentants de la société des<br />
gens de lettres.<br />
<br />
“(est de tout mon coeur que jen remercie la<br />
société des auteurs anglais en exprimant le voeu<br />
tres ardent que nos relations se multiplient et<br />
quils nous rendent bientot a Paris la visite que<br />
nous avons été si honorés de leur faire A Londres.”<br />
<br />
M. Pierre Sales, speaking in English, expressed<br />
his warm satisfaction at revisiting England, where<br />
he had at one time resided, and where he had then<br />
had the opportunity of acquiring the English<br />
language. In the study of each other’s literature<br />
the two countries had a bond of union which<br />
would increase in strength with the wider cultiva-<br />
tion by each of the knowledge of its neighbour’s<br />
language, and would form a lasting tie between<br />
them. He expressed his pleasure at the reception<br />
accorded to those representing the Société des<br />
Gens de Lettres by the members of the Incor-<br />
porated Society of Authors, and in graceful terms<br />
thanked those present for the enthusiastic manner<br />
<br />
in which the toast of the guests, coupled with the<br />
names of himself and his colleagues had been<br />
received.<br />
<br />
Dr. Parkin, also replying on behalf of the guests,<br />
expressed his great pleasure in being present as<br />
one of them, and in being one of those asked to<br />
respond for them. Unable to reflect. the senti-<br />
ments of all, he desired to confine himself to his<br />
own special point of view with regard to the<br />
Society of Authors and its work. Dr. Parkin<br />
said: “It gives me great pleasure to be here<br />
this evening as the guest of the Authors’ Society,<br />
and I consider it a great honour to be one of<br />
those asked to respond, on behalf of the guests,<br />
to the toast so gracefully proposed by General<br />
Baden-Powell, and so cordially received by this<br />
large gathering. It would be quite impossible<br />
for me, in replying, to reflect the sentiments of all<br />
the distinguished visitors whom your Chairman<br />
has mentioned as present here this evening, 80<br />
perhaps I shall be wise if I do not even make<br />
the attempt, but confine the few words I have to<br />
say to my own special point of view in regard to<br />
the Society of Authors and their work.<br />
<br />
<br />
272<br />
<br />
“Tt has been my business to study, in many<br />
parts of the world, the forces which have held this<br />
great Empire of ours together in the past, and are<br />
likely to hold it together in the future. Amongst<br />
the strongest of these, if not the very strongest, is,<br />
[ am convinced, our common literature—that<br />
literature which it is your daily task to create.<br />
I need not speak of what the verse of Shakespeare,<br />
Milton or Spenser, the prose of Bacon and others,<br />
has meant in the growth of our English nation-<br />
ality. As our race has spread to the remote<br />
corners of the world, a common language and<br />
common study of the best work of our greatest<br />
minds has constantly held us firmly linked to-<br />
gether in thought, in spite of distance. And so<br />
through all the centuries since those earlier times<br />
down to these days, this country has been inter-<br />
preted to her children abroad by the work of her<br />
authors. And if Shakespeare reflected the spirit<br />
that made England great in his own time, when he<br />
said :—<br />
<br />
‘ Come the three corners of the world in arms<br />
<br />
And we shall shock them—nought can make us rue,<br />
If England to herself do rest but true,’<br />
<br />
So our latest great poet, Kipling, has equally<br />
interpreted—one may say crystallized—far better<br />
than all the politicians can do, the true relation<br />
of the great colonies of the Empire to the Mother-<br />
land when he describes Canada as<br />
<br />
‘ A daughter in her mother’s house,<br />
But mistress in her own.’<br />
<br />
“The future which our English literature has<br />
before it in thus interpreting each part of the<br />
Empire to all the others is immense. In verse and<br />
prose, in history and fiction, every side of English<br />
life is studied by your offspring abroad. Gradually,<br />
as a literature grows up in the colonies, they will<br />
be equally understood here. This is a part of your<br />
work as authors, and it is a binding force which I<br />
trust much more than the work of politicians,<br />
which sometimes seems to me to tend more to<br />
disruption than to union of sympathy or of<br />
national life.<br />
<br />
““T cannot but think, too, that the growth of a<br />
great reading public on the distant continents<br />
where the English language prevails, offers the<br />
greatest hope that English authors have of<br />
ultimately securing the fullest material reward for<br />
their work, and the widest range of influence for<br />
their thought. The conditions of securing for the<br />
author this constantly expanding market are not<br />
what they should be, as you well know, and no<br />
doubt it is a considerable part of your work as a<br />
society to endeavour gradually to improve these<br />
conditions, by securing better copyright laws and<br />
by other means, which bring the author and<br />
the reader together on fair terms.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“But I know of few considerations that should<br />
be a higher inspiration to you than the conscious-<br />
ness that you are influencing the springs of<br />
national life. On Canadian prairies, in the<br />
Australian bush, and on the veldt of South Africa,<br />
what you write is shaping the thought of our<br />
race. It is with a deep sense of the dignity and<br />
importance of your work, and of its far-reaching<br />
national character, that we, who are your guests,<br />
acknowledge the honour you have done us in<br />
asking us here to-night. I have to thank you<br />
most warmly for the way in which this toast has<br />
been received.”<br />
<br />
In proposing the health of “ The Chairman,” Mr.<br />
Oscar Browning referred to the work of the society<br />
in connection with Canadian copyright, and to the<br />
need for its efforts. He concluded a humorous<br />
speech with an eloquent recognition of the work on<br />
behalf of the society done by Sir Henry Bergne,<br />
whose health, he proposed.<br />
<br />
After Sir Henry Bergne had replied, thanking<br />
those present for the manner in which the toast of<br />
his health had been received, the guests rose, and<br />
the customary adjournment to coffee and a<br />
“‘conversazione” in the adjoining room brought<br />
to an end the annual dinner of 1906.<br />
<br />
ee<br />
<br />
SOME PROVINCIAL LITERARY SOCIETIES.<br />
<br />
—— +<br />
<br />
RROGANCE is. an offence against perfect<br />
A virtue of which the average man is not<br />
greatly ashamed of being accused. It is<br />
<br />
not contemptible like vanity, nor odious like con-<br />
ceit. The accusation, indeed, is almost tantamount<br />
to an acknowledgment of his possession of other<br />
qualities generally conceded to be desirable, or at<br />
any rate useful, and he meets it with half-hearted<br />
deprecation rather than with indignant denial.<br />
Arrogance is most common in the intellectual<br />
domain. After all, publication of the written<br />
word does establish a primd facie case for its<br />
writer’s qualification to theorise or dogmatise, and<br />
it would be counsel of perfection to suggest that<br />
a journalist should proclaim that he was not in<br />
reality an authority on the subject of his own<br />
copy. Journalists being a numerous folk in<br />
London, arrogance very likely is a salient charac-<br />
teristic of the metropolitan press ; it is said to be<br />
by a good many thinking people who live else-<br />
where, and their charge may well make the subject<br />
of a desultory enquiry into the strength of its<br />
foundation. A country parson, paying a brief<br />
visit to town lately, declared that London<br />
<br />
journalists had a great deal to Jearn from their<br />
provincial brothers; he maintained that the art<br />
of writing leading articles was a lost art in the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THRE AUTHOR.<br />
<br />
capital, and that the high value of that feature of<br />
a newspaper was not perceived by Londoners ; but<br />
it was against the writers of the “ literary pages”<br />
of the daily papers in town that his ire was roused<br />
in particular. He declared that their arrogance<br />
was unjustifiable and intolerable, and that more<br />
solid information, more attractively presented,<br />
was given in the reports of the proceedings of<br />
provincial literary and debating societies than is<br />
given in all the London literary papers put<br />
together. The remark was suggestive and we<br />
have since looked with interest at these reports,<br />
or at such of them as we have had an opportunity<br />
of collecting, with a wish to find out what sort of<br />
literary matters engaged the attention of dwellers<br />
in provincial towns and country villages.<br />
<br />
It is satisfactory to observe the general diffusion<br />
of intellectual activity. No township seems to be<br />
too small to harbour a literary and debating<br />
society, and the secretaries’ reports of the attend-<br />
ance at the meetings prove that the societies fill<br />
areal want. It is unfortunate that our attention<br />
has been directed to the matter at the close of the<br />
winter session, for the concluding meetings seem<br />
to be generally devoted to frivolous amusement,<br />
or at any rate, to informal debates on matters not<br />
literary. Thus at Bacup and some other places<br />
the breach of promise action in Pickwick was<br />
played ; at Croydon recitations and songs sup-<br />
planted essays; at Clapton a mock parliament<br />
assembled ; at Doncaster a mock election was held ;<br />
and at Carnbee a cinematograph was operated.<br />
At Prestwick a debate was held to discuss the<br />
question whether Scotsmen of to-day are better<br />
than Scotsmen of a century ago, the meeting<br />
deciding that intellectually they were, although<br />
physically they had degenerated. At Motherwell<br />
the relations of landlord and tenant were debated ;<br />
Bournemouth discussed commercial morality,<br />
which it decided showed no tendency to decline,<br />
and on another occasion debated the taxation of<br />
land values. At Enfield high finance was con-<br />
sidered, one member of the society presenting ‘an<br />
ideal budget,” which deserves the consideration of<br />
many more people than have yet had an oppor-<br />
tunity of studying it. Kelso discussed socialism ;<br />
Lymington taxation of ground values ; Kenilworth<br />
home rule for Ireland; Alvechurch vegetarianism,<br />
which it preferred to animal food; Amble the<br />
feeding by the State of underfed school-children ;<br />
Savoch of Deer character and talent, a majority<br />
thinking that the latter was more desirable than<br />
the former ; Grimsby the reasons why the man in<br />
the street does not become the man in the church.<br />
From the reports of all these debates it is<br />
manifest that they are made the reason for<br />
careful study of the questions at issue, and that<br />
their primary purpose is to acquire and diffuse<br />
<br />
273<br />
<br />
information, practice in oratory being regarded<br />
as subsidiary.<br />
<br />
Lectures on travel and papers on topographical<br />
interest are another frequent feature of the pro-<br />
vincial literary societies. At Perth, Canon Cooke<br />
compared the condition of Alsace-Lorraine before<br />
and after the war of 1870 ; Twrgwyn mentally took<br />
a tour in North Wales, and papers were read on<br />
the literature and romance of Yarrow at Selkirk,<br />
on “the mill stream” at Cardiff—a particularly<br />
interesting essay following the course ofa particular<br />
stream and describing its beauties, with views, and<br />
its service to man; on a trip to the Rhine at<br />
Ballinling, on the Ober-Ammergau Passion Play<br />
of 1900 at Norwood, on the scientific results of<br />
Nansen’s arctic expedition at Rochdale, on a<br />
journey to the Southern Pacific across the Andes<br />
at Lenzie, and on a trip to Bruges at Chatham.<br />
Natural history provides another favourite subject<br />
for attention ; the instincts of insects were con-<br />
sidered at Cowdenbeath, the migration of birds at<br />
Penrith, Nature’s protection of insect life at High-<br />
gate, animals of bygone days at Cullen, spiders at<br />
Highbury, and microbes at Fochabers. Sometimes<br />
a literary interest is grafted on to subjects of this<br />
sort: ‘the skylark in poetry” formed the subject<br />
of a good essay at Manchester, and “a bird<br />
evening” of another at Southport. A collection<br />
of syllabuses of these provincial societies would be<br />
invaluable to many aliterary journalist at a loss for<br />
subjects, and an extraordinary range of interests<br />
is covered by them.<br />
<br />
It is impossible to form an accurate judgment of<br />
the quality of the papers from some of the reports,<br />
but where they are of any considerable length they<br />
prove that the men and women who are responsible<br />
for them are people of the highest cultivation and<br />
generally of trained literary critical ability. We<br />
have read with the greatest possible interest and<br />
appreciation summaries of essays on Madame de<br />
Sevigné, read at Manchester ; «‘ Browning’s Jews ”<br />
at Hampstead ; “ Oliver Goldsmith” at Peterhead<br />
—an excellent and delightful paper by Dr. Smith ;<br />
‘Women of the Sagas” at Kirkwall ; « Joseph<br />
Addison” at Lisburn; ‘ Schiller’s Wallenstein<br />
Dramas” at Burnley, “ Ruskin the Seer’ at<br />
Coventry, and “ Merejskowsky » at Hull. And it<br />
is pertinent to this article to point out that in all<br />
these cases the essays are written and read by local<br />
people, and are not lectures delivered by lecturers<br />
who make this kind of thing their business, and<br />
who are engaged by committees through lecture<br />
agencies. Among the hundreds of reports which<br />
we have read, we have only found four which<br />
summarise papers not written in the town at which<br />
they were read by the townsman who wrote them ;<br />
these four being a lecture on the relation of true<br />
bookmen to their books, delivered by Ian Maclaren<br />
<br />
<br />
<br />
<br />
274<br />
<br />
at Kingston, in Surrey; on “ Literary Life behind<br />
the Scenes,” delivered by Coulson Kernahan at<br />
Birmingham and at Bangor ; and on “ The Wrong<br />
Word,” by E. W. Hornung, at Norwood. The rest<br />
are the work of men whose names are not generally<br />
known in Fleet Street, and if some Fleet Street<br />
men of our acquaintance could read them their<br />
arrogance would be diminished. We cannot single<br />
out any one for quotation, but it is a pleasure and<br />
a benefit to read so thoughtful an essay as that read<br />
at Darwen by the local librarian, Mr. J. Pomfret,<br />
on “The Modern Novel.” It shows that “ pro-<br />
vincialism ” is a state, having nothing to do with<br />
the fact that the man who betrays it lives in the<br />
provinces ; there is nothing provincial about Mr.<br />
Pomfret ; he takes the large view of literature.<br />
And that is the arresting thing about these pro-<br />
vincial literary and debating societies. _Whenthey<br />
turn their attention to literature they show that the<br />
grace of God moves them; they take the high<br />
standpoint and survey the wide realm with eyes<br />
that see and are not dimmed by the shadow of self<br />
which, it would seem, always falls between the pro-<br />
fessional author and his work. They approach<br />
their self-appointed task as a labour of love into<br />
which no element of professionalism or thought of<br />
gain enters. Perhaps this is why the resultant<br />
essays are of such good quality. We acknowledge<br />
that our own eyes have been opened by the inquiry<br />
on which a chance conversation sent us roaming.<br />
Henceforward we have nothing but respect for the<br />
smallest village literary society, of which we have<br />
probably thought until to-day with a tolerant<br />
kindliness born in reality of unjustifiable arrogance.<br />
<br />
V. E. M.<br />
ee ee ge<br />
A GUIDE FOR AUTHORS.*<br />
ee gg ae<br />
<br />
HERE have been many guides for authors,<br />
good, bad and indifferent—for the most<br />
part indifferent. It is doubtful whether<br />
<br />
authors in general pay much attention to these<br />
well-meant efforts. Indeed, it is possible that<br />
some might be deterred from any attempt at<br />
authorship were they compelled before embarking<br />
on a novel to read carefully through some such<br />
work as that which lies before us. “The King’s<br />
English ” is more serious than most of its fellows.<br />
Its aim is primarily to instruct: it mingles<br />
amusement with its instruction accidentally rather<br />
than of set purpose, as befits a work issued from<br />
Oxford and the Clarendon Press. Former books<br />
in a similar vein have dealt with authorship in a<br />
more desultory fashion, not without an eye to the<br />
delectation of the general reader. They have<br />
<br />
<br />
<br />
* “The King’s English.” Oxford: Clarendon Press,<br />
<br />
1906<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
given humorous advice as to the handling of<br />
editors, as to the best modes of dealing with a<br />
publisher, as to success (from the popular stand-<br />
point) in the field of literature. The anonymous<br />
authors of this work despise such extraneous<br />
topics : their subject is our noble language, and<br />
to that subject they adhere faithfully for some<br />
three hundred and sixty closely-printed pages.<br />
They attack it from a scientific point of view, and<br />
carry out their scheme with commendable thorough-<br />
ness, and with many selections from our most<br />
admired authors, illustrating literary crimes of<br />
every degree of magnitude. Writers of every<br />
grade, from the highest to the lowest, are pilloried<br />
in these remorseless pages. Thus, while the<br />
<br />
manual deters the ignorant by the severity of its.<br />
<br />
criticism, it affords some sort of salve by the<br />
number and importance of the authors whom it<br />
rebukes. “ After all,” we can imagine the careless<br />
or uneducated aspirant saying, “ why should we<br />
be at such pains to write correctly when Thackeray<br />
and Dickens, George Borrow and Anthony Trollope,<br />
so often failed to obey the fundamental rules of<br />
syntax.” And certainly some of these great men<br />
made surprising lapses on occasion.<br />
<br />
Seriously, however, this is a book that does<br />
most thoroughly deserve to be studied by every-<br />
one—man, woman or child—who aims at good<br />
writing. We should like to see it adopted as a<br />
text-book by the profession. An examination, at<br />
any rate on the first part, might well be a com-<br />
pulsory step in the career of every journalist and<br />
author. As things stand, it is notorious (to quote<br />
from the preface) that English writers seldom look<br />
into a grammar or composition book. Even in<br />
our schools, English is rarely taught, except inci-<br />
dentally. The anxious student commonly acquires<br />
his knowledge of the language as best he can, by the<br />
analogy of Latin (which he probably does learn<br />
grammatically) and by the reading of the English<br />
classics. It is difficult to understand why he<br />
should be expected to acquire a thorough know-<br />
ledge of a difficult subject in this haphazard<br />
fashion. Is it because the masters themselves—<br />
horrid thought !—are afraid to venture into the<br />
unknown country? The first part of this book,<br />
and especially the chapters dealing with syntax<br />
and punctuation, we make bold to recommend to<br />
such schoolmasters as take what is called by<br />
courtesy ‘‘an English form.” To authors and<br />
journalists “The King’s English” should be<br />
invaluable —if they would only condescend to<br />
study it with the care it deserves. It is tolerably<br />
<br />
certain, however, that those who most need the<br />
information it contains will be those who imagine<br />
themselves far beyond instruction in so simple a<br />
matter as the writing of their own language.<br />
<br />
KE. L. W.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
THE DINNER OF THE ROYAL<br />
LITERARY FUND.<br />
<br />
—— +<br />
<br />
PYNHE Dinner of the Royal Literary Fund was<br />
held at the Whitehall Rooms of the Hotel<br />
Metropole, on May 10th.<br />
<br />
Mr. Whitelaw Reid, the United States Ambassador,<br />
presided, and there was a distinguished company<br />
present.<br />
<br />
After the usual loyal toasts the Chairman pro-<br />
posed, “ Prosperity to the Literary Fund.” Dealing<br />
with provision in America to meet the same<br />
purpose, he had to confess that, however well the<br />
experiment had worked in England, no provision<br />
was made in the United States—in Franklin’s own<br />
country—for broken-down men of letters. Better<br />
provision was made for broken-down bricklayers.<br />
As for what they did for those men of letters who<br />
were not broken down, those to whom they were<br />
only in debt, perhaps the less said the better. The<br />
first time he ever had the honour to meet the late<br />
Mr. Gladstone, he asked him among various other<br />
questions, “What does your Republic do to<br />
reward distinguished public services from private<br />
citizens ?” to which he was compelled to answer,<br />
“There are only three things we can do. If they<br />
live at the North we can invite them to lecture. If<br />
they live at the South we can call them Colonel or<br />
General. Wherever they live, in the North or the<br />
South, if they can get votes enough, we can send them<br />
to Congress and let them take the consequences.”<br />
After passing some comments on the literatures of<br />
England and the United States the chairman made<br />
an eloquent appeal for support for the Fund.<br />
<br />
The Bishop of Bristol then proposed “ Literature,”<br />
and Mr. Sidney Lee made a characteristic speech in<br />
response, laying especial stress upon the neglect of<br />
education in English literature in the great public<br />
schools and universities, and he recommended the<br />
suggestion to Mr. Birrell, as he considered a Bill to<br />
remedy this evil would receive—what Education<br />
Bills do not usually receive—universal approval.<br />
<br />
Mr. J. ©. Parkinson, Treasurer and Vice-<br />
President, announced that the total sum received<br />
was £1400.<br />
<br />
The health of “The Chairman” was drunk and<br />
the proceedings terminated.<br />
<br />
—_——_——___+—__2+—___—__<br />
<br />
CONGRESS OF 1906 OF THE INTER-<br />
NATIONAL LITERARY AND ARTISTIC<br />
ASSOCIATION.<br />
<br />
—1-<br />
<br />
HE next congress of the International<br />
Literary and Artistic Association will be<br />
held at Bucharest from the 20th to the<br />
<br />
25th September, on the occasion of the National<br />
<br />
275<br />
<br />
Exhibition, which will celebrate the 40th anniversary<br />
of the coronation of the King of Roumania. This<br />
congress will be of particular interest, and it is<br />
hoped that it may result in the adhesion of the<br />
kingdom of Roumania to the Berne Convention, to<br />
facilitate which the Roumanian Parliament has<br />
already modified the laws respecting Roumanian<br />
copyright. For members of the Congress a very<br />
considerable reduction of railway fares has been<br />
<br />
<br />
<br />
already secured, and further concessions are<br />
anticipated.<br />
ee ee<br />
CORRESPONDENCE.<br />
eS<br />
Wuy Is AN AGENT?<br />
ibe<br />
<br />
Sir,—With reference to the article in the May<br />
number of Zhe Author, “ Why is an Agent ?” may<br />
I venture to remark that the great need for an<br />
agent, to my mind, appears to arise from the<br />
difficulty of collecting the sums due for accepted<br />
stories, articles etc. These are usually paid for after<br />
publication, and unless application be made for the<br />
money it is in many cases not sent ; yet it is often<br />
impossible for an author to keep watch in all the<br />
papers and magazines to which he may have sent<br />
his work. If any of your readers can suggest<br />
a means by which this could be satisfactorily<br />
managed without the help of an agent, I think the<br />
suggestion would be useful to many. HE. H. G.<br />
<br />
2 ee<br />
<br />
dl:<br />
<br />
Sir,—The truly humorous (and inaccurate) article<br />
on literary agents in your May number, signed<br />
«T,, J. V.,” merits serious consideration in only<br />
one respect—where it gives publicity to the<br />
following libel :—<br />
<br />
“Moreover, if an author thinks at all, he is<br />
bound to wonder how much of the publisher’s<br />
cheque the agent really retains as his proportion.<br />
For the author is invariably kept in the dark, or<br />
almost invariably. The publisher sends his cheque<br />
to the agent, who returns the receipt over his own<br />
signature, and deposits the cheque to his own<br />
account. Some six months later the importunate<br />
author gets the agent’s personal cheque—if he has<br />
been importunate enough.”<br />
<br />
The implication is abominable, and without a<br />
shadow of foundation so far as it is applied to any<br />
agent at present in business with whose methods I<br />
am acquainted; that it is equally so with refer-<br />
ence to the majority, I have little doubt would be<br />
testified by any reputable author who is familiar<br />
with the methods of the leading agents.<br />
<br />
Perhaps your correspondent may not realise<br />
that, as with authors, there are also two kinds of<br />
<br />
<br />
276<br />
<br />
agents, those who are worth while, and those who<br />
are not. Agents who are worth while can hardly<br />
afford to spend much time over authors who are<br />
not. Whether or not that may have been the<br />
reason for “L.J. Vs” fund of inexperience with<br />
the methods of the worth-while agent I of course<br />
cannot say, but I recommend the idea for him to<br />
<br />
meditate upon. An AGENT.<br />
—_—— +<br />
<br />
III.<br />
<br />
Sir,—I feel that perhaps it is due to those of<br />
my fellow authors who have placed their feet on a<br />
rung or two of the literary ladder, to tell them my<br />
experience with regard to “‘ Agents.”<br />
<br />
I have had experience with one high-class agent.<br />
I received all courtesy, kindness, and encourage-<br />
ment, and any small cheques due to me were<br />
punctually paid. Yet the fact remains that the<br />
agent never once placed any of my work except<br />
where I myself in one way or another had made<br />
the preliminary opening.<br />
<br />
Not only so, but gradually short stories and<br />
other manuscripts were returned to me, and some<br />
work that needed rather special experience amongst<br />
publishers was declined. Gradually I have gone<br />
on by myself, with the’ result that I have placed<br />
nearly every short story I have written, also a<br />
couple of young people’s stories, one of which the<br />
agent would not touch at all, and the other he<br />
returned after vain efforts to place. Also a small<br />
shilling book found a publisher, not counting two<br />
previous novels for which I found the publisher,<br />
and the agent made the arrangements.<br />
<br />
Another point is that when a story goes through<br />
an agent the author has no means of revising, and<br />
no means of meeting the wishes of editors and<br />
publishers as to length, &c. Since I have worked<br />
direct with publishers and editors I have learned<br />
much as to what they want. I quite admit that<br />
possibly an agent will get better prices in the long<br />
run, but my own experience goes directly to prove<br />
that for an author to get a footing amongst the<br />
publishing houses it is best to communicate direct.<br />
I live a long distance from London, but I am con-<br />
vinced that it is better to pay travelling expenses<br />
now and again than agent’s fees.—Faithfully yours,<br />
<br />
Aw AutHor or THREE NovELS, CHILDREN’S<br />
TALES, AND TWELVE SHORT STORIES.<br />
——1—> + —<br />
TYPEWRITERS.<br />
<br />
Str,—There must be many members of the<br />
society who, like myself, are in the habit of typing<br />
their own work and whose machines from time to<br />
<br />
time require to be cleaned or to receive some<br />
small repairs. May I, through the columns of<br />
<br />
The Author, inquire whether any such member<br />
<br />
THER AUTHOR.<br />
<br />
<br />
<br />
can furnish me with the address of a competent<br />
person who may be trusted with the healing of a<br />
typewriter and whose charges are not exorbitant ?<br />
The need for such a person’s services is so manifest<br />
that I cannot help believing he must exist.<br />
<br />
Some years ago my machine developed a habit<br />
of misprinting certain letters. I carried it to the<br />
London office of the makers and it was declared to<br />
want cleaning. It was retained for about a fort-<br />
night; a charge of sixteen shillings was made ;<br />
and its evil ways, though somewhat checked, were<br />
not cured. A few months later, at a holiday<br />
season, when I was away from town, the disease<br />
became acute; a small spring broke and an<br />
important letter was paralysed. I took the dis-<br />
abled machine to a local watchmaker of repute.<br />
He put in four new springs—three others being<br />
feeble—and incidentally cleaned the machine<br />
throughout. These operations he performed<br />
within twenty-four hours, and his charge, fixed by<br />
himself as a fair price for the time and skill<br />
expended, was eight shillings. Also my machine<br />
was completely cured and continued to work well<br />
during a prolonged existence. The successor of<br />
that first machine is now beginning to suffer from<br />
the same infirmity and I should be glad to put it<br />
into the hands of some one who would treat it as<br />
successfully as the local watchmaker treated its<br />
predecessor, but who does not, like that friend in<br />
need, dwell fifty miles away from London.<br />
<br />
Yours faithfully,<br />
C. B.<br />
<br />
<br />
<br />
ToTEMS FoR AUTHORS.<br />
<br />
Srr,—Replying to the little note by Mr. Howard<br />
Collins in last month’s issue, I may say that I quite<br />
appreciate his point. Yet I am afraid that even a<br />
signature would prove an unsatisfactory totem, as<br />
the only difference protectable between men posses-<br />
sing the same name would be the difference of<br />
appearance in their signatures, and this difference<br />
would not be so readily appreciated by the general<br />
public as to make the ‘“‘signature” the best of<br />
totems. For instance, take the two Churchills—<br />
B. Winston Churchill and 8. Winston Churchill—<br />
merely to distinguish by their different initials and<br />
the manner in which they signed their names<br />
would be a greater task to the memory, than if<br />
each printed a small distinctive design beside his<br />
name upon the covers of his books. Also, if two<br />
men possessing the same name had the unhappy<br />
faculty of signing somewhat alike, I imagine it<br />
would be impossible to force either to change his<br />
style, whereas the copyright office would see to it<br />
that no person imitated a registered design such<br />
as I advocate. I am, dear sir, yours faithfully.<br />
<br />
Wiit1am Hope Hopeson. | https://historysoa.com/files/original/5/517/1906-06-01-The-Author-16-9.pdf | publications, The Author |
518 | https://historysoa.com/items/show/518 | The Author, Vol. 16 Issue 10 (July 1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+16+Issue+10+%28July+1906%29"><em>The Author</em>, Vol. 16 Issue 10 (July 1906)</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> | 1906-07-01-The-Author-16-10 | | | | | 277–292 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-07-01">1906-07-01</a> | | | | | | | 10 | | | 19060701 | Che Muthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
Voi. XVI.—No. 10.<br />
<br />
JULY 1sT, 1906.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
<br />
374 VICTORIA.<br />
‘TELEGRAPHIC ADDRESS :<br />
<br />
AUTORIDAD, LONDON.<br />
<br />
+—}_»—____<br />
<br />
NOTICES.<br />
<br />
+<br />
<br />
EMBERS are reminded that Te Author is<br />
not published in August or September,<br />
only ten numbers being issued annually.<br />
<br />
The next number will appear in October.<br />
<br />
For the opinions expressed in papers that are<br />
signed or initialled the authors alone are respon-<br />
sible. None of the papers or paragraphs must<br />
be taken as expressing the opinion of the Com-<br />
mittee unless such is especially stated to be the<br />
case.<br />
<br />
Tue 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 />
1<br />
<br />
List of Members.<br />
<br />
THE List of Members of the Society of Authors<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902, to July, 1903, as<br />
a supplemental list, at the price of 2d., can now be<br />
obtained at the offices of the Society. They will<br />
be sold to members or associates of the Society only.<br />
<br />
All further elections have been chronicled from<br />
month to month in these pages.<br />
<br />
Vou. XVI.<br />
<br />
THE PENSION FUND OF THE SOCIETY.<br />
<br />
—-~>—<br />
<br />
The Committee’s Decision, 1906.<br />
<br />
HE Trustees of the Pension Fund of the<br />
iE Society have reported to the Pension Fund<br />
Committee that there are sufficient funds to<br />
enable them to declare another small pension.<br />
The committee consider it is their best policy<br />
to allow the funds to accumulate for the present.<br />
They would, however, be glad to receive informa-<br />
tion, unofficially, from any member of the society<br />
of any urgent case within the member’s personal<br />
knowledge.<br />
<br />
Information of such cases, which should be as<br />
full as possible, should be sent to the Secretary,<br />
39, Old Queen Street, Storey’s Gate, S.W., and will<br />
receive the prompt and careful attention of the<br />
<br />
committee.<br />
ge gs<br />
<br />
Investments of the Fund.<br />
<br />
Tue Trustees of the Pension Fund met at the<br />
Society’s Offices, March 5th, 1906, and having gone<br />
carefully into the accounts of the fund, decided<br />
to invest a further sum. They have now pur-<br />
chased £200 Cape of Good Hope 3% per cent.<br />
Inscribed Stock, bringing the investments of the<br />
fund to the figures set out below.<br />
<br />
This is a statement of the actual stock ; the<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
DOUROIS Oe One oc ce ieee ee £1000 0 0<br />
local owis 3. ee. 500 0 0<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 29 19 11<br />
WSE Wi0an 2.0 es ZOOL 9 8<br />
London and North Western 3 % Deben-<br />
tite SEOCK 2.72550 200 0 0<br />
Egyptian Government Irrigation<br />
imat 4.96 Certificates ....-:......... 2002.0 0<br />
Cape of Good Hope 34% Inscribed<br />
SlOCK 2. 200 0 9<br />
Motel: 22. £2,643 9 2<br />
<br />
<br />
278<br />
<br />
Subscriptions, 1906. £ gs. a<br />
March 7, Sinclair, Miss May 1.10<br />
March 7, Forrest, G. W. 2 250<br />
March 8, Simpson, W. J. 6 9 0<br />
March 8, Browne, F. M. 0.2 4<br />
April 12, Pryor, Francis 2 2 20<br />
June 15, Cuming, E. W. D.. Ll 0<br />
June 15, Skrine, Mrs. J. H. 010 O<br />
<br />
Donations, 1906.<br />
<br />
Jan. 2, Jacobs, W. W. : : a)<br />
Jan. 6, Wilkins, W. H. (Legacy) —50 0 6<br />
Jan. 10, Middlemas, Commander A. C. 9 10 0<br />
Feb. 5, Roe, Mrs. Harcourt : 730 ) 0<br />
Feb. 5, Yeats, Jack B. : : --0 10 0<br />
Feb. 12, White, Mrs. Caroline. . 0 10.0<br />
Feb. 13, Bolton, Miss Anna ©0520<br />
Feb. 28, Weyman, Stanley . : 2b 50<br />
March 7, Hardy, Harold. . 7 0°10-.0<br />
March 12, Harvey, Mrs. : : 2 0 0<br />
March 27, Williams, Mrs. HE. L. . ~ ko 10<br />
April 15, Caine, William. : ~ 1 L 0<br />
April 15, Steel, Mrs. F. A. . : » 0-15. 0<br />
June 12, Oliphant, Captain Blair . 7 8.0. 0<br />
June 12, B.S. G. : : : . be 070<br />
June 16, Behnke, Miss Kate E. . » 0 5. 0<br />
June 28, G. W. Caldicott . : oi 10<br />
<br />
—__—__—_>_+—___—_—_-<br />
<br />
COMMITTEE NOTES.<br />
<br />
—+~<> +<br />
<br />
HE meeting of the Pension Fund Committee<br />
was held on Monday, June 11th, at three<br />
o'clock, at the offices of the society. ‘The<br />
<br />
committee received and considered the report of<br />
the trustees of the fund. The committee’s decision<br />
is fully recorded on the first page of The Author<br />
under the heading of “The Pension Fund.” The<br />
attention of members is especially drawn to this<br />
statement.<br />
<br />
At four o’clock on the same afternoon the com-<br />
mittee of the society held its monthly meeting. It<br />
is satisfactory to report that the rate of election is<br />
still well maintained. Twenty-six members and<br />
associates were elected at the meeting, bringing the<br />
total for the current year up to124. This number<br />
is in advance of the elections at the corresponding<br />
period of last year.<br />
<br />
In last month’s Author mention was made of a<br />
case in the United States in which the society had<br />
obtained the opinion of an American counsel.<br />
The result of further negotiations between the<br />
parties was placed before the committee, who<br />
decided to leave the settlement in the hands of the<br />
<br />
THE AUTHOR.<br />
<br />
author concerned, though in the event of his<br />
inability to come to an arrangement they repeated<br />
their willingness, as decided at the former meet-<br />
ing, to assist the member in an action for the<br />
maintenance of his rights in the United States<br />
Courts.<br />
<br />
The case of infringement of copyright mentioned<br />
in the last issue of Zhe Author has now been<br />
settled. An umple apology has been made to the<br />
author, and the report of the settlement was placed<br />
before the committee.<br />
<br />
A complaint by a member of the society against<br />
a fellow member, with full details as set forth by<br />
both parties, was brought before the committee.<br />
After careful consideration, the committee decided<br />
that the complaint had not been substantiated and<br />
that the complainant should be informed of their<br />
decision. The next question referred to a dispute<br />
between a composer and a music publisher, in<br />
which the latter had neglected to take any notice<br />
of the letters sent him by the secretary and had<br />
refused to furnish the member with a proper state-<br />
ment of account. The committee decided to place<br />
the matter in the hands of the society’s solicitors<br />
and to issue a writ if necessary. The sale of books<br />
by The Times’ Book Club is being carefully con-<br />
sidered by the committee, but it is not desirable to<br />
make any statement on the subject at present.<br />
<br />
On another page of Zhe Author will be found a<br />
message of sympathy which has been forwarded<br />
through the British Foreign Office to the Norwegian<br />
Government on the occasion of the death of Dr.<br />
Henrik Ibsen.<br />
<br />
The secretary reported that he had that morning<br />
received a copy of the United States Copyright<br />
Bill which is going before the Senate. It’ is ciren-<br />
lated to all the members as a supplement to this<br />
<br />
month’s issue.<br />
eee i<br />
<br />
Cases.<br />
<br />
Tue secretary has dealt with a<br />
since the appearance of the list in the June num-<br />
ber of Zhe Author. One of these has been trans-<br />
ferred to the society’s solicitors, with the sanction<br />
of the committee. This case is mentioned in the<br />
Committee Notes.<br />
<br />
The next case is one of accounts, and it is hoped<br />
that the publishers will forward these in due<br />
course. There are six cases in which the secretary<br />
has had to apply for money. Two of these have<br />
already terminated successfully, the money having<br />
been paid. One of the remaining cases deals with<br />
a claim against an American publisher, and cannot,<br />
in consequence, be settled for some little time, and<br />
another deals with a paper in bankruptcy. Any<br />
action taken by the society in this case would be<br />
of no avail. In the other two cases a settlement<br />
<br />
.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
\<br />
<br />
on the question of agents.<br />
<br />
Allen, H. Warner<br />
<br />
will, no doubt, be arrived at before the issue of the<br />
next number of Zhe Author.<br />
<br />
There are three matters dealing with agents’<br />
accounts, all of which are in course of negotiation.<br />
There is no need to say anything more at present<br />
The matter has been<br />
fully discussed in the last few numbers. Two<br />
other cases refer to the interpretation and settle-<br />
ment of agreements. One case is in the course of<br />
satisfactory negotiation, and the other case the<br />
committee have decided to take in hand if the<br />
publisher does not accept the offer made by the<br />
author with a view to settlement.<br />
<br />
There is one case remaining which deals with<br />
the question of the right to a pseudonym. It may<br />
be remembered that a case of a similar kind<br />
occurred some time ago, in which the society took<br />
counsel’s opinion. The former was satisfactorily<br />
settled, and no doubt a similar result will be<br />
effected in the present instance.<br />
<br />
—+~+<br />
<br />
June Elections.<br />
Woodside, Purbrook,<br />
Cosham, Hants.<br />
<br />
Behnke, Miss Kate Emil. 18, Earl’s Court Square,<br />
<br />
5. W.<br />
Benson, The Rev. Robert Catholic Rectory,<br />
Hugh Cambridge.<br />
<br />
THE AUTHOR.<br />
<br />
Letts, Miss Winifred M. .<br />
<br />
Lawson, T. Robb<br />
<br />
MacGillivray, E. J.<br />
<br />
Quetteville, The Rey.<br />
Philip W. de<br />
<br />
Rentoul, Robert Reid,<br />
M.D.<br />
<br />
Skrine, Mrs. John H.<br />
<br />
Stopford, Francis Powys .<br />
<br />
Terry, R. R.<br />
<br />
279<br />
<br />
4, Glendart Avenue,<br />
<br />
Blackrock, County<br />
Dublin.<br />
<br />
90, Delaware Mansions,<br />
<br />
Elgin Avenue, W.<br />
<br />
Temple Gardens,<br />
<br />
E.C.<br />
<br />
Cote-du-Nord, Trinity,<br />
Jersey.<br />
<br />
78, Hartington Road,<br />
Liverpool.<br />
Itchen Stoke,<br />
<br />
ford, Hants.<br />
<br />
51, Clarendon Road,<br />
W.<br />
<br />
Cathedral Clergy<br />
House, Francis<br />
Street, Westminster,<br />
S.W.<br />
<br />
2<br />
os<br />
<br />
Alres-<br />
<br />
Towgood, Miss Edith 42, Drayton Court,<br />
Ethel Drayton Gardens,<br />
S.W.<br />
Wilkinson, David 103, Beckwith Street,<br />
sirkenhead, Cheshire.<br />
_¢-—<>—_e —_____—_<br />
<br />
BOOKS PUBLISHED BY MEMBERS OF<br />
THE SOCIETY.<br />
<br />
Boynton, Major Walter<br />
Brandon, D.<br />
Chadburn, Mrs.<br />
<br />
Clarke, Lieut.-Col. J. A.<br />
<br />
Cuming, E. W.D. .<br />
<br />
Donkin, Charles, M.D.<br />
<br />
Goldacker, Miss Dagmar-<br />
yon.<br />
<br />
Grant, Mrs. Forsyth<br />
<br />
Horne, A. B. .<br />
<br />
Horridge, Frank .<br />
Hudson, H. Lindsay<br />
<br />
James, Miss Winifred<br />
<br />
Johnson, Matt. G. .<br />
<br />
Bramley Hill, Croy-<br />
don.<br />
<br />
2edfields, Crookham,<br />
Hants.<br />
<br />
Braziers, Chipperfield,<br />
<br />
King’s Langley,<br />
Herts.<br />
<br />
Bailey’s Hotel, Glouces-<br />
<br />
ter Road, S.W.<br />
Pembroke Road,<br />
<br />
Kensington, W.<br />
<br />
St. Laurence, Bexley,<br />
Kent.<br />
<br />
24, Porchester Gardens,<br />
<br />
Bayswater, W.<br />
Northumberland<br />
<br />
Terrace, Edinburgh.<br />
<br />
15, Buckingham Gate,<br />
o.W:<br />
<br />
c/o London and West-<br />
minster Bank, Loth-<br />
bury, H.C.<br />
<br />
Claremont Villa, Spire<br />
Hollin, Glossop,<br />
Derbyshire.<br />
<br />
Lyceum Club, Picca-<br />
dilly, W.<br />
<br />
Thorpe Grange,<br />
Barnard Castle.<br />
<br />
20<br />
<br />
?<br />
<br />
43,<br />
<br />
+<br />
<br />
(In the following list we do not propose to give more<br />
than the titles, prices, publishers, etc., of the books<br />
enumerated, with, in special cases, such particulars as may<br />
serve to explain the scope and purpose of the work.<br />
Members are requested to forward information which will<br />
enable the Editor to supply particulars. )<br />
<br />
ARCH Z OLOGY.<br />
<br />
By W. M. FLINDERS PETRIE.<br />
104x 7}. 280 pp.<br />
<br />
RESEARCHES IN SINAI.<br />
With Chapters. By C. T. CUNELLY.<br />
Murray. 21s, n.<br />
<br />
STONEHENGE AND OTHER BRITISH STONE MONUMENTS.<br />
Astronomically considered by SIR NorMAN LOCKYER,<br />
K.C.B., F.B.S. 9} x 64. 340 pp. Macmillan. 10s, n.<br />
<br />
BIOGRAPHY.<br />
<br />
PORTRAITS AND JEWELS OF MARY STUART. 3y ANDREW<br />
<br />
Lang. 104 x 64. 107 pp. MacLehose. 8s. 6d. n.<br />
<br />
THE LIFE OF OSCAR WILDE. By ROBERT HARBOROUGH<br />
SHERARD. 9 x 5%. 470 pp. Werner Laurie, 12s. 6d. n.<br />
<br />
BOOKS OF REFERENCE.<br />
Tue STATESMAN’S YEAR BOOK, 1906, Edited by J, Scort<br />
KELTIE, LL.D., with the assistance of F. P. A. REN-<br />
<br />
wick, M.A., LL.B. Forty-third annual publication.<br />
7 x 43. 1,604 pp. Macmillan, 10s. 6d. n.<br />
<br />
CLASSICAL.<br />
From Epictetus and<br />
<br />
By W. H. D. Rouse, Litt. D.<br />
Methuen, 33s. 6d. n.<br />
<br />
Worpbs OF THE ANCIENT WISE.<br />
Marcus<br />
6% x 44.<br />
<br />
Aurelius.<br />
366 pp.<br />
<br />
<br />
<br />
<br />
280<br />
EDUCATIONAL.<br />
<br />
A Juniorn ARITHMETIC. By C, PENDLEBURY and F. E.<br />
RoBINSON. 7x 43. 204 pp. Bell. 1s. 6d.<br />
<br />
ENGINEERING,<br />
<br />
ELECTRICITY IN HoMES AND WORKSHOPS: A Practical<br />
Treatise on Electrical Apparatus. By SIDNEY F.<br />
WALKER. 7} X 5. 359 pp. Whittaker. 5s. n.<br />
<br />
FICTION.<br />
<br />
AMELIA AND THE Docror. By H. G.<br />
73x5. 319 pp. Smith Elder. 6s.<br />
<br />
Lapy Berry AcRoss THE WATER. By C, N.and A. M.<br />
WILLIAMSON. 73X54. 340 pp. Methuen. 6s.<br />
<br />
In SupsEcTION. By ELLEN THORNEYCROFT FOWLER<br />
(Mrs. A. L. FALKIN). Hutchinson & Co. 6s.<br />
<br />
THE HOUSE IN SPRING GARDENS. By MAgor ARTHUR<br />
GRIFFITHS. 745. 306 pp. Nash. 638.<br />
<br />
JENNIE BARLOWE, ADVENTURESS. By Exuior O’Don-<br />
NELL. 74x 5. 319 pp. Greening. 6s.<br />
<br />
FENWICK’S CAREER. By Mrs. HUMPHREY WARD (Edition<br />
de Luxe). Two Vols. 83x 6. 238+230 pp. Smith Elder.<br />
218. 0,<br />
<br />
THE CARDINAL'S PAWN (Cheap Edition). By K. L. Mon'r-<br />
GomMERY. 8$x5%. 160 pp. Unwin. 6d.<br />
<br />
HARLEY GREENOAK’S CHARGE. By BERTRAM MITFORD.<br />
74 x5. 353 pp. Chattoand Windus. 6s.<br />
PHANTASMA. By A. C. INCHBOLD. 72 X 5.<br />
<br />
Blackwood. 6s.<br />
<br />
“THALAssa !” By Mrs. BAILLIE REYNOLDS.<br />
<br />
352 pp. Hutchinson. 6s.<br />
{OBINSON CRUSOE’S RETURN.<br />
<br />
HUTCHINSON.<br />
<br />
<br />
<br />
376 pp.<br />
7 is<br />
<br />
4x 5.<br />
<br />
By Barry PAIN. 64 x 5.<br />
<br />
168 pp. Hodder and Stoughton, Is. n.<br />
Mora. By T. W. SPEIGHT. 83 x 5}. 128 pp. Cheap<br />
Edition. Greening. 6d.<br />
<br />
<br />
<br />
THE COMPROMISE. By DoROTHEA GERARD, 7} X 5.<br />
368 pp. Hutchinson. 6s.<br />
<br />
THE Grie oF Fear. By S. H. BURCHELL. 7} x 5}.<br />
322 pp. Hurst and Blackett. 6s.<br />
<br />
Pau JeRoME. By Mrs. Mary Kocu.<br />
Greening. 6s.<br />
<br />
THE BRIDLE OF ANSTACE.<br />
74 x 5.409 pp. Lane. 6s.<br />
<br />
AYLWIN. By THEODORE WATTS-DUNTON.<br />
Classics). Limited edition (with postscript).<br />
489 pp. Frowde. 5s. n.<br />
<br />
THE Rep VAN. By ALAN ST. AUBYN.<br />
Digby Long. 6s.<br />
<br />
7% xX 5. 320 pp.<br />
By ELIZABETH GODFREY,<br />
<br />
(The World's<br />
6 x 4.<br />
<br />
7% x 5. 320 pp.<br />
<br />
BEss OF THE Woops. By WARWICK DEEPING. 73 x 5.<br />
406 pp. Harpers. 6s.<br />
<br />
AUDREY THE ACTRESS. By HORACE WYNDHAM. 7? x 5,<br />
370 pp. E. Grant Richards. 6s.<br />
<br />
Law, Nor Justice. By FLORENCE WARDEN. 8 xX 5}.<br />
<br />
Hurst and Blackett. 6s.<br />
THE AMATEUR CRACKSMAN.<br />
73 x 5. 368 pp. Nash. 6s.<br />
<br />
325 pp.<br />
RAFFLES :<br />
HORNUNG.<br />
<br />
By E. W.<br />
<br />
tARDENING.<br />
<br />
GARDENING MADE Easy. By E. T. Cook.<br />
202 pp. Country Life Office. 1s. n.<br />
My GARDEN. By EDEN PHILLPOTTS.<br />
Life Library). 9} x 53. 207 pp. Newnes.<br />
<br />
8 x 5.<br />
<br />
(The Country<br />
12s. 6d. n.<br />
<br />
LITERARY.<br />
<br />
TH LEGEND OF SIR PERCEVAL. Studies upon its Origin,<br />
Development, and Position in the Arthurian Cycle. By<br />
Jessie L. Weston. Vol. I. Crétien de Troyes and<br />
Wauchier de Denain. 7% x 5}. 344 pp. Nutt.<br />
12s, 6d. n.<br />
<br />
THE AUTHOR.<br />
<br />
MILITARY.<br />
<br />
AIDS TO SCOUTING, FoR N.C.O.’s AND MEN. By Magor-<br />
GENERAL R. S. S. BADEN-POWELL, C.B. Revised and<br />
Enlarged Edition. 4%x33. 178 pp. Gale and Polden.<br />
Lg, 0:<br />
<br />
MISCELLANEOUS.<br />
<br />
PETROL PETER: OR PRETTY STORIES AND FuNNy PIc-<br />
TURES. By A. WILLIAMS. 103 x 84. 24 pp. Methuen.<br />
8s. 6d. n.<br />
<br />
NATURAL HISTORY.<br />
<br />
ANIMAL Heroes. By ERNEST THOMPSON SETON. 8 x 6.<br />
<br />
363 pp. Constable. 6s. n.<br />
POLITICAL.<br />
<br />
SPEECHES. By LorD CURZON, OF KEDLESTON. Vol. IY.<br />
1904-5. 84 x 5}. 242 pp. Calcutta: Government<br />
Printing Office.<br />
<br />
POETRY.<br />
<br />
ae:<br />
<br />
‘‘ CHLORIS AND ZEPHYRUS.” An epic in blankverse. By<br />
JULIAN KINGSTEAD. 79 pp. G. P. Putnam’s Sons.<br />
3s. 6d. n.<br />
<br />
REPRINTS.<br />
MATTHEW ARNOLD’S POEMS.<br />
<br />
291 pp. DRAMAS AND-<br />
<br />
Prize Porms. 154 pp. Edited by LAURIE MAa@nvs.<br />
6 x 4. Routledge. Is. n. each.<br />
<br />
Pearut. <A fourteenth century poem, rendered into<br />
modern English by G.G. CouLTON. 53 x 43. 51 pp.<br />
<br />
Nutt.” en.<br />
<br />
TRELAWNY’S RECOLLECTIONS OF THE LAST DAYS OF<br />
SHELLEY AND Byron. With Introduction. By EDWARD<br />
DoWDEN. 201 pp. Frowde. 2s. 6d. n.<br />
<br />
THEOLOGICAL ESSAYS OF THE LATE BENJAMIN JOWETT.<br />
Selected, arranged and edited by LEWIS CAMPBELL.<br />
267 pp. Frowde. 2s. 6d. n.<br />
<br />
TWENTY-THREE TALES. By ToLstoy.<br />
L. & A. MaupE. 271 pp. Frowde.<br />
ls. 6d. n. leather.<br />
<br />
Translated by<br />
Is. n. cloth, and<br />
<br />
SPORT.<br />
<br />
FISHERMAN’S WEATHER. By upwards of one hundred<br />
living anglers. Edited by F. G. AFLALO, F.R.G.S.<br />
8 x 5%. 256 pp. Black. 7s. 6d. n.<br />
<br />
THEOLOGY.<br />
<br />
A SHorT HISTORY OF FREELHOUGHT.<br />
Modern. By JoHN M. ROBERTSON.<br />
Re-written and Greatly Enlarged. Two Vols.<br />
480+ 455 pp. Watts. 21s. n.<br />
<br />
THE MODERN PILGRIMAGE: FroM THEOLOGY TO<br />
RELIGION. By R. L. BREMNER (Popular Edition).<br />
<br />
74 x 5. 296 pp. Constable. 2s. 6d. n.<br />
<br />
REVELATIONS BY VISIONS AND VOICES.<br />
Apport, D.D. 34 pp. Griffiths. 6d. n.<br />
<br />
Ancient and<br />
Second Edition,<br />
<br />
By EpwIn A.<br />
<br />
TOPOGRAPHY.<br />
<br />
THE PLACE-NAMES OF BEDFORDSHIRE. By the Rey.<br />
<br />
W. W. Skat, Litt. D. 9 x 53. 74 pp. Cambridge:<br />
Deighton, Bell. 3s. 6d. n.<br />
TRAVEL.<br />
<br />
INDIA UNDER RoyAL Eyes. By H. F. Prevost Bat-<br />
TERSBY. 9x 6. 453 pp. Allen. 12s. 6d. n.<br />
<br />
FELICITY IN FRANCE. By CoNSTANCE E,MAup. 7} x 5}.<br />
331 pp. Heinemann. 6s.<br />
<br />
9 x 6.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
ESSRS. MACMILLAN & CO. will shortly<br />
publish a book entitled “ Playright and<br />
Copyright in all Countries,’ by Mr. W.<br />
<br />
Morris Colles and Mr. Harold Hardy, barristers-at<br />
law. The primary object of the work is to enable<br />
authors to see at a glance what steps must be taken,<br />
before or after publication, to secure international<br />
protection of their copyright and dramatic rights<br />
in books and plays throughout the world. The<br />
formalities as to registration and delivery of<br />
copies, in all countries where copyright is recog-<br />
nised, are set out in detail; and the requirements<br />
of the British Colonial laws, including the Austra-<br />
lian Commonwealth Copyright Act, 1905, are<br />
specifically dealt with. The book is dedicated, by<br />
kind permission, to Sir Henry Bergne, K.C.,<br />
K.C.M.G., chairman of the Authors’ Society.<br />
<br />
John Oliver Hobbes’s new novel, “ The Dream<br />
and the Business,” is a study of character and its<br />
development. It also depicts a conflict between<br />
two religious ideals, those of Roman Catholicism<br />
and of English Nonconformity. Mr. Fisher Unwin<br />
will publish the work.<br />
<br />
“Beauties of the Seventeenth Century,” by<br />
Mr. Allan Fea, published in the middle of May<br />
‘by Messrs. Methuen & OCo., contains a series of<br />
memoirs of memorable women who figure in this<br />
period of history. Avoiding politics as far as<br />
possible, the author dips into private history and<br />
personal anecdote. The book, which is published<br />
at 12s. 6d. nett, contains 160 illustrations.<br />
<br />
“Harley Greenock’s Charge,” by Bertram Mit-<br />
ford, is a story of South Africa, the chief hero of<br />
which ig a resourceful, up-country hunter, who<br />
undertakes the guidance of an adventure-seeking<br />
young Englishman on a visit to South Africa.<br />
Messrs. Chatto and Windus are the publishers.<br />
<br />
In “ Modern Bookbindings: Their Design and<br />
Decoration,” published by Constable & Co., the<br />
author (Mr. S. T. Prideaux) draws attention to the<br />
progress in England and France in a field of work<br />
that has an increasing number of recruits and a<br />
growing and interested public.<br />
<br />
The next serial in the Monthly Review will come<br />
from the pen of Mrs. Henry De La Pasture. It<br />
will have for its title “The Lonely Lady of<br />
Grosvenor Square,” and will, in large part, be a<br />
London story.<br />
<br />
On the afternoon of June 28th Mr. Cecil Sharp<br />
delivered a concert-lecture on English Folk-Songs,<br />
at which several songs, collected by the lecturer in<br />
Somerset, were sung by Miss Mattie Kay and Mr.<br />
J. Campbell McInnes,<br />
<br />
281<br />
<br />
Messrs. Putnam announce the publication of a<br />
new novel by Father Robert Hugh Benson. It is<br />
a dramatic study of England in the middle of the<br />
sixteenth century, and is entitled “The Queen’s<br />
Tragedy.”’ The principal character is Mary Tudor,<br />
and her sister Elizabeth also comes prominently<br />
into the story.<br />
<br />
In “ Thoughts on Ultimate Problems.” by F. W.<br />
Frankland, published by Mr. Philip Welby, the<br />
author bases his reasoning on the theory that all<br />
existence is necessarily psychic. His conclusions<br />
as to the origin of evil and the necessity for a<br />
redeemer are, in the main, in accord with orthodox<br />
theology, including the ultimate triumph of good<br />
over evil. Mr. Frankland, however, holds the view<br />
that evil came into the world by sheer force of<br />
necessity, and “ without foresight of any of its<br />
effects.”<br />
<br />
Mr. J. J. Haldane Burgess, author of “The<br />
Treasure of Don Andres,” etc., is translating<br />
“ Rasmie’s Biiddie,” his book of Shetlandic poems,<br />
into Esperanto.<br />
<br />
The June issue of The Monthly Review con-<br />
tains an article entitled “The Gaming of Monte<br />
Carlo,” by F. Carrel.<br />
<br />
“The Life of Oscar Wilde,” by Mr. R. H.<br />
Sherard, was published by Mr. Werner Laurie<br />
last month. One of its main purposes is to dispel<br />
a number of false reports associated with Wilde’s<br />
life, as for instance the recurring rumour that he<br />
is not dead. Mr. Sherard also discusses his<br />
writings.<br />
<br />
Mr. Eden Phillpotts has written a volume<br />
entitled “ My Garden,” which contains the thoughts<br />
of a literary man who is also a gardener. It<br />
is issued from the office of Country Life.<br />
Another volume from the same office, entitled<br />
“Gardening Made Hasy,” by HE. T. Cook, is a<br />
concise little encyclopedia, at a popular price.<br />
<br />
“Paul Jerome,” by Mrs. Mary Koch, just pub-<br />
lished by Messrs. Greening & Co., is a character<br />
study. An Anglican priest, who is bound by vows<br />
to remain celibate, finds love too strong for him,<br />
marries, and suffers accordingly.<br />
<br />
We have received from Mr. Harold Thornberg,<br />
the editor, a copy of an illustrated magazine en-<br />
titled “ Dag,” published in Helsingborg, Sweden.<br />
The magazine is tastefully produced and contains<br />
a varied assortment of articles, poems, etc.<br />
<br />
The Antiquary contains an article by Miss<br />
Olive Katherine Parr, entitled ‘* Buckfast Abbey :<br />
The Pheenix of the West.”<br />
<br />
Miss Marian Bower has sold stories of 16,000<br />
words in length to Messrs. Tillotsons and<br />
Chamber’s Journal. The same writer has also<br />
sold a 5,000-word story to Pearson’s Magazine.<br />
Miss Marian Bower has also arranged with Messrs.<br />
Ward, Lock & Co. for the publication of her next<br />
282 TARE AUTHOR.<br />
<br />
book, which she has entitled “The Wrestlers.”<br />
The September issue of Zhe Monthly Story<br />
Magazine, New York, will contain an 8,000-word<br />
story from the pen of this writer, who is also<br />
represented in Zhe Sketch. :<br />
<br />
In view of the Warwick pageant early this<br />
month, Messrs. Black’s announcement of a colour<br />
book on Warwickshire is opportune.<br />
<br />
Mr. Clive Holland and Mr. Fred. Whitehead,<br />
R.B.A., who have collaborated in the volume, have<br />
an intimate acquaintance with the country, the<br />
result of leisurely pilgrimages over its length and<br />
breadth.<br />
<br />
From the text of the cne and the series of water-<br />
colour drawings of the other there emerges a com-<br />
plete picture of the county which lies nearest the<br />
heart of England.<br />
<br />
Messrs. Longmans, Green & Co. have in the<br />
Press the 8th edition of ‘‘ A Handbook for Steam<br />
Users” by M. Powis Bale, M.I.C.E., and Messrs.<br />
Crosby Lockwood & Son a 5th edition of “ Pumps<br />
and Pumping” by the same author. “ The Third<br />
Time of Asking,” by M. E. Francis, was produced<br />
at the Garrick Theatre on May 30th, preceding<br />
Mr. Alfred Sutro’s play, “The Fascinating Mr.<br />
Vanderveldt.” The piece refers to a rustic’s love<br />
for a girl. Owing to his fear of losing her, he has<br />
the banns put up without first asking her consent,<br />
which, however, he succeeds eventually in obtaining<br />
by the aid of various presents.<br />
<br />
The cast includes Mr. Arthur Bourchier, Miss<br />
Pamela Gaythorne and Mr. A. Whitby.<br />
<br />
A dramatic performance of ‘“ Foil and Counter-<br />
foil,” by Mary Woodifield, was given at St. George’s<br />
Hall, Langham Place, on Thursday, June 28th, by<br />
the members of the Wyndham Club, in aid of the<br />
Soldier’s Home, Guard’s Depdt, Caterham.<br />
<br />
a<br />
<br />
PARIS NOTES.<br />
<br />
i<br />
<br />
s A Vie intime d’une Reine de France au<br />
XVII* siécle ” is the title of a curious and<br />
interesting work by M. Louis Batifol.<br />
<br />
The queen is Marie de Médicis, and the epoch<br />
<br />
studied by the author is from the year 1600 to<br />
<br />
1617. In the first chapter we have an account of<br />
<br />
the sad and lonely childhood of the little mother-<br />
<br />
less princess shut up in the great Pitti palace.<br />
<br />
‘Two months after her mother’s death, when Marie<br />
<br />
was only five years old, her father, the Grand<br />
<br />
Duke of Tuscany, married the famous Bianca<br />
<br />
Capello. It was not until Marie was twenty-seven<br />
<br />
that her marriage with Henri IV. of France was<br />
<br />
arranged. In the following chapters we have a<br />
<br />
detailed account of the splendours and miseries of:<br />
Court life, of the expenses of the Royal household,<br />
of the old customs and traditions which had to be<br />
continued, of the king’s love affairs, of the queen’s<br />
artistic tastes and love of magnificence, and finally<br />
of her financial enterprises. The author’s object<br />
in writing this book is not so much to give us the<br />
“psychology ” of Marie de Médicis as to re-<br />
constitute the past history of France for the sake<br />
of making us understand the present. “Cette<br />
étude,” says the author, ‘‘montre comment le<br />
cadre de la cour de France, créé lentement a travers<br />
les siécles et conservé religieusement, témoigne du<br />
<br />
gott prédominant des hommes d’alors pour le-<br />
<br />
maintien scrupuleux des traditions. . . . elle<br />
indique que la royauté en France, au début du<br />
XVII siécle, loin de réaliser la théorie du pouvoir<br />
absolu . . . . est, au contraire, contenue de tous<br />
cdtés par un ensemble de forces passives plus<br />
maitresses en réalité de |’Htat que le roi lui-méme,.<br />
au nom des principes invoqués d’usages séculaires<br />
et de ‘lois fondamentales du royaume’.”<br />
<br />
‘A travers le Féminisme suédois’* is the title<br />
of a work by Mare Hélys, giving a very thorough<br />
study of the Swedish woman. The author com-<br />
mences by explaining the characteristics and the<br />
evolution of the Swedish woman, taking us back<br />
to the days of Marguerite Valdemar, Queen of<br />
Sweden, Norway, and Denmark, and her famous<br />
Union of Calmar, concluded in 1397. Going on<br />
to modern times, the following subjects are among<br />
those treated :—The legal position of woman ; the<br />
<br />
question of the political vote ; popular education ;<br />
<br />
the teaching of housekeeping; the students of<br />
Upsal University and those of Cambridge com-<br />
pared; women and agriculture; literary women ;<br />
the modern Swedish woman, beauty, physical<br />
culture, dress, family life in Sweden ; the difference<br />
between free love and mariages de conscience and<br />
<br />
between the bachelor woman and the old maid ;<br />
<br />
the evolution of love and of the new ideal recog-<br />
nised by Swedish women. The author has studied<br />
her subject carefully and thoroughly ; she has lived<br />
among the people of whom she writes, and the<br />
result is a volume which can be relied upon for<br />
information on a subject which is only vaguely<br />
known outside the Scandinavian countries.<br />
<br />
“Notes et fragments d’histoire,” by M. Félix<br />
Rocquain, Member of the Institute, is a volume-<br />
containing a series of articles on various subjects,<br />
among which are the following :—‘ L’Hypnotisme<br />
au Moyen Age,” “ La Politique sous le Second.<br />
Empire,” “ Notes sur. Napoléon.”<br />
<br />
M. Edouard Gachot has now completed his work,<br />
entitled “‘ Campagnes de 1799,” upon which he has<br />
been engaged for ten years. The last volume is<br />
<br />
<br />
<br />
* “ A travers le Féminisme suédois” (Plon).<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
on “Jourdan en Allemagne,” and “Brune en<br />
Hollande.”<br />
<br />
“T’Esprit du Temps,”* by Michel Salomon ;<br />
“Art et psychologie individuelle,’> by Lucien<br />
<br />
Arréat. ‘Les eléments du caractere,”{ by P.<br />
Malapert. —<br />
“Albert Besnard,”§ by Gabriel Mourey ;<br />
<br />
“Histoire du travail et des travailleurs,”|| by<br />
P. Brisson.<br />
<br />
“ Autour de Marie-Antoinette,” by M. Boutry,4/<br />
with a preface by P. de Nolhac; “La lutte<br />
universelle,’** by M. Le Dantec; “ L’Eglise<br />
catholique et l’Etat sous la troisieme République<br />
(1870-1906), Tf by M. Debidour.<br />
<br />
Among recent novels are the following :—<br />
“ T’Eteignvir,”{} by M. Schalck de la Faverie.<br />
<br />
“Disparu,”§§ by Brada, is now published in<br />
volume form, after appearing as a serial in “ Lec-<br />
tures pour Tous.” It is the story of the mysterious<br />
disappearance of a bridegroom a few days before his<br />
wedding. The interest is kept up throughout the<br />
whole book until the dénouement in the last<br />
chapter.<br />
<br />
“Dona Quichotta,”’|||| by Georges de Peyrebrune,<br />
is a novel treating a subject which has been<br />
dramatised several times. It is the story of a wife<br />
who deserts her home, and of the consequences of<br />
this desertion.<br />
<br />
“ Au Pays des Pierres,’€/4€] by M. Le Roy.<br />
<br />
A small volume of poems entitled “ Fleurs<br />
Vivantes”’ has just been published by the Comte<br />
de Larmandie, Délégué of the French Societe des<br />
Gens de Lettres.<br />
<br />
Madame Fernande Blaze de Bury (Dick Berry),<br />
author of “The Storm of London,” has just com-<br />
pleted her new novel, “The Nymph.” She has<br />
written this in France, and it is a study of French<br />
life, and chiefly of life in the chéteanx of Touraine.<br />
<br />
At the monthly dinner of the Sociele des Gens<br />
de Lettres veference was made by M. de Saint-<br />
Arroman and M. Pierre Sales to the dinner of the<br />
Society of Authors, at which they were the French<br />
guests. ‘They were most agreeably impressed by<br />
the cordiality of their reception.<br />
<br />
A most interesting expedition is being organised<br />
by a French scientific review for the month of<br />
September, namely, a visit to the sites of the travels<br />
<br />
<br />
<br />
* “T/Esprit du Temps” (Perrin).<br />
+ “ Art et psychologie individuelle ” (Alcan).<br />
tT “Les éléments du caractére” (Alcan).<br />
§ “ Albert Besnard ” (Davous),<br />
|| “‘ Histoire du travail et des travailleurs "’ (Delagraye).<br />
{ ‘“ Autour de Marie-Antoinette’ (Emile-Paul),<br />
** “Tia lutte universelle”’ (Flammarion).<br />
+t “ L’Eglise catholique et I’Etat sous la troiséme<br />
République ” (Alcan).<br />
i “TL Eteignoir ” (Dujarric).<br />
§ “ Disparu” (Plon).<br />
Jil] ‘‘ Dona Quichotta”’ (Hatier).<br />
47] “Au Pays des Pierres” (Fasquelle).<br />
<br />
283<br />
<br />
of Ulysses—the Ionian Islands, Greece, Italy,<br />
Sardinia, Tunis. Lectures will be given during<br />
the cruise on the problems respecting the origin<br />
and composition of the Odyssey, on the monu-<br />
ments and sites described by Homer, on the con-<br />
ditions of commerce, the state of material resources,<br />
and scientific notions, etc., at the time of the<br />
navigations of Ulysses, etc. The expedition dates<br />
from September 4th to September 30th.<br />
<br />
The fifth volume of the quarterly periodical<br />
entitled “Vers et Prose” has appeared with<br />
articles and poems by J. Moréas, Henri de Rég-<br />
nier, Verhaeren, Maurice Barrés, de Gourmont,<br />
d’Annunzio, John-Antoine Nau, Paul Fort, and<br />
other writers.<br />
<br />
In recent reviews the following articles have<br />
appeared : “Une Géographie Nouvelle,’ by Jean<br />
Brunhes, in the Revwe des Deux Mondes; ‘ Les<br />
élections de 1869,” by Emile Ollivier; “Le<br />
sentiment décoratif aux Salons de 1906,” by<br />
Robert de la Sizeranne, in the same review.<br />
<br />
In La Revue: “ Mercantilisme et Esthétique en<br />
Amérique,” by Albert Schinz; ‘Les Penseurs<br />
grecs,” by E. Faguet ; “ Le Conseil International<br />
des Femmes,” by G. Avril de Sainte-Croix.<br />
<br />
The theatrical season is now over, and dramatic<br />
authors are preparing for the autumn. M. Capus<br />
is finishing his play, “ Les Passagéres” for the<br />
Renaissance next winter. “ La Vedette,’ by<br />
M.M. Vaucaire and Peter, is ready for the 7hédtre<br />
Antoine. M. Antoine is contemplating various<br />
innovations at the Odéon, now that he is appointed<br />
munager of this second State theatre.<br />
<br />
Anys HALLARD.<br />
<br />
ee a<br />
<br />
SPANISH NOTES.<br />
<br />
— ++<br />
<br />
rHVHE fact of Senor Nakens, the editor of a<br />
well-known Republican paper, publishing<br />
his justification for helping Morel to evade<br />
<br />
the police in Madrid has excited much commotion<br />
<br />
in Spain, inasmuch as the writer states that he<br />
considers everyone should stand by any criminal<br />
who demands protection. Such opinions, so<br />
detrimental to the safety of a country, are<br />
vehemently confuted by Colonel Luis de Figuerola<br />
<br />
Ferretti, in an article he has written for the<br />
<br />
English press. A sympathizer with such a<br />
<br />
criminal should openly take his place beside him<br />
<br />
and share his punishment, says Ferretti, but to<br />
support him secretly is much more dangerous.<br />
<br />
For, as he rightly says, if Nakens had not con-<br />
<br />
cealed his knowledge of Angiolillo’s intention to<br />
<br />
kill Canovas, the assassination would not have<br />
taken place, neither would the policeman have<br />
284<br />
<br />
been shot if he had not allowed Morel to continue<br />
his road to Torrejon. ‘he great demonstratioa<br />
against Anarchism in Madrid on the 17th<br />
was useful, but Colonel Ferretti regrets the harm<br />
done by the publication of such wrong principles<br />
as those of Nakens, especially as the Jmparcial<br />
frankly says, “It must be clearly understood that<br />
neither the majority or the minority of the preseut<br />
government represent the real opinions of the<br />
public or the predominant trend of the country,<br />
nor the execution of any plan for the public benefit<br />
of Spaniards, or the hope of reforms for the<br />
good of national interests.” ‘‘ No,” says the same<br />
journal, ‘they are the result of the abuses of<br />
favoritism and the system of the encasillado,” 1e.,<br />
the deputies being nominated by the ministers in<br />
the lists divided into squares or casillos.<br />
<br />
On the great state occasion of the congratula-<br />
tions of the Senate being presented to King<br />
Alfonso and Queen Victoria, the young monarch<br />
said he trusted that he and his royal bride ‘‘ would<br />
achieve deeds of glory which emulate in the<br />
present day the grandeur of ages past.” “ But this<br />
aim,” he continued, “ cannot be attained without<br />
constant and intimate co-operation between Parlia-<br />
ment and the Royal Power.”<br />
<br />
Now the wedding festivities are over in Madrid,<br />
the country is again seething in the uncertain<br />
state of dissolution or non-dissolution of the<br />
Cabinet. Will Moret continue or will Maura take<br />
the helm again? Such constant chaos is the<br />
despair of all good patriots, for how can a govern-<br />
ment only in existence a few months carry out any<br />
good programme for the welfare of the country ?<br />
<br />
Colonel Figuercla Ferretti ventured to prepare<br />
a petition to King Alfonso, in November, 1902,<br />
for the adoption of the English procedure, whereby<br />
the public would show its devotion to their King<br />
and country by electing at the polls the deputies<br />
who would best support the interests of both.<br />
But although the idea received royal commenda-<br />
tion, the more narrow views of a high official led to<br />
the Colonel’s Court appointment being sacrificed<br />
to his patriotic aims.<br />
<br />
The King and Queen quite startled the people<br />
of San Ildefonso the other day by quietly walking<br />
out of the Palace to penetrate into the poorest<br />
streets. The greetings when they were finally<br />
recognized by the humble folk were tumultuous,<br />
and as the King realizes more and more the<br />
devotion of all classes, he will see that such<br />
republicans as Nakens would have no followers<br />
if the Polls were used for revealing the real<br />
opinions of the people, and Colonel Ferretti, who<br />
advised such public elections, will, it is hoped, have<br />
the reward of success in his efforts for his country.<br />
<br />
At the interesting meetings held by the Geogra-<br />
phical Society to celebrate the fourth centenary of<br />
<br />
THE AUTHOR.<br />
<br />
the death of Christopher Columbus, Don Ricardo<br />
Beltran y Rompide was given the Grand Cross of<br />
Merit. Such works as his “ Voyages and Discoveries<br />
of the Middle Ages in Connection with the Progress<br />
of Geography and History ” (1876), his “ History of<br />
Greek Philosophy” (1878), his “ Compendium of the<br />
History of Spain’’ (1901), are some of the books<br />
which show the scientist’s title to the decoration.<br />
<br />
The literary Réunion at the house of the Count<br />
and Countess of Villana in honour of the new Queen<br />
Victoria was a great success. The beautifully<br />
decorated rooms were crowded with the poets and<br />
authors assembled to do honour to the royal bride,<br />
who sat on a small raised platform with the young<br />
King and listened to the recitations of Sefora<br />
Pardo Bazan, the Senores Cabestany, Cano Cueto,<br />
Santos Chocano, Echegaray, Perez de Guzman, the<br />
duque de Rivas, Ferrari, etc., and the poems by<br />
Selles and Machado were written especially to<br />
celebrate the marriage which has been a subject<br />
of such enthusiasm in the country.<br />
<br />
The Infanta Dona Maria de la Paz, whose<br />
writings are well known, aud the Infanta Eulalia,<br />
who also writes, were there with the other members<br />
of the Royal family, and as such statesmen as<br />
Canalejas, General Azcarraga, Sefiores Ugarte, and<br />
Viesca, the Count of Casa Valencia, etc., were also<br />
present, the literary Réunion was quite a national<br />
féte, and the young Queen was presented with an<br />
album of parchment containing the poems and<br />
addresses written in her honour by the many dis-<br />
tinguished Spanish /it/érafeurs of the occasion.<br />
<br />
Literature has recently sustained a great loss in<br />
the death of the celebrated poet Manuel del Palacio.<br />
He, with Eusebio, Biasco Rivera, Navarrete,<br />
Roberto Robert, etc., formed the brilliant coterie<br />
whose poems were so active before the Revolution<br />
of 1868. After that time he took an active part in<br />
politics, but the author of “ El nifio de Nieve” (“The<br />
Child of Snow ”) still found his pen his most powerful<br />
weapon, for he had the gift of concentrating in<br />
four verses more than many people could put in as<br />
many pages. His verses, poems, and sonnets form<br />
a large collection.<br />
<br />
Ledesma, whose work on Cervantes was one of<br />
the best memorials of the Don Quixote celebration<br />
of last year, is now the subject of an erudite<br />
criticism by Benito Galdos, which forms part of<br />
another volume added to his “‘ Episodias Nacionales.”<br />
The celebrated novelist reminds his readers that<br />
Ledesma’s “ History of the Literature of the Middle<br />
Ages ” stamped him as a great writer, and that in<br />
his “ Historia de la Litteratura Feminina Espanola”<br />
he showed that there have been always many women<br />
in Spain who have done good work beyond that<br />
of mere domesticity. Ledesma’s book, “ Angel<br />
Guerra,” is a living picture of Toledo, and<br />
with a criticism of the writer’s work on Miguel de<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
‘Cervantes, Galdos concludes his powerful notice of<br />
his literary colleague.<br />
<br />
In art there has been as much activity lately as<br />
in literature, for the pictures lining the walls of<br />
the annual Exhibition of Fine Art in Madrid shows<br />
-great versatility and power. The flock ofsheep by<br />
Lino Casimiro Iborra is another of those present-<br />
ments in which the painter shows his perfect<br />
-acquaintance with the characteristics of animals, for<br />
although each sheep appears at first sight to be<br />
quite similar to its neighbour, they are seen to<br />
be very diverse, even in expression, and it is these<br />
touches, so slight yet so decisive, which gives the<br />
artist his high rank as an animal painter, and won<br />
for him the bronze medal at this exhibition, and<br />
the order with which he was decorated by King<br />
Alfonso XIII.<br />
<br />
The gold medal at this exhibition was carried<br />
off by Manuel Benedito for his charming picture<br />
of Breton fishwives.<br />
<br />
The silver medal was given to Ramon Pulido<br />
for his beautiful work called “ Inmaculada” (“* The<br />
Immaculate Conception’’), and the work repre-<br />
senting a cardinal receiving the homage of village<br />
folk, by César Fernandez Ardavin, is characteristic<br />
of Spanish life.<br />
<br />
Art is moreover making great strides among the<br />
women of Spain, for Antonia Jerrera is only one<br />
-of the many lady artists whose brush brings forth<br />
real works of art.<br />
<br />
As painting and music are so closely allied, I<br />
cannot close these notes without mentioning the<br />
compositions by Senora Pilar Contreras de Rodri-<br />
guez. Her talent is seen in the charming choral<br />
pieces written for the play, “The Spanish<br />
Woman’s Agricultural Era,” and her musical<br />
albums of part-songs and solos show she is as<br />
versatile as she is brilliant.<br />
<br />
Percy Horspur.<br />
<br />
——__+—_>—_+_____—__-<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
Eases<br />
BLACKWOOD’S.<br />
<br />
Musings Without Method: Sir Theodore Martin’s<br />
“** Monographs ’’—The Degradation of the Modern Stage—<br />
Racine.<br />
<br />
BOoKMAN.<br />
<br />
Dr. Richard Garnett: In Memoriam.<br />
Pollard. 2. By Sir F. T. Marzials.<br />
4, By Beatrice Harraden.<br />
Alice Zimmern.<br />
<br />
I. By A. W.<br />
3. By F. M. Hueffer.<br />
5. By Agnes A. Adams, 6. By<br />
<br />
Book MontTHLY.<br />
A Thackeray Club. By Lewis Melville.<br />
<br />
A Blue Stocking and some Vignettes of the Eighteenth<br />
‘Century.<br />
<br />
CHAMBERS’s JOURNAL.<br />
<br />
Replicas and Copies of some Great Renaissance Paint-<br />
‘ings. By E. Govett.<br />
<br />
285<br />
<br />
CONTEMPORARY REVIEW.<br />
Herbert Spencer and the Master Key. By John Butler<br />
Burke.<br />
Schoolmasters and their Masters.<br />
The Truth about the Monasteries :<br />
Robert Hugh Benson.<br />
Mankind in the Making.<br />
<br />
By D. C. Pedder.<br />
A Reply. By Father<br />
<br />
By May Higgs.<br />
<br />
The Decadence of Tragedy. By Edith Searle<br />
Grossmann.<br />
CORNHILL.<br />
<br />
A Medizval Romance. By F. 8.<br />
Lady Hamilton and ‘ Horatia.” By E. 8. P. Haynes.<br />
FORTNIGHTLY.<br />
Richard Burton. By “Ouida.”<br />
Christianity and China. By A. R. Colquhoun.<br />
The Library of Petrarch. By Edward H. R. Tatcham.<br />
The English Stage in the Eighteenth Century. Part II.<br />
By H. B. Irving.<br />
Jacques Emile Blanche. By Frederick Lawton.<br />
“Words, Words, Words.” By R. W. Tyrrell.<br />
The Comédie Francaise: What it has Done for the French<br />
People. By Jules Claretie.<br />
INDEPENDENT REVIEW.<br />
The New Humanity. By G. K. Chesterton.<br />
Henry Sidgwick. By F. W. Maitland.<br />
MACMILLAN’S.<br />
The Spirit of Hidden Places.<br />
Men and Morals. Anonymous.<br />
The Decline of Ballet in Eugland,<br />
<br />
3y Lance Fallow.<br />
<br />
By 8. L. Bensusan.<br />
<br />
Corneille. By H. C. MacDowall.<br />
MonvrH.<br />
Anagrams. By E. F. Sutcliffe.<br />
<br />
The ‘‘Forgeries” of Cardinal Vaughan.<br />
Herbert Thurston.<br />
<br />
St. Elmo’s Fire. By G. A. Bouvier.<br />
<br />
Slips of the Learned. By Beta.<br />
<br />
By the Rev.<br />
<br />
MONTHLY REVIEW.<br />
Ibsen as 1 knew Him. By William Archer.<br />
‘Another Way of (Mountain) Love.” By F. W.<br />
Bourdillon.<br />
<br />
Three Gardens and a Garret. By A. M. Curtis.<br />
<br />
NATIONAL REVIEW.<br />
The Value of a Public School Education<br />
By Charles Lister.<br />
Latin as an Intellectual Force in Civilisation.<br />
Sonnenschien.<br />
<br />
: A Rejoinder.<br />
3y KE, A.<br />
<br />
NINETEENTH CENTURY.<br />
<br />
The Joys of Spain. By Austin Harrison.<br />
<br />
Spain under the Saracens. By Ameer Ali.<br />
<br />
“St. Deiniol’s, Hawarden.” By Mrs. Drew.<br />
<br />
Euripides in London. By Norman Bentwich.<br />
<br />
The Salons and the Royal Academy. By H. Heathcote<br />
Statham.<br />
<br />
Some Women Poets of the Present Reign. By Isabel<br />
Clarke.<br />
<br />
PALL MALL MAGAZINE,<br />
“Edwin Drood” and the Last Days of Charles Dickens.<br />
By His Younger Daughter, Kate Perugini.<br />
A Painter of the Sea: The Life’s Work of Mr. Napier<br />
Henry, A.R.A. By J. P. Collins.<br />
Thebes of the Hundred Gates. By H. Rider Haggard,<br />
To an Opal. By Eden Phillpotts.<br />
<br />
TEMPLE BAR,<br />
<br />
John Ruskin. By W. G. Collingwood.<br />
Education of a Viscount in the Seventeenth Century.<br />
By Dorothea Townshend.<br />
286<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
eo<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :-—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
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 />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
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 Seczetary 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 />
(3.) Always avoid a transfer of copyright.<br />
<br />
—_—__—_+—_>__2___—___<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
Baa<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 />
THR 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. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) Sale of performing right or of a licence to-<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to-<br />
perform on the basis of royalties (7.c.. fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (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 United States 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, om<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information:<br />
are referred to the Secretary of the Society.<br />
<br />
——_+——_—___——_-<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as:<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two-<br />
rights to deal with—performing right and copyright. He-<br />
<br />
<br />
<br />
<br />
Do<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
—— ee<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
a<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
<br />
Secretary of the Society is a solicitor, but if there is any<br />
<br />
special reason the Secretary will refer the case to the<br />
<br />
Solicitors of the Society. Further, the Committee, if they<br />
<br />
deem it desirable, will obtain counsel’s opinion. All this<br />
<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements. Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<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<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is. £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
<br />
<br />
287<br />
TO MUSICAL COMPOSERS.<br />
<br />
—+—~@—+<br />
<br />
A ees Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or<br />
_ part of 100. The members’ stamps are kept in the<br />
Society’s safe. The musical publishers communicate direct<br />
with the Secretary, and the voucher is then forwarded to.<br />
the members, who are thus saved much unnecessary trouble.<br />
<br />
i<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 />
—~>— +<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 />
Communications for “The Author” should be addressed<br />
to the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than the<br />
2ist of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Hvery effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
<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 />
—_«—~p>— as<br />
<br />
LEGAL AND GENERAL LIFE ASSURANCE<br />
SOCIETY.<br />
<br />
oo<br />
<br />
ENSIONS to commence at any selected age,<br />
either with or without Life Assurance, can<br />
be obtained from this Society.<br />
<br />
Full particulars can be obtained from the City<br />
Branch Manager, Legal and General Life Assurance<br />
Society, 158, Leadenhall Street, London, E.C.<br />
GENERAL NOTES.<br />
<br />
—————+<br />
<br />
<br />
<br />
S a supplement to this number of The Author,<br />
we are circulating the draft of the American<br />
Copyright Bill. By the covering letter<br />
<br />
which has been forwarded to the Society we under-<br />
stand that the first hearing of the Bill was given on<br />
June 6th in the Senate Reading Room at the<br />
Library of Congress. ‘The letter, which was written<br />
prior to the hearing, further states :—<br />
<br />
“The hearing will be by the Senate and House Com-<br />
mittees sitting as a joint committee. This method of pro-<br />
cedure has been arranged for the convenience of the<br />
numerous participants and others who may be interested,<br />
and in recognition of the unusual character and importance<br />
of the Bill. The courtesy and consideration of these<br />
arrangements on the part of the Committees will doubtless<br />
be recognised by an ample representation at the hearing.<br />
It is especially desirable that the fullest representation of<br />
participants shall be secured at the outset when the Bill is<br />
presented, explained and supported, as may be arranged at<br />
the informal meeting on Tuesday, June 5, This latter<br />
meeting will be held at 4 p.m. at the Library of Congress.”<br />
<br />
A Copyright Act passed on 21st December, 1905,<br />
by the Government of Australia, has been sent to<br />
the Secretary of the Society, and he wrote to the<br />
Secretary of State to the Colonies, to inquire<br />
whether it had received the Royal assent, he has<br />
received the following reply :-—<br />
<br />
“5th May, 1906.<br />
<br />
“ Srr,—With reference to your letter of the 4th<br />
ultimo, I am directed by the Earl of Elgin to<br />
acquaint you that the Governor-General of Aus-<br />
tralia is now being informed that His Majesty<br />
will not be advised to exercise his powers of dis-<br />
allowance with respect to the Commonwealth<br />
Copyright Act, 1905.<br />
<br />
“‘T am, sir, your obedient servant,<br />
“C. P. Locas.”<br />
<br />
This Act cannot, of course, run counter to<br />
or supersede the Imperial Act of 1842, which<br />
binds Great Britain and all her colonies and<br />
dependencies, but like the Canadian Acts, the<br />
Indian Act, the Cape Act, and the Acts in other<br />
colonies, only affects the publication of books<br />
within the colonies mentioned. It is printed as a<br />
supplement to this month’s Author.<br />
<br />
Instead of the separate colonies passing separate<br />
Acts, it is a great pity that all the colonies should<br />
not have combined with the Imperial Government<br />
to pass a really satisfactory Imperial Copyright<br />
Law. The tendency of the present day has been<br />
to obtain uniformity in copyright all over the<br />
world, but every separate law passed by separate<br />
countries without this object in view will, of course,<br />
make further uniformity more difficult. We venture<br />
to suggest, once more, to the Premier, and to the<br />
<br />
THB AUTHOR.<br />
<br />
Government, how desirable it is that they should<br />
take up this question energetically with the view<br />
to a comprehensive settlement.<br />
<br />
On the death of Dr. Henrik Ibsen the Committee<br />
of the Society forwarded the following letter to the<br />
Foreign Office, enclosing the message of sympathy<br />
printed below, for transmission to the Norwegian<br />
Government and to the family of the distinguished<br />
dramatist. The Secretary of the Society has<br />
received a note from the Foreign Office stating<br />
that the Committee’s desire has been carried out,<br />
and that the message has been forwarded to H.M.<br />
Charge d’Affaires at Christiania :-—<br />
<br />
The Right Honble. Sir Edward Grey, P.C., &c.<br />
<br />
Sir,—The Society of Authors desire to convey to the<br />
Norwegian Government and the family of the late Dr. Ibsen<br />
an expression of their respectful sympathy on the occasion<br />
of the death of this distinguished dramatist. Iam directed<br />
by the Committee to solicit your good offices in order that<br />
the inclosed message may be transmitted to the Norwegian<br />
Government through H.M.’s Legation at Christiania.<br />
<br />
I am, sir, your obedient servant,<br />
(Signed) G. HERBERT THRING.<br />
<br />
“ The Incorporated Society of Authors of England desire<br />
to convey to the Norwegian Government the expression of<br />
their sincere regret on the occasion of the death of the<br />
distinguished author and dramatist, Dr. Henrik Ibsen.<br />
They cannot allow the occasion to pass without a request<br />
that the Government will convey to the members of the<br />
dramatist’s family the Society’s sympathy in a loss which<br />
affects not merely Norway, but the whole world.”<br />
<br />
———— oe<br />
<br />
UNITED STATES NOTES.<br />
<br />
1+<br />
<br />
T seems incumbent upon me to begin my<br />
summer instalment of Notes with something<br />
about “ The Jungle” and Mr. Upton Sinclair.<br />
<br />
The book is not only at present the “biggest<br />
seller” in the United States, it is the talk of<br />
two Continents.<br />
<br />
Those cautious critics who remembered Mr.<br />
Sinclair as the author of “‘ The Journal of Arthur<br />
Stirling,” and were accordingly disposed to dis-<br />
count his statements, have been sadly undeceived.<br />
And the care taken both by the author and his<br />
publishers to secure the absolute trustworthiness<br />
of their production is a healthy sign of the times.<br />
<br />
The sensation produced by the book seems to<br />
have come as a surprise. Mr. Sinclair’s object<br />
appears to have been a general indictment of<br />
American industrial conditions from a Socialistic<br />
view-point, of which the slaughter-house exposé<br />
was to be but an incident. He disclaims the<br />
<br />
notion of having desired to stir up any special<br />
agitation of the kind which Mr. Roosevelt’s action<br />
has aroused.<br />
<br />
Possibly the importance of the matter of the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
book may have caused its merits as a piece of<br />
writing to be somewhat exaggerated ; but of the<br />
fact that it is being widely read there can be no<br />
doubt. The publishers disposed of 12,000 within<br />
one week in the United States, and report a con-<br />
siderable sale in Canada, besides three large<br />
English editions up to date. The upshot will<br />
certainly be to help Bryanism ; probably also the<br />
vegetarian cause may benefit.<br />
<br />
As a piece of pure literature the success cf the<br />
season has been Owen Wister’s new story, which,<br />
even in popularity, has only quite recently been<br />
displaced by the Packington revelations. What a<br />
contrast ! The aristocratic charm of the South<br />
and the horrors of democratic Chicago, civilised<br />
life and bestial existence! In narrative quality<br />
“Tady Baltimore” is probably superior even to<br />
“The Virginian.” The teller of the story, who<br />
on one occasion is made to say, “ We’re no longer<br />
a small people living and dying for a great idea,<br />
we're a big people living and dying for money,”<br />
has been accused in some quarters of superficiality,<br />
but he is at least a real live gentleman and not a<br />
mere vehicle for epigram. Has anyone, we wonder,<br />
noticed that Mr. Wister’s hero calls King’s Port<br />
“the most wistful town in America ?”<br />
<br />
The game of pseudonymity still flourishes on<br />
this side. ‘“ Wymond Carey,” whose “No. 101”<br />
is full of exciting incident, continues to conceal<br />
his identity ; but a curious world is to learn who<br />
“Sidney McCall” is by Christmas-time, I hear.<br />
<br />
All who are interested in higher education<br />
should read Dr. Daniel Coit Gilman’s account of<br />
the launching of the University of which he was<br />
first president. He it was who largely made Johns<br />
Hopkins what it is.<br />
<br />
Two Harper books, “The Spoilers” by Rex<br />
Beach and Irving Bacheller’s “Silas Strong,” are<br />
enjoying much popularity, but neither of them<br />
can be called a work of art. The former, how-<br />
ever, contains a faithful picture of the conditions<br />
of life in the mining districts of Alaska.<br />
<br />
Miss Margaret Potter has issued the first instal-<br />
ment of a trilogy of novels (poor Frank Norris<br />
set this fashion) dealing with Russian life. The<br />
hero of “The Genius” is a thinly-disguised por-<br />
trait of Tchaikovsky. Great liberties are taken<br />
with the personality of Rubinstein, who is also<br />
introduced ; and Mozart is absurdly belittled.<br />
<br />
In “The Dawn of a To-morrow,” Frances<br />
Hodgson Burnett has told the tale of an averted<br />
suicide with a sentimental skill which will appeal<br />
to those who value the emotional above all things.<br />
<br />
Miss Frothingham’s second novel, “The<br />
Evasion,” has had the honour of being compared<br />
with “ The House of Mirth.” Boston, instead of<br />
New York, is its theatre.<br />
<br />
If we mistake not, Mr. Louis J. Vance has the<br />
<br />
THE AUTHOR.<br />
<br />
289°<br />
<br />
makings of a good romancer. His new book,<br />
“The Private War,” published by Messrs. Apple-<br />
ton in New York, has the same é/an which caused<br />
his “Terence O’Rourke” to be received with<br />
such favour by the English public.<br />
<br />
Winston Churchill's latest novel will be out<br />
early this month. ‘ Coniston” is to be, I under-<br />
stand, quite a new departure.<br />
<br />
John Paul Jones, whose remains have recently<br />
been restored to America, has been made a popular<br />
hero by Mr. Alfred Henry Lewis. He was not in<br />
life, I fancy, such a very picturesque personage as<br />
he has now become.<br />
<br />
Mr. John S. Phillips has withdrawn from the<br />
firm of McClure.<br />
<br />
Poor San Francisco is of course fated to be<br />
exploited. “The Doomed City,” by Frank<br />
Thompson Seabright, a Californian, has, we are<br />
told, attempted to avoid exaggeration and mis-<br />
statements, which is very praiseworthy of him.<br />
“Glimpses of the San Francisco Disaster” con-<br />
tains half-tone reproductions of photographs,<br />
many of which were taken as early as six<br />
o’clock in the morning following the shock.<br />
<br />
Harper's Weekly for April 28th was devoted<br />
to the description of the catastrophe. The way in<br />
which the book-trade, in company with so many<br />
other local interests, rallied from its sudden ruin,<br />
can be described as nothing less than heroic.<br />
<br />
A work of great interest is promised for the<br />
autumn by Doubleday, Page & Co. It is “ Recol-<br />
lections and Letters of George Washington,” con-<br />
taining his correspondence with his secretary, and<br />
the latter’s account ef his death.<br />
<br />
That portion of mankind who are interested in<br />
bishops, and perhaps some others, will have wel-<br />
comed Bishop Potter’s recent work, which is not<br />
confined in its scope to the western hemisphere.<br />
<br />
Messrs. Putnam, who issue the last-named work,<br />
are the publishers of J. Hampden Dougherty’s<br />
authoritative treatise on “ The Electoral System<br />
of the United States.” A work upon “ The Ethics<br />
of Wagner’s Ring of the Nibelungen,” by Mary<br />
Elizabeth Lewis, also bears their imprint.<br />
<br />
This firm make a speciality of foreign translations.<br />
We are able to offer them our congratulations upon<br />
their excellent version of that remarkable work,<br />
Otto Weininger’s “Sex and Character.” We only<br />
wish that Arvéde Barine’s brilliant “ Louis XIV.<br />
et la Grande Mademoiselle”? had enjoyed equal<br />
good fortune. We are glad to know that M.<br />
<br />
Jaurés’s “Studies in Socialism” has not been<br />
committed to the tender mercies of the anonymous<br />
translator.<br />
<br />
Mr. Alonzo Rothschild has written an interesting<br />
study of Lincoln, and some delightful reminis-<br />
cences of “Rip Van Winkle” have appeared from<br />
the pen of his friend, Francis Wilson.<br />
<br />
<br />
<br />
<br />
290<br />
<br />
Two important Revolution books have been<br />
issued by Messrs. Dodd, Mead & Co. in James<br />
Schoulet’s “Americans of 1776” and J. H.<br />
Hazleton’s “The Decalration of Independence.”<br />
A memoir of Jacques Cartier, the explorer, by<br />
Dr. James Phinney Baxter, also comes from this<br />
firm.<br />
<br />
The “manuscript edition” of Thoreau’s works<br />
issued by Messrs. Houghton, Mifflin & Co. is said<br />
to have beena great success. Yet no writer seems<br />
to have had more contradictory verdicts passed<br />
upon him than the Walden recluse.<br />
<br />
Among notable travel books of recent publication<br />
are Dr. Hugh R. Mill’s “ Siege of the South Pole,”<br />
an exhaustive record of Antarctic exploration ;<br />
J. A. Harvie-Brown’s “Travels of a Naturalist in<br />
Europe,” which deals with the opposite extremity<br />
of the globe; and George Milton Fowler’s<br />
description of Porto Rico.<br />
<br />
Prof. Harry Thurston Peck’s perspicuous<br />
account of American political history from 1885<br />
to 1905, which has been appearing under his own<br />
editorship in Zhe Bookman, will be issued in book<br />
form, much enlarged and fortified, in the autumn.<br />
It is very readable, and at the same time eminently<br />
judicial in tone. The penultimate instalment<br />
contains some very candid criticism of President<br />
Roosevelt. When writing one of his earlier books,<br />
it is said that the future chief of the Republic used<br />
“I” so frequently that the publishers had to order<br />
a fresh supply of the letter from a type-foundry !<br />
<br />
Richard Harding-Davis’s “The Galloper” will<br />
appear in book form, with others of his plays,<br />
during the summer. He has now come to live<br />
nearer New York than he used to.<br />
<br />
Mr. Ripley Hitchcock has left Messrs. A. 8.<br />
Barnes & Co. and joined the Harper Brothers.<br />
<br />
Mr. Vincent Brown’s novel, “A Magdalen’s<br />
Husband,” is being dramatised by the English<br />
author and Mr. Belasco, and will soon be played<br />
in America.<br />
<br />
In my obituary notes special mention should be<br />
made of Professor Nathaniel Southgate Shaler, the<br />
distinguished geologist, whose remarkable excursion<br />
into the field of poetic drama I noticed some time<br />
since. He served in the Federal Army during<br />
the Civil War, but in 64 began scientific duties at<br />
Harvard. In 1873—80 he directed the Kentucky<br />
Survey, and four years later became geologist to<br />
the Atlantic Division of the United States<br />
Geological Survey. He was a voluminous writer,<br />
both on scientific and other subjects. He died at<br />
<br />
Cambridge, Mass., on April 10, in his sixty-sixth<br />
ear.<br />
<br />
William: Root Bliss, who died a day earlier, was<br />
the author of “Quaint Nantucket” and similar<br />
works.<br />
<br />
George Hermann Elwanger, who also died during<br />
<br />
THE AUTHOR.<br />
<br />
April, was an authority upon horticulture, writing<br />
some dozen books on the subject, in addition to<br />
other works, including “ Meditations on Gout,<br />
with a Consideration of its Cure through the Use<br />
of Wine”’ (1898).<br />
<br />
The list also includes the names of Mary Henry<br />
Allibone, who assisted her husband with his<br />
“Dictionary of Authors”; of Professor George<br />
Albert Wentworth, the compiler of numerous<br />
manuals on mathematics and physics; and of<br />
Carl Schurz, the biographer of Henry Clay.<br />
<br />
——_ ee.<br />
<br />
MUSICAL COPYRIGHT. [6 Edw. 7.]<br />
<br />
<br />
<br />
A Bint tro AMEND THE Law RELATING TO<br />
Musica Copyrrieut. A.D. 1906.<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 assembled,<br />
and by the authority of the same, as follows :—<br />
<br />
Penalty for being in Possession of Pirated<br />
Music.—1. Every person who sells, exposes, offers,<br />
or has in his possession for sale any pirated music<br />
shall (unless he proves that he acted innocently)<br />
be guilty of an offence punishable on summary<br />
conviction in manner provided by the law in force<br />
in that part of the British Islands where the<br />
offence is committed, and shall be liable to<br />
imprisonment with or without hard labour for a<br />
term not exceeding one month or to a fine not<br />
exceeding five pounds, and on a second or subse-<br />
quent conviction to imprisonment with or without<br />
hard labour for a term not exceeding twvo months<br />
or to a fine not exceeding fen pounds. Any con-<br />
stable may take into custody without warrant any<br />
person who sells, exposes, offers, or has in his<br />
possession for sale any pirated music.<br />
<br />
Right of Entry by Police for Execution of Act.—<br />
2, Any constable authorised by an order of a<br />
court of summary jurisdiction made under section<br />
one of the Musical (Summary Proceedings) Copy-<br />
right Act, 1902, to seize pirated copies of any<br />
musical work, may, between the hours of six of the<br />
clock in the morning and nine of the clock in the<br />
evening, enter any house or place named in such<br />
order, and, if necessary, use force for making such<br />
entry, whether by breaking open doors or otherwise.<br />
<br />
Definition —3. Inthis Act the expression “ pirated<br />
music” means any musical work written, printed,<br />
or otherwise reproduced without the consent law-<br />
fully given by the owner of the copyright in such<br />
musical work.<br />
<br />
Short Title and Extent—4. This Act may be<br />
cited as the Pirated Music Act, 1906, and shall<br />
extend to the British Islands.<br />
<br />
<br />
<br />
<br />
<br />
ee ime<br />
<br />
a ee<br />
<br />
<br />
<br />
<br />
<br />
<br />
The Bill printed above has been before the House<br />
-of Commons and read a second time. It has been<br />
backed by members differing as widely in politics<br />
as Mr. Balfour, Mr. John Redmond, Sir Alfred<br />
Thomas, Mr. Enoch Edwards, Mr. Keir Hardie,<br />
Mr. Crombie and Mr. Sloan. This fact alone is<br />
sufficient to show that its passing or non-passing<br />
-does not come within the range of party politics.<br />
Mr. Caldwell has issued a memorandum in opposi-<br />
tion. It is needless to recall to the minds of<br />
readers the fact that Mr. Caldwell has throughout<br />
been the bigoted opposer of musical copyright<br />
amendment, and has, according to his lights done<br />
his best to withhold adequate protection from the<br />
unfortunate possessors of this copyright property.<br />
<br />
It is sometimes difficult to follow Mr. Caldwell’s<br />
reasoning. If he objects to any property in brain<br />
production in the shape of music, his point of view<br />
may be right or may be wrong, but it is easily<br />
understood. If, however, he acknowledges the<br />
right of property he ought also to acknowledge a<br />
right to its adequate protection.<br />
<br />
He states: ‘“ Musical copyright has the same<br />
protection and remedies at law as the most valuable<br />
work of lasting benefit to the world, and has in<br />
addition the power of seizure and other powers<br />
granted by the Act of 1902, under which enormous<br />
seizures of pirated music have taken place.”<br />
<br />
Unfortunately the peculiar character of musical<br />
production does not place music on an even base<br />
with other literary productions, and the powers at<br />
present granted for the protection of composers are<br />
still inadequate. This was pointed out in The<br />
Author when the Act of 1902 was passed. But<br />
Mr. Caldwell seems to think differently, which<br />
clearly demonstrates that he fails entirely to grasp<br />
the position.<br />
<br />
He also refers to the Royal Commission of 1878,<br />
but at that date the pirate had not discovered his<br />
simple method of obtaining a livelihood, and since<br />
that date large strides have been made in the<br />
opinions of all civilised countries as shown in recent<br />
copyright legislation, either proposed or passed, as<br />
to the value of author’s rights to the author.<br />
<br />
Lastly comes the question of cheap music. If the<br />
publisher obtains the greater benefit, as no doubt<br />
he does, owing to the ignorance and stupidity of<br />
composers, this is no argument why the property<br />
should not be protected; for what would Mr. Cald-<br />
well say when the day comes and the composers can<br />
show such public spirit for their profession, and,<br />
binding themselves together, can enforce terms on<br />
the publisher. Then Mr. Caldwell’s lack of legisla-<br />
tion will take effect in the right quarter.<br />
<br />
But merely to say that the public demand cheap<br />
music, and therefore must have it at any cost, is an<br />
economic question to which the reply is self-evident.<br />
There appear to be only two courses possible—to<br />
<br />
THE AUTHOR.<br />
<br />
291<br />
<br />
ask the honourable member to draft his own Bill<br />
so that those interested in musical property may<br />
have some real idea of what he looks upon as an<br />
adequate protection ; or toask him to earn his living<br />
for the period of five years either as a musical<br />
composer or a musical publisher.<br />
<br />
<br />
<br />
_[NorEe.—Since going to press the death of this<br />
Bill must be chronicled with regret.—Ep. ]<br />
9<br />
CORRESPONDENCE.<br />
a<br />
<br />
Srr,—As I am the writer of the signed article in<br />
The Morning Post to which Mr. Bernard Shaw<br />
referred in his speech at the annual dinner of the<br />
Society (f., Zhe Author, Vol. XVI., No. 9, pp. 269,<br />
270), I may be permitted to doubt the accuracy of<br />
Mr. Shaw’s historical parallel between myself and<br />
Judas Iscariot. If my conduct were as he said<br />
‘“‘ unprofessional,” the officers of the Society might<br />
have drawn my attention to the circumstance at<br />
the moment, which is rather remote. They have<br />
still the opportunity to do so, if I “sneered at the<br />
attempt of our profession to organise itself.”<br />
<br />
Humiliter me submitto.<br />
<br />
Faithfully yours,<br />
A. LANG.<br />
<br />
1, Marloes Road, W.<br />
<br />
a<br />
<br />
Musican CopyrRicHt.<br />
<br />
Str,—The points taken by your reviewer in<br />
his notice of my ‘‘Manual of Musical Copy-<br />
right” are all worthy of notice, and will be<br />
attended to by me in any subsequent edition.<br />
There is, however, one criticism which I hope you<br />
will allow me to answer, as the reason for one<br />
alleged fault of arrangement is very simple and<br />
may be stated in a few words.<br />
<br />
I am blamed for relegating to an appendix the<br />
subject of the retrospective effect of the Inter-<br />
national Act of 1886, and not incorporating my<br />
arguments on that subject in the body of the<br />
work.<br />
<br />
The book was intended to be readable by the<br />
non-lawyer part of the community, publishers,<br />
musicians, etc.<br />
<br />
The retrospective question is of the most subtle<br />
and technical kind. I have treated it at great<br />
length, holding as I do a view which is opposed to<br />
that of most of the bar, though it is in accordance<br />
with a decision of the Court of Appeal.<br />
<br />
The subject is perfectly separable from the other<br />
subject matter.<br />
<br />
Had I interrupted the practical portions of the<br />
book to insert this severely legal argument, I<br />
<br />
<br />
292<br />
<br />
should have scared any non-lawyer reading con-<br />
tinuously the chapter in which it occurs. If I had<br />
given a separate chapter to it, the difference of<br />
arrangement from mine would have been merely<br />
formal, and I have somewhat reduced the quantity<br />
of matter in the body of the work, by eliminating<br />
this long essay, and thereby facilitated pro tanto<br />
the task of research. Se<br />
<br />
I repeat my thanks for the careful and judicious<br />
notice.<br />
<br />
T remain, Sir, yours truly,<br />
Epwarp CUTLER.<br />
Adgware, Hyde Park, W.<br />
<br />
—1.—<> +<br />
<br />
Future or THE NOVED.<br />
<br />
Str,—In “The Future of the Novel,” printed<br />
in The Author, I find the following alarming<br />
statements :—<br />
<br />
“‘ Everybody one has ever heard of is either<br />
writing or has written a novel”; and<br />
<br />
“In England every third woman and every<br />
twentieth man has published something or other.”<br />
<br />
It may relieve and reassure a few startled minds<br />
to learn that I am the only one of 20,000 in-<br />
habitants in a country town who has written a<br />
novel, so far as I know (and such things soon<br />
become matters of gossip), while I can confidently<br />
assert that not more than a dozen men and women<br />
here (including the newspaper staffs) have had<br />
anything published. I may add that of all my<br />
many friends very few are writers—about one in<br />
fifty !<br />
<br />
Perhaps a literary man, in a literary set, is apt<br />
to be deceived on this point.<br />
<br />
Yours truly,<br />
M. P.<br />
<br />
—_1—<—+—__<br />
“ Repecoa ”’—A Nove.<br />
<br />
Sir,—In continuation of my previous remarks<br />
in The Author anent this old book, it will be of<br />
interest to learn that there has recently come into<br />
my possession a small 12mo volume, published at<br />
Burton-on-Trent in 1822, entitled, “ Realities and<br />
Reflections, in which Virtue and Vice are Con-<br />
trasted,” by Ann Catharine Holbrook—mark the<br />
spelling of both christian name and surname—who<br />
is by many considered to be the writer of “ Rebecca.”<br />
Upon the fly-leaf is inscribed “ A scarce volume<br />
by this little-known Staffordshire authoress.”<br />
Therein is also pasted a cutting (apparently from<br />
some book catalogue) quoting another work of<br />
Mrs. Holbrook’s, called “The Dramatist ; or<br />
Memoirs of the Stage. With the life of the<br />
authoress, &c. Birmingham, 1809.” It is claimed<br />
<br />
THE AUTHOR.<br />
<br />
for “ Realities” that the incidents depicted are<br />
taken from “real life,” and they form a series of<br />
“tales, moral and instructive,’ addressed to the<br />
young.<br />
<br />
After careful comparison, I find many indica-<br />
tions that point to Mrs. Holbrook as being not<br />
only the writer of these short stories but of the<br />
novel under discussion also. The same highly<br />
religious tone pervades both, with a marked simi-<br />
larity in several of the characters, and the inflexible-<br />
resolve that villainy shall be exposed and punished.<br />
Moreover, in the list of subscribers given at the<br />
end of the booklet are residents at Ashby—the sur-<br />
name of “ Rebecca.’ Does not this fact offer a<br />
valuable clue to identity? For we know how<br />
often writers of fiction have sought for their heroes<br />
and heroines the names of places familiar to them..<br />
<br />
I may add that search is still being actively<br />
prosecuted in likely quarters for the missing third<br />
volume of the novel, which it is hoped may soon<br />
be discovered. I also much desire a copy of ‘ The<br />
Dramatist”’ referred to above,as valuable light<br />
might be thrown upon Mrs. Holbrook’s work in<br />
that ‘life of the authoress” issued therewith.<br />
<br />
CECIL CLARKE.<br />
<br />
Author’s Club, 8.W.<br />
<br />
——<br />
<br />
Srr,—For the benefit of “Agent” and others<br />
this small experience of literary agents may be of<br />
interest. [ will confess at once I am not “ worth<br />
while.” I wrote three stories, had them typed im<br />
one volume, and sent them to a literary agent’s<br />
firm, then advertising in the “ AUTHOR.”<br />
<br />
An offer was made to them for the last story in<br />
the volume. They refused it without consulting<br />
me, and declined to tell me who had made the offer<br />
or the amount, as it was “not their custom to do<br />
so.’ They pressed me to allow them to sell the<br />
last story separately, but I refused.<br />
<br />
I wished the MS. to go to America and not be<br />
hawked round Britain, but I impressed on the firm<br />
the stories were not to be detached from the volume<br />
unless sold. After a period of some months I<br />
recalled the volume, and it was returned to me<br />
with only the title page of the last story. The<br />
rest was missing. The agents knew nothing about<br />
it, but of course “my interests were fully<br />
protected.”<br />
<br />
They owned the stories had been separated and<br />
that they had no authority to do so.<br />
<br />
About five months after it was returned to me,<br />
without any explanation except it had been<br />
discovered in an editor’s office in Kentucky.<br />
Odd !<br />
<br />
Yours truly,<br />
Rowan ORME.<br />
<br />
<br />
<br />
<br />
<br />
<br />
SUPPLEMENT I<br />
<br />
UNITED STATES COPYRIGHT.<br />
<br />
<br />
<br />
<br />
<br />
<br />
A BILL<br />
<br />
TO AMEND AND CONSOLIDATE THE ACIS<br />
<br />
RESPECTING COPYRIGHT.<br />
<br />
<br />
<br />
CONTENTS.<br />
<br />
PAGES<br />
ee ee Copernic (Seog, 1-3) rer eects tn 5<br />
S uyuot-Marrmn oF CopYRIGHT (Secs. 4-7) ......-:------s----e-tesrcerercrcerettcce steers 5<br />
Mee i Oars CoprmiceT (Bec, 8) een irrretttrrcit terete 6-7<br />
Mow fo Smoune Corveigur (Secs. 9-17) -.-..-.--:---csc-rrerereteercr terse 7-9<br />
Hiei crn oF Copynigur (Secs. 18-20) ----..-1i.----es cee rretteneseetnerener teense 9-10<br />
Prormction or CopyriGut (Secs. 21-36) ......--.----s--seeeerrrneesenrteeeenenetees ese 10-15<br />
Waasaver ov Copvergur (Secs, 37-4D) ......-...--:-se-cerettersnesetercrseeessescererteccesere es 15-16<br />
Gopyaraur Orvicm (Secs. 46-60) .....-..--..-cecrcccereereeertsettertrsssrerenstneestsser eee 16-19<br />
<br />
MISCELLANEOUS PROVISIONS (Secs. 61-64) ......-------seeerercerstenseterereeeseneeeeescecse rere s® 19<br />
<br />
<br />
<br />
<br />
<br />
<br />
A BILE<br />
<br />
TO AMEND AND CONSOLIDATE THE ACTS<br />
RESPECTING COPYRIGHT.<br />
<br />
<br />
<br />
Be it enacted by the Senate and House of Representatives of the United<br />
States of America in Congress assembled, That the copyright secured by<br />
this Act shall include the sole and exclusive right :—<br />
<br />
(a) For the purposes set forth in subsection (b) hereof, to make<br />
any copy of any work or part thereof the subject of copyright<br />
under the provisions of this Act, or to abridge, adapt, or translate<br />
into another language or dialect any such work, or make any other<br />
version thereof;<br />
<br />
(b) To sell, distribute, exhibit, or let for hire, or offer or keep<br />
for sale, distribution, exhibition, or hire any copy of such work ;<br />
<br />
(c) To deliver, or authorize the delivery of, in public for profit,<br />
any copyrighted lecture, sermon, address, or similar production<br />
prepared for oral delivery ;<br />
<br />
(d) To publicly perform or represent a copyrighted dramatic<br />
work, or to convert it into a novel or other non-dramatic work ;<br />
<br />
(e) To dramatize any copyrighted non-dramatic work and<br />
<br />
roduce the same either by publication or performance ;<br />
<br />
(f) To publicly perform a copyrighted musical work, or any<br />
part thereof, or for purpose of public performance or the purposes<br />
set forth in subsection (b) hereof to make any arrangement or<br />
setting of such work, or of the melody thereof, in any system of<br />
notation ;<br />
<br />
(g) To make, sell, distribute or let for hire any device, contri-<br />
yance or appliance especially adapted in any manner whatsoever to<br />
reproduce to the ear the whole or any material part of any<br />
work published and copyrighted after this Act shall have gone into<br />
effect, or by means of any such device or appliance publicly to<br />
reproduce to the ear the whole or any material part of such work ;<br />
<br />
(h) To produce any abridgment, variation, adaptation, or<br />
arrangement of a copyrighted work of art.<br />
<br />
Suc. 2. That nothing in this Act shall be construed to annul or limit<br />
the right of the author or proprietor of an unpublished work, at<br />
common law or in equity, to prevent the copying, publication, or use<br />
of such unpublished work without his consent, or to obtain damages<br />
therefor.<br />
<br />
Suc. 3. That the copyright provided by this Act shall extend to and<br />
protect all the copyrightable component parts of the work copyrighted,<br />
any and all reproductions or copies thereof, in whatever form, style or<br />
size, and all matter reproduced therein in which copyright is already<br />
<br />
subsisting, but without extending the duration of such copyright.<br />
<br />
Sno. 4, That the works for which copyright may be secured under<br />
this Act shall include all the works of an author.<br />
Suc. 5. That the application for registration shall specify to which of<br />
the following classes the work in which copyright is claimed belongs :<br />
(a) Books, including composite and cyclopedic works, direc-<br />
tories, gazetteers, and other compilations, and new matter contained<br />
<br />
5<br />
<br />
Nature and Extent of Copy-<br />
right.<br />
<br />
Subject Matter of Copyright.<br />
<br />
Comp. Constitution, Art. 1, sec. 8 ;<br />
Rev. Stat., sec. 4952.<br />
<br />
<br />
Comp. Act of June 18, 1874, sec. 3<br />
(18 Stat. at L., part 111, p. 79).<br />
<br />
Comp. Rey. Stat., sec. 4959; Act<br />
of March 3, 1891, sec. 5 (26 Stat.<br />
at L., p. 1108).<br />
<br />
Not subject<br />
matter of copy-<br />
right.<br />
<br />
Who May Obtain Copyright.<br />
<br />
Comp. Constitution, 1787, Art. 1,<br />
sec. 8; Rev. Stat., sec. 4952;<br />
Act of March 3, 1891, sec. 13<br />
(26 Stat. at L., p. 1110).<br />
<br />
Comp. Act of March 3, 1891, sec. 13<br />
(26 Stat. at L., p. 1110).<br />
<br />
6<br />
<br />
in new editions; but not including works specified in other sub-<br />
sections hereunder ;<br />
<br />
(b) Periodicals, including newspapers ;<br />
<br />
(c) Oral lectures, sermons, addresses ;<br />
<br />
(d) Dramatic compositions ;<br />
<br />
(e) Musical compositions ;<br />
<br />
(f) Maps ;<br />
<br />
(g) Works of art ; models or designs for works of art ;<br />
<br />
(h) Reproductions of a work of art ; oe<br />
<br />
(i) Drawings or plastic works of a scientific or technical<br />
character ;<br />
<br />
(j) Photographs ;<br />
<br />
(k) Prints and pictorial illustrations ;<br />
<br />
(1) Labels and prints relating to articles of manufacture, as<br />
heretofore registered in the Patent Office under the Act of June 18,<br />
1874 :<br />
<br />
Provided, nevertheless, That the above specifications shall not be held<br />
to limit the subject matter of copyright as defined in section four of<br />
this Act, nor shall any error in classification invalidate or impair the<br />
copyright protection secured under this Act.<br />
<br />
Src. 6. That additions to copyrighted works and alterations, re-<br />
visions, abridgments, dramatizations, translations, compilations,<br />
arrangements, or other versions of works, whether copyrighted or in<br />
the public domain, shall be regarded as new works subject to copyright<br />
under the provisions of this Act ; but no such copyright shall affect the<br />
force or validity of any subsisting copyright upon the matter employed<br />
or any part thereof, or be construed to grant an exclusive right to such<br />
use of the original works.<br />
<br />
Sec. 7. That no copyright shall subsist :-—<br />
<br />
(a) In any publication of the United States government or any<br />
reprint, in whole or in part, thereof: Provided, however, That the<br />
publication or republication by the government, either separately<br />
or in a public document, of any material in which copyright is<br />
subsisting shall not be taken to cause any abridgment or annul-<br />
ment of the copyright or to authorize any use or appropriation of<br />
such copyright material, without the consent of the copyright<br />
proprietor ;<br />
<br />
(b) In the original text of a work by any author not a citizen<br />
of the United States first published without the limits of the<br />
United States prior to July first, eighteen hundred and ninety-one ;<br />
or in the original text of any work which has fallen into the<br />
public domain.<br />
<br />
Szo. 8. That the author or proprietor of any work made the subject<br />
of copyright by this Act, or his executors, administrators, or assigns,<br />
shall have copyright for such work under the conditions and for the<br />
terms specified in this Act: Provided, however, That the copyright<br />
secured by this Act shall extend to the work of an author or proprietor<br />
who is a citizen or subject of a foreign state or nation, only when such<br />
foreign author or proprietor,—<br />
<br />
(a) Shall be living within the United States at the time of the<br />
making and first publication of his work, or shall first or cotem-<br />
poraneously publish his work within the limits of the United<br />
States ; or<br />
<br />
(b) When the foreign state or nation of which such author or<br />
proprietor is a citizen or subject grants—either by treaty, conven-<br />
tion, agreement, or law—to citizens of the United States the<br />
benefit of copyright on substantially the same basis as to its own<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
7<br />
<br />
citizens, or copyright protection substantially equal to the protec-<br />
tion secured to such foreign author under this Act ; or when such<br />
foreign state or nation is a party to an international agreement<br />
which provides for reciprocity in the granting of copyright, by the<br />
terms of which agreement the United States may at its pleasure<br />
become a party thereto.<br />
<br />
The existence of the reciprocal conditions aforesaid shall be<br />
determined by the President of the United States, by proclamation<br />
<br />
made from time to time, as the purposes of this Act may require.<br />
<br />
Suc. 9. That any person entitled thereto by this Act may secure<br />
copyright for his work by publication thereof with the notice of copy-<br />
right required by this Act ; and such notice shall be affixed to each<br />
copy thereof published or offered for sale in the United States by<br />
authority of the copyright proprietor. In the case of a work of art or<br />
a plastic work or drawing, such notice shall be affixed to the original<br />
also before publication thereof. In the case of a lecture or similar work<br />
intended only for oral delivery, notice of copyright shall be given at<br />
each public delivery thereof.<br />
<br />
Sec. 10. That such person may obtain registration of his claim to<br />
copyright by complying with the requirements prescribed in this Act ;<br />
and such registration shall be prima facie evidence of ownership.<br />
<br />
Registration may also be had of works of which copies are not repro-<br />
duced for sale, by the deposit, with claim of copyright, of the title and<br />
one complete printed or manuscript copy of such work, if it be a<br />
lecture or similar production, or a dramatic or musical composition ; of<br />
a photographic print, if the work be a photograph ; or of a photograph<br />
or other identifying reproduction thereof, if it be a work of art, ora<br />
plastic work or drawing ; the notice of copyright in these latter<br />
cases being affixed to the original before publication as required by<br />
section nine above. But the privilege of registration secured hereunder<br />
shall not exempt the copyright proprietor from the requirement of<br />
deposit of copies under section eleven herein where the work is later<br />
reproduced in copies for sale.<br />
<br />
Sec. 11. That not later than thirty days (but in the case of a<br />
periodical not later than ten days) after the publication of the work<br />
upon which copyright is claimed, there shall be deposited in_the Copy-<br />
right Office or in the United States mail addressed to the Register of<br />
Copyrights, Washington, District of Columbia, two complete copies of<br />
the best edition ; or if the work be a label or print relating to an article<br />
of manufacture, one such copy ; or if a contribution toa periodical for<br />
which contribution special registration is requested, one copy of the<br />
issue or issues of the periodical containing such contribution, to be<br />
deposited not later than ten days after publication ; or if the work is<br />
not reproduced in copies for sale, there shall be deposited the copy,<br />
print, photograph or other identifying reproduction required by section<br />
ten above: such copies or copy, print, photograph or other reproduction<br />
to be accompanied in each case by a claim of copyright.<br />
<br />
Src. 12. That the postmaster to whom are delivered the articles<br />
required to be deposited under section eleven above shall, if requested,<br />
give a receipt therefor ; and shall mail them to their destination<br />
without cost to the copyright claimant.<br />
<br />
Suc, 13. That of a printed book or periodical the text of the copies<br />
deposited under section eleven above shall be printed from type set<br />
within the limits of the United States, either by hand or by the aid of<br />
any kind of typesetting machine, or from plates made from type set<br />
within the limits of the United States, or if the text be produced by<br />
<br />
How to Secure Copyright.<br />
<br />
Comp. Rev. Stat., sec. 4956, as<br />
amended by the Act of March 3,<br />
1891, sec. 3 (26 Stat. at L.,<br />
p. 1107).<br />
<br />
Comp. Rev. Stat., sec. 4961.<br />
<br />
U. 8. type-set-<br />
ting and litho-<br />
graphic process.<br />
<br />
<br />
Comp. Act of March 3, 1891, sec. 3<br />
(26 Stat. at L., p. 1107); H. R.<br />
pill no. 13355, March 2, 1904,<br />
passed by the House of Repre-<br />
sentatives April 26, 1904 (68th<br />
Cong., 2d sess.).<br />
<br />
Comp. Act of March 3, 1905.<br />
<br />
Notice of copy-<br />
right. .<br />
<br />
Comp. Rey. Stat., sec., 4962; Act<br />
of June 18, 1874, sec. 1 (18 Stat.<br />
at L., part III, p. 79); Act of<br />
March 3, 1905.<br />
<br />
8<br />
<br />
lithographic process, then by a process wholly performed within the<br />
limits of the United States: which requirements shall extend also to<br />
the illustrations produced by lithographic process within a printed book<br />
consisting of text and illustrations, and also to separate lithographs,<br />
except where in either case the subjects represented are located in a<br />
foreign country ; but they shall not apply to works in raised characters<br />
for the use of the blind, and they shall be subject to the provisions of<br />
section sixteen with reference to books published abroad seeking<br />
ad interim protection under this Act.<br />
<br />
In the case of the book the copies so deposited shall be accompanied<br />
by an affidavit, under the official seal of any officer authorized to<br />
administer oaths within the United States, duly made by the person<br />
claiming copyright or by his duly authorized agent or representative<br />
residing in the United States or by the printer who has printed the<br />
book, setting forth that the copies deposited have been printed from<br />
type set within the limits of the United States or from plates made from<br />
type set within the limits of the United States, or, if the text be pro-<br />
duced by lithographic process, that such process was wholly performed<br />
within the limits of the United States.<br />
<br />
Any person who for the purpose of obtaining a copyright shall<br />
knowingly be guilty of making a false affidavit as to his having<br />
complied with the above conditions shall be deemed guilty of a<br />
misdemeanor, and upon conviction thereof shall be punished by a fine<br />
of not more than one thousand dollars, and all of his rights and<br />
privileges under said copyright shall thereafter be forfeited.<br />
<br />
Such affidavit shall state also the place within the United States, and<br />
the establishment, in which such type was set or plates were made or<br />
lithographic process was performed and the date of the completion of<br />
the printing of the book or the date of publication.<br />
<br />
Sec. 14. That the notice of copyright required by section nine shall<br />
consist either of the word “ Copyright” or the abbreviation “ Copr.”<br />
or, in the case of any of the works specified in sub-sections (f) to (1)<br />
inclusive, of section five of this Act, the letter ( enclosed within a<br />
circle, thus: @), accompanied in every case by the name of the author<br />
or copyright proprietor as registered in the Copyright Office ; or, in the<br />
case of works specified in subsections (f) to (1), inclusive, of section<br />
five of this Act, by his initials, monogram, mark, or symbol, provided<br />
that on some accessible portion of the work or of the margin, back,<br />
permanent base or pedestal thereof or of the substance on which the<br />
work shall be mounted his name shall appear. But in the case of works<br />
in which copyright is subsisting when this Act shall go into effect the<br />
notice of copyright may be either in one of the forms prescribed herein<br />
or in one of those prescribed by the Act of June 18, 1874.<br />
<br />
The notice of copyright shall be applied, in the case of a book or<br />
other printed publication, upon its title-page or the page immediately<br />
following, or if a periodical, either upon the title-page or upon the first<br />
page of text of each separate number or under the title heading ; or if<br />
a work specified in subsections (f) to (1), inclusive, of section five of this<br />
Act, upon some accessible portion of the work itself or of the margin,<br />
back, permanent base or pedestal thereof, or of the substance on which<br />
the work shall be mounted.<br />
<br />
In a composite work one notice of copyright shall suffice.<br />
<br />
Upon every copy of a published musical composition in which the<br />
right of public performance is reserved there shall be imprinted under<br />
the notice of copyright the words “Right of public performance<br />
reserved ;”? in default of which no action shall be maintained nor<br />
recovery be had for any such performance although without the consent<br />
of the copyright proprietor.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a<br />
<br />
<br />
<br />
Seo. 15. That if, by reason of any error or omission, the requirements<br />
prescribed above in section eleven have not been complied with within<br />
the time therein specified, or if failure to make registration has occurred<br />
by the error or omission of any administrative officer or employee of the<br />
United States, it shall be permissible for the author or proprietor to<br />
make the required deposit and secure the necessary registration within<br />
a period of one year after the first publication of the work: Provided,<br />
That in such case no action shall be brought for infringement of the<br />
copyright until such requirements have been fully complied with : And<br />
provided further, That the privilege above afforded of completing the<br />
registration and deposit after the expiration of the period prescribed in<br />
section eleven shall not exempt the proprietor of any article which bears<br />
a notice of copyright from depositing the required copy or copies upon<br />
specific written demand therefor by the Register of Copyrights, who<br />
may make such demand at any time subsequent to the expiration of<br />
such period ; and after the said demand shall have been made, in default<br />
of the deposit of the copies of the work within one month from any<br />
part of the United States except an outlying territorial possession of<br />
the United States, or within three months from any outlying territorial<br />
possession of the United States or from any foreign country, the<br />
oe of the copyright shall be liable to a fine of one hundred<br />
ollars.<br />
<br />
Where the copyright proprietor has sought to comply with the<br />
requirements of this Act as to notice and the notice has been duly<br />
affixed to the bulk of the edition published, its omission by inadvertence<br />
from a particular copy or copies, though preventing recourse against an<br />
innocent infringer without notice, shall not invalidate the copyright<br />
nor prevent recovery for infringement against any person who after<br />
actual notification of the copyright begins an undertaking to infringe it.<br />
<br />
Sec. 16. That in the case of a book published in a foreign country<br />
before publication in this country the deposit in the Copyright Office<br />
not later than thirty days after its publication abroad of one complete<br />
copy of the foreign edition with a request for the reservation of the<br />
copyright, and a statement of the name and nationality of the author<br />
and of the copyright proprietor, and of the date of publication of the<br />
said book shall secure to the author or proprietor an ad intervm copy-<br />
right. Except as otherwise provided, the ad interim copyright thus<br />
secured shall have all the force and effect given to copyright by this<br />
Act, and shall endure as follows :—<br />
<br />
(a) In the case of a book printed abroad in a foreiyn language,<br />
for a period of two years after the first publication of the book in<br />
the foreign country ;<br />
<br />
(b) In the case of a book printed abroad in the Hnglish language<br />
or in English and one or more foreign languages, for a period of<br />
thirty days after such deposit in the Copyright Office.<br />
<br />
Suc. 17. That whenever within the period of such ad interim pro-<br />
tection an authorized edition shall be produced and published from type<br />
set within the limits of the United States or from plates made there-<br />
from, (a) of a book in the Hnglish language, or (b) of a book in a foreign<br />
language, either in the original language or in an English translation<br />
thereof, and whenever the requirements prescribed by this Act as to<br />
deposit of copies, registration, filing of affidavit and the printing of the<br />
copyright notice shall have been duly complied with, the copyright shall<br />
be extended to endure in such original book for the full terms elsewhere<br />
provided in this Act.<br />
<br />
Sno. 18. That the copyright secured by this Act shall endure,—<br />
(a) For twenty-eight years after the date of first publication in<br />
<br />
*<br />
<br />
Failure to com-<br />
ply with formali-<br />
ties.<br />
<br />
Comp. Rev. Stat., sec. 4962.<br />
<br />
Comp. Act of March 3, 1865, sec. 3<br />
(13 Stat. at L., p. 540).<br />
<br />
Ad interim pro-<br />
tection.<br />
<br />
Comp. Act of March 3, 1905,<br />
<br />
Duration of the Copyright.<br />
<br />
<br />
<br />
<br />
Comp. as to prints or labels, the<br />
he of June 18, 1874, sec. 3 (18<br />
Stat. at L., part 111, p. 79).<br />
<br />
Comp. Rev. Stat., secs. 4953 and<br />
4954,<br />
<br />
Extension of<br />
term of subsist-<br />
ing copyright.<br />
<br />
Comp. Act of Feb. 3, 1831, sec. 16<br />
(4 Stat. at L., p. 439).<br />
<br />
Right of trans-<br />
lation.<br />
<br />
Comp. Act. of March 3, 1891, sec. 1<br />
(26 Stat. at L., p. 1107).<br />
<br />
Protection of the Copyright.<br />
<br />
Protection for<br />
unpublished<br />
works,<br />
<br />
Infringement<br />
of copyright.<br />
<br />
Comp. Rev, Stat., sec. 3082.<br />
<br />
<br />
<br />
<br />
<br />
10<br />
<br />
the case of any print or label relating to articles of manufacture :<br />
Provided, That the copyright which at the time of the passing of<br />
this Act may be subsisting in any article named in this section<br />
shall endure for the balance of the term of copyright fixed by the<br />
laws then in force ;<br />
<br />
(b) For fifty years after the date of first publication in the case<br />
of any composite or collective work ; any work copyrighted by a<br />
corporate body or by the employer of the author or authors ; any<br />
abridgment, compilation, dramatization, or translation ; any post-<br />
humous work ; any arrangement or reproduction in some new form<br />
of a musical composition ; any photograph ; any reproduction of<br />
a work of art ; any print or pictorial illustration ; the copyrightable<br />
contents of any newspaper or other periodical ; and the additions<br />
or annotations to works previously published.<br />
<br />
(c) For the lifetime of the author and for fifty years after his<br />
death, in the case of his original book, lecture, dramatic or musical<br />
composition, map, work of art, drawing or plastic work of a<br />
scientific or technical character, or other original work, but not<br />
including any work specified in subsections (a) or (b) hereof ; and<br />
in the case of joint authors, during their joint lives and for fifty<br />
years after the death of the last survivor of them.<br />
<br />
In all of the above cases the term shall extend to the end of the<br />
calendar year of expiration.<br />
<br />
The copyright in a work published anonymously or under an assumed<br />
name shall subsist for the same period as if the work had been produced<br />
bearing the author’s true name.<br />
<br />
Sec. 19. That the copyright subsisting in any work at the time when<br />
this Act goes into effect may, at the expiration of the renewal term pro-<br />
vided for under existing law, be further renewed and extended by the<br />
author, if he be still living, or if he be dead, leaving a widow, by his<br />
widow, or in her default, or if no widow survive him, by his children, if<br />
any survive him, for a further period such that the entire term shall be<br />
equal to that secured by this Act : Provided, That application for such<br />
renewal and extension shall be made to the Copyright Office and duly<br />
registered therein within one year prior to the expiration of the existing<br />
term: And provided further, That, should such subsisting copyright<br />
have been assigned, or a license granted therein for publication upon<br />
payment of royalty, the copyright shall be renewed and extended only<br />
in case the assignee or licensee shall join in the application for such<br />
renewal and extension.<br />
<br />
Src. 20. That the author’s exclusive right to dramatize or translate<br />
any one of his works in which copyright is subsisting shall, after the<br />
expiration of ten years from the day on which the work was registered<br />
in the Copyright Office, continue effective only in case a dramatization<br />
or translation thereof has been produced within that period by his<br />
consent or that of his assigns, and in the case of translations shall be<br />
confined to the language of any translation so produced.<br />
<br />
Sec. 21. That every person who, without the consent of the author<br />
or proprietor first obtained, shall publish or reproduce in any manner<br />
whatsoever any unpublished copyrightable work shall be liable to the<br />
author or proprietor for all damages occasioned by such injury, and to<br />
an injunction restraining such unauthorized publication, as hereinafter<br />
provided.<br />
<br />
Sxc. 22. That any reproduction, without the consent of the author<br />
or copyright proprietor, of any work or any material part of any work<br />
in which copyright is subsisting shall be illegal and is hereby prohibited.<br />
The provisions of section thirty-eight hundred and ninety-three of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Tt<br />
<br />
the Revised Statutes, prohibiting the use of the mails in certain cases,<br />
and also the provision of section thirty-eight hundred and ninety-five<br />
of the Revised Statutes, shall apply, and the importation into the<br />
United States of any such fraudulent copies or reproductions is hereby<br />
prohibited.<br />
<br />
Suc. 23. That if any person shall infringe the copyright in any<br />
work protected under the copyright laws of the United States by doing<br />
or causing to be done, without the consent of the copyright proprietor<br />
firat obtained in writing, any act the exclusive right to do or authorize<br />
which is by such laws reserved to such proprietor, such person shall be<br />
liable :<br />
<br />
(a) To an injunction restraining such infringement ;<br />
<br />
(b) To pay to the copyright proprietor such damages as the<br />
copyright proprietor may have suffered due to the infringement,<br />
as well as all the profits which the infringer may have made from<br />
such infringement, and in proving profits the plaintiff shall be<br />
required to prove sales only and defendant shall be required to<br />
prove every element of cost which he claims ; or in lieu of actual<br />
damages and profits, such damages as to the court shall appear<br />
just, to be assessed upon the following basis, but such damages<br />
shall in no case exceed the sum of five thousand dollars nor be less<br />
than the sum of two hundred and fifty dollars, and shall not be<br />
regarded as a penalty :<br />
<br />
(1) In the case of a painting, statue or sculpture or any<br />
device especially adapted to reproduce to the ear any copy-<br />
righted work, not less than ten dollars for every infringing<br />
copy made or sold by or found in the possession of the infringer<br />
or his agents or employees ;<br />
<br />
(2) In the case of a lecture, sermon, or address, not less<br />
than fifty dollars for every infringing delivery ;<br />
<br />
(3) In the case of a dramatic or musical composition, not<br />
less than one hundred dollars for the first and not less than<br />
fifty dollars for every subsequent infringing performance ;<br />
<br />
(4) In the case of all other works enumerated in section five<br />
of this Act, not less than one dollar for every infringing copy<br />
made or sold by or found in the possession of the intringer or<br />
his agents or employees.<br />
<br />
(c) To deliver up on oath to be impounded during the pendency<br />
of the action, upon such terms and conditions as the court may<br />
prescribe, all goods alleged to infringe a copyright ;<br />
<br />
(d) To deliver up on oath for destruction all the infringing<br />
copies or devices, as well as all plates, molds, matrices or other<br />
means for making such infringing copies.<br />
<br />
Any court given jurisdiction under section thirty-two of this Act may<br />
proceed in any action instituted for violation of any provision hereof to<br />
enter a judgment or decree enforcing any of the remedies herein<br />
provided.<br />
<br />
Sec. 24. That the proceedings for an injunction, damages and profits,<br />
and those for the seizure of infringing copies, plates, molds, matrices,<br />
etc., aforementioned, may be united in one action.<br />
<br />
Sno. 25. That any person who wilfully and for profit shall infringe<br />
any copyright secured by this Act, or who shall knowingly and<br />
wilfully aid or abet such infringement or in any wise knowingly and<br />
wilfully take part in any such infringement, shall be deemed guilty of<br />
a misdemeanor, and upon conviction thereof shall be punished by<br />
imprisonment for not exceeding one year or by a fine of not less than<br />
<br />
Remedies.<br />
<br />
Comp. Rev. Stat., sec. 4964 (as<br />
amended by Act of March 38,<br />
1891, sec. 7, 26 Stat. at L.,<br />
p- 1109) and Rev. Stat., sec. 4965<br />
(as amended by Act of March 2,<br />
1895, 28 Stat. at L., p. 965).<br />
<br />
Comp. Rev. Stat., sec. 4966 (as<br />
amended by Act of Jan. 6, 1897,<br />
29 Stat. at L., p. 481).<br />
12<br />
<br />
<br />
<br />
one hundred dollars nor more than one thousand dollars, or both, in<br />
the discretion of the court.<br />
False notice of | Any person who, with fraudulent intent, shall insert or impress any<br />
copyright. notice of copyright required by this Act, or words of the same purport,<br />
in or upon any article for which he has not obtained copyright, or with<br />
fraudulent intent shall remove or alter the copyright notice upon an<br />
article duly vopyrighted, shall be guilty of a misdemeanor, punishable<br />
by a fine of not less than one hundred dollars and not more than one<br />
thousand dollars. Any person who shall knowingly issue or sell any<br />
article bearing a notice of United States copyright which has not been<br />
copyrighted in this country, or who shall knowingly import any article<br />
bearing such notice, or words of the same purport, which has not been<br />
copyrighted in this country, shall be liable to a fine of one hundred<br />
dollars.<br />
<br />
The importation into the United States of any article bearing such<br />
notice of copyright when there is no existing copyright thereon in the<br />
United States is prohibited, and such importations shall be proceeded<br />
against as provided by sections twenty-six to twenty-nine, inclusive, of<br />
<br />
<br />
<br />
this Act.<br />
Prohibition of SEC. 26. That any and all such fraudulent copies prohibited importa-<br />
importation. tion by this Act which are brought into the United States from any<br />
<br />
foreign country shall be seized by the collector, surveyor or other<br />
officer of the customs, or any person authorized in writing to make<br />
seizures under the customs revenue laws, in the district in which they<br />
are found; and the copies so seized shall without delay be delivered<br />
into the custody of the principal customs officer of the collection<br />
district in which the seizure is made; whereupon the said officer shall<br />
(except in cases of importation by mail) publish a notice of such<br />
seizure once a week for three successive weeks in some newspaper of the<br />
county or place where such seizure shall have been made. If no news-<br />
paper is published in such county, then such notice shall be published<br />
in some newspaper of the county in which the principal customs office<br />
of the district is situated ; and if no newspaper is published in such<br />
county, then notices shall be posted in proper public places, which<br />
: notices shall describe the articles seized and state the time, cause, and<br />
place of seizure, and shall require any person claiming such articles to<br />
appear and file with such customs officer his claim to such articles<br />
within twenty days from the date of the first publication of such notice.<br />
<br />
Sro. 27. That any person claiming the property so seized may, at<br />
<br />
any time within twenty days from the date of such first publication of<br />
<br />
Comp. Rev. Stat., sec. 3076, notice, file with the collector, or other proper officer, a claim, stating<br />
his interest in the articles seized, and deposit with such collector, or<br />
other proper officer, a bond to the United States as now prescribed by<br />
law, in the penal sum of two hundred and fifty dollars, with two sure-<br />
ties, to be approved by said collector, or other proper officer, conditioned<br />
<br />
Comp. Rev. Stat., sec. 838] that in case of the condemnation of the articles so claimed the obligors<br />
shall pay all the costs and expenses of the proceedings to obtain such<br />
condemnation.<br />
<br />
Such collector, or other proper officer, shall transmit the said bond<br />
with a duplicate list and description of the articles seized and claimed<br />
to the United States Attorney for the proper district, who shall proceed :<br />
for a condemnation of the property by information as in customs revenue 4<br />
cases.<br />
<br />
Src. 28. 'Fhat in case the property shall be condemned it shall be<br />
delivered into the custody of the United States Marshal and destroyed<br />
in such manner as the court may direct. If not condemned the said<br />
articles shall be delivered to the importer on payment of the duty, if<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
13<br />
<br />
any be due. If probable cause is found by the court as an existing<br />
fact connected with the seizure, the officer or other person making the<br />
seizure shall be entitled to a certificate affording him an absolute<br />
defense to any action on account of seizure. If no such claim shall be<br />
filed, or bond given, within the twenty days above specified, the<br />
collector, or other proper officer of the customs who has custody of the<br />
property, shall declare the same forfeited, and it shall be destroyed in<br />
such manner as shall be prescribed by the Secretary of the Treasury.<br />
<br />
Sec. 29. That mails from foreign countries shall be carefully<br />
examined by postmasters, who shall forward to the principal customs<br />
officer of the district in which the post office is situated any foreign<br />
mail package supposed to contain any article imported in violation of<br />
the provisions of this Act. Upon receipt of such package the customs<br />
officer shall detain the same in his custody and notify by mail the<br />
eddressee of the package of its detention, and require him to show<br />
cause within thirty days why the supposed prohibited articles should<br />
not be destroyed. If the person so addressed shall not appear and<br />
show cause to the contrary, the customs officer shall make formal<br />
seizure of the articles contained in the package supposed to be pro-<br />
hibited importation, and if the package contains any prohibited articles<br />
shall declare the same forfeited, whereupon said articles shall be<br />
destroyed in such manner as the Secretary of the Treasury shall direct.<br />
If upon examination the articles prove to be innocent of any violation<br />
of law the package shall be forwarded to the addressee in regular<br />
course of mail, subject to the payment of customs duty, if any be due.<br />
If the addressee appears and shows to the satisfaction of the said<br />
officer that the importation of the articles is not prohibited, the said<br />
articles shall be delivered to the addressee upon payment of the customs<br />
duty, if any be due.<br />
<br />
Sec. 30. That during the existence of the American copyright in any<br />
book the importation into the United States of any foreign edition or<br />
editions thereof (although authorized by the author or proprietor) not<br />
printed from type set within the limits of the United States or from<br />
plates made therefrom, or any plates of the same not made from type<br />
set within the limits of the United States, or any editions thereof pro-<br />
duced by lithographic process not performed within the limits of the<br />
United States, in accordance with the requirements of section thirteen<br />
of this Act, shall be and is hereby prohibited : Provided, however, 'That<br />
such prohibition shall not apply—<br />
<br />
(a) To works in raised characters for the use of the blind ;<br />
<br />
(b) To a foreign newspaper or magazine, although containing<br />
matter copyrighted in the United States printed or reprinted by<br />
authority of the copyright proprietor, unless such newspaper or<br />
magazine contains also copyright matter printed or reprinted<br />
without such authorization ;<br />
<br />
(c) To the authorized edition of a book in a foreign language or<br />
languages, of which only a translation into English has been copy-<br />
righted in this country ;<br />
<br />
(a) ‘To books in a foreign language or languages, published<br />
without the limits of the United States, but deposited and<br />
registered for an ad interim copyright under the provisions of this<br />
Act: in which case importation of copies of an authorized foreign<br />
edition shall be permitted during the ad interim term of two years,<br />
or until such time within this period as an edition shall have<br />
been produced from type set within the limits of the United<br />
States, or from plates made therefrom, or by a lithographic process<br />
performed therein as above provided ;<br />
<br />
Comp. Act of March 3, 1891, sec. 3<br />
(26 Stat. at L., p. 1107).<br />
<br />
Comp. Act of Oct. 1, 1890, Free<br />
List, sec. 513.<br />
<br />
Comp. Act of March 3, 1891, sec. 3<br />
(26 Stat. at L., p. 1108).<br />
<br />
Comp. Act of March 3, 1891, sec. 3<br />
(26 Stat. at L., p. 1107).<br />
<br />
Comp. Act of March 3, 1905.<br />
<br />
<br />
Suits :<br />
diction.<br />
<br />
Juris-<br />
<br />
14<br />
<br />
<br />
<br />
(e) To any book published abroad with the authorization of the<br />
author or copyright proprietor when imported under the circum-<br />
stances stated in one of the four sub-divisions following, that is to say:<br />
<br />
(1) When imported, not more than one copy at one time<br />
for use and not for sale, under permission given by the pro-<br />
prietor of the American copyright ;<br />
<br />
(2) When imported, not more than one copy at one time,<br />
by the authority or for the use of the United States ;<br />
<br />
(3) When specially imported, for use and not for sale, not<br />
more than one copy of any such book in any one invoice, in<br />
good faith, by or for any society or institution incorporated<br />
for educational, literary, philosophical, scientific or religious<br />
purposes, or for the encouragement of the fine arts, or for any<br />
college, academy, school or seminary of learning, or for any<br />
State, school, college, university or free public library in the<br />
United States: but such privilege of importation without the<br />
consent of the American copyright proprietor shall not extend<br />
to a foreign reprint of a book by an American author copy-<br />
righted in the United States unless copies of the American<br />
edition can not be supplied by the American publisher<br />
or copyright proprietor ;<br />
<br />
(4) When such books form parts of libraries or collections<br />
purchased en bloc for the use of societies, institutions or<br />
libraries designated in the foregoing paragraph; or form<br />
parts of the libraries or personal baggage belonging to persons<br />
or families arriving from foreign countries, and are not<br />
intended for sale :<br />
<br />
Provided, That copies imported as above may not lawfully<br />
be used in any way to violate the rights of the American<br />
copyright proprietor or annul or limit the copyright protection<br />
secured by this Act ; and such unlawful use shall be deemed<br />
an infringement of copyright.<br />
<br />
Src. 31. That all copies of authorized editions of copyright books<br />
imported in violation of the above provisions of this Act may be<br />
exported and returned to the country of export, provided it be shown<br />
to the satisfaction of the Secretary of the Treasury upon written<br />
application that such importation does not involve wilful negligence or<br />
fraud. If absence of wilful negligence or fraud be not established to<br />
the satisfaction of the Secretary of the Treasury, the importation shall<br />
be proceeded against as in the case of fraudulent copies in the manner<br />
prescribed by sections twenty-six to twenty-nine, inclusive, of this Act.<br />
<br />
Sec. 32. That all actions arising under the copyright laws of the<br />
United States shall be originally cognizable by the circuit courts of<br />
the United States, the district court of any Territory, the Supreme<br />
Court of the District of Columbia, the district courts of Alaska, Hawaii<br />
and Porto Rico, and the courts of first instance of the Philipine<br />
Islands.<br />
<br />
Actions arising under this Act may be instituted in the district of<br />
which the defendant is an inhabitant, or in the district where the<br />
violation of any provision of this Act has occurred.<br />
<br />
Any such court, or judge thereof, shall have power, upon bill in<br />
equity filed by any party aggrieved, to grant an injunction to prevent<br />
the violation of any right secured by said laws, according to the course<br />
and principles of courts of equity, on such terms as said court or judge<br />
may deem reasonable. Any injunction that may be granted, restraining<br />
and enjoining the doing of anything forbidden by this Act may be<br />
served on the parties against whom such injunction may be granted<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
15<br />
<br />
anywhere in the United States, and shall be operative throughout the<br />
United States and be enforceable by proceedings in contempt, or other-<br />
wise, by any other court or judge possessing jurisdiction of the<br />
defendant; but the defendants, or any or either of them, may make a<br />
motion in the proper court of any other district where such a violation<br />
is alleged, to dissolve said injunction upon such reasonable notice to<br />
the plaintiff as the court or judge before whom said motion shall be<br />
made shall deem proper; service of said motion to be made on the<br />
plaintiff in person or on his attorney in the action. Said courts or<br />
judges shall have authority to enforce said injunction and to hear and<br />
determine a motion to dissolve the same, as herein provided, as fully as<br />
if the action were pending or brought in the district in which said<br />
motion is made.<br />
<br />
The clerk of the court, or judge granting the injunction, shall, when<br />
required so to do by the court hearing the application to dissolve or<br />
enforce said injunction, transmit without delay to said court a certified<br />
copy of all the papers on which the said injunction was granted that are<br />
on file in his office.<br />
<br />
When any action is brought in any place whereof the defendant is<br />
not an inhabitant, service of process shall be made by the marshal of<br />
the district of which the defendant is an inhabitant, or of the district<br />
where he may be found, upon receiving a certified copy of the process<br />
from the clerk of the court where the suit was brought, and return shall<br />
be made by said marshal to said court.<br />
<br />
Suc. 33. That the final orders, judgments or decrees of any court<br />
mentioned in section thirty-two of this Act arising under the copyright<br />
laws of the United States may be reviewed on appeal or writ of error in<br />
the manner and to the extent now provided by law for the review of<br />
cases finally determined in said courts respectively.<br />
<br />
Sec. 34. That no action shall be maintained under the provisions of<br />
this Act unless the same is commenced within three years after the<br />
cause of action arose.<br />
<br />
Src. 35. That in all recoveries under this Act full costs shall be<br />
allowed.<br />
<br />
Src. 36. That nothing in this Act shall prevent, lessen, impeach, or<br />
avoid any remedy at law or in equity which any party aggrieved by any<br />
infringement of a copyright might have had if this Act had not been<br />
passed.<br />
<br />
Suc. 37. That the copyright is distinct from the property in the<br />
material object which is the subject of copyright, and the sale or con-<br />
veyance, by gift or otherwise, of the original object shall not of itself<br />
imply the cession of the copyright ; nor shall the assignment of the<br />
copyright imply the transfer of the material object.<br />
<br />
Src. 38. That the right of translation, the right of dramatization, the<br />
right of oral delivery of a lecture, the right of representation in the<br />
case of a dramatic composition, the right of performance in the case of<br />
a musical composition, where the latter is reserved as provided in<br />
section fourteen hereof, the right to make any mechanical device by<br />
which music may be reproduced to the ear, and the right of repro-<br />
duction of a work of art or of a drawing or plastic work of a scientific<br />
or technical character shall each be deemed a separate estate subject to<br />
assignment, lease, license, gift, bequest, or inheritance.<br />
<br />
Suc. 39. That the copyright in a work of art and the ownership of<br />
the work shall be deemed to be distinct properties, and, except as pro-<br />
vided for in this Act, the copyright in any artistic work shall remain<br />
in the author of the work, even if such work be sold or disposed of by<br />
<br />
Comp. Rev. Stat., sec. 972.<br />
<br />
Transfer of Copyright.<br />
<br />
<br />
<br />
<br />
Assignment of<br />
copyright.<br />
<br />
Foreign as-<br />
signment.<br />
<br />
Comp. Patent Act of March 3, 1897,<br />
sec. 5 (29 Stat. at L., p. 693).<br />
<br />
Comp. Rev. Stat., sec. 4955.<br />
<br />
Comp. Act of June 18, 1874, sec, 2<br />
C18 Stat. at L., part 111, p. 79).<br />
<br />
The Copyright Office.<br />
<br />
Comp. Rev. Stat., sec. 4948 ; Act of<br />
Feb. 19, 1897 (29 Stat. at L.,<br />
p. 545).<br />
<br />
Comp. Act of Feb. 19, 1897 (29<br />
Stat. at L., p. 545).<br />
<br />
Comp. Act of Feb. 19, 1897 (29<br />
Stat. at L., p. 545).<br />
<br />
16<br />
<br />
such author, unless the copyright therein be expressly assigned or<br />
disposed of in writing by him, or pass by operation of law or testamentary<br />
disposition.<br />
<br />
Src. 40. That every assignment of copyright under this Act shall be<br />
by an instrument of writing signed by the assignor.<br />
<br />
Suc. 41. That every assignment of copyright executed in a foreign<br />
country shall be acknowledged by the assignor before a consular officer<br />
or secretary of legation of the United States authorized by law to<br />
administer oaths or perform notarial acts. The certificate of such<br />
acknowledgment under the hand and official seal of such consular officer<br />
or secretary of legation shall be primd facie evidence of the execution<br />
of the instrument.<br />
<br />
Suc. 42. That every assignment of copyright shall be recorded in the<br />
Copyright Office within ninety days after its execution in the United<br />
States or within six calendar months after its execution without the<br />
limits of the United States, in default of which it shall be void as<br />
against any subsequent purchaser or mortgagee for a valuable con-<br />
sideration, without notice, whose assignment has been duly recorded.<br />
<br />
Suc. 43. That in place of the original instrument of assignment there<br />
may be sent for record a true copy of the same duly certified as such by<br />
any official authorized to take an acknowledgment to a deed.<br />
<br />
Src. 44. That the Register of Copyrights shall, upon payment of<br />
the prescribed fee, record such assignment, and shall return to the<br />
sender, with a certificate of record attached, under seal, the original<br />
instrument or the copy of the same so filed for record; and upon the<br />
payment of the fee prescribed by this Act he shall furnish to any person<br />
requesting the same a certified copy thereof, under the seal of the<br />
Copyright Office.<br />
<br />
Suc. 45. That when an assignment of the copyright in a specified<br />
book or other work has been recorded, the assignee shall have the<br />
privilege of substituting his name for that of the assignor in the<br />
statutory notice of copyright prescribed by this Act.<br />
<br />
Src. 46. That all records and other things relating to copyrights,<br />
required by law to be preserved, shall be kept and preserved in the<br />
Copyright Office, Library of Congress, District of Columbia, and shall<br />
be under the control of the Register of Copyrights, who shall, under<br />
the direction and supervision of the Librarian of Congress, perform all<br />
the duties relating to the registration of copyrights.<br />
<br />
Src. 47. That there shall be appointed by the Librarian of Congress<br />
a Register of Copyrights, at a salary of<br />
dollars per annum, and one Assistant Register of Copyrights, at a salary<br />
of dollars per annum, who shall have<br />
authority during the absence of the Register of Copyrights to attach<br />
the Copyright Office seal to all papers issued from the said office, and<br />
to sign such certificates and other papers as may be necessary. There<br />
shall also be appointed by the Librarian such subordinate assistants to<br />
the Register as may from time to time be authorized by law.<br />
<br />
Src. 48. That the Register of Copyrights shall make daily deposits<br />
in some bank in the District of Columbia, designated for this purpose<br />
by the Secretary of the Treasury as a national depository, of all moneys<br />
received to be applied as copyright fees, and shall make weekly deposits<br />
with the Secretary of the Treasury, in such manner as the latter shall<br />
direct, of all copyright fees actually applied under the provisions of this<br />
Act, and annual deposits of sums received which it has not been<br />
possible to apply as copyright fees or to return to the remitters, and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
17<br />
<br />
shall also make monthly reports to the Secretary of the Treasury and to<br />
the Librarian of Congress of the applied copyright fees for each calendar<br />
month, together with a statement of all remittances received, trust<br />
funds on hand, moneys refunded, and unapplied balances.<br />
<br />
Suc. 49. That the Register of Copyrights shall give bond to the<br />
United States in the sum of twenty thousand dollars, in form to be<br />
approved by the Solicitor of the Treasury, and with sureties satisfactory<br />
to the Secretary of the Treasury, for the faithful discharge of his duties.<br />
<br />
Sec. 50. That the Register of Copyrights shall make an annual<br />
report to the Librarian of Congress, to be printed in the Annual Report<br />
on the Library of Congress, of all copyright business for the previous<br />
fiscal year, including the number and kind of works which have been<br />
deposited in the Copyright Office during the fiscal year, under the<br />
provisions of this Act.<br />
<br />
Suc. 51. That the seal provided under the Act of July eighth,<br />
eighteen hundred and seventy, and at present used in the Copyright<br />
Office, shall continue to be the seal thereof, and by it all papers issued<br />
from the Copyright Office requiring authentication shall be authenticated.<br />
<br />
Suc. 52. That, subject to the approval of the Librarian of Congress,<br />
the Register of Copyrights shall be authorized to make reasonable rules<br />
and regulations, not inconsistent with the provisions of this Act, for the<br />
conduct of proceedings with reference to the registration of claims to<br />
copyright as provided by this Act: Provided, That no breach of such<br />
rules or regulations shall affect the validity of the copyright.<br />
<br />
Suc. 53. That the Register of Copyrights shall provide and keep such<br />
record books in the Copyright Office as are required to carry out the<br />
provisions of this Act, and whenever deposit has been made in the<br />
Copyright Office of a title or copy of any work under the provisions of<br />
this Act he shall make entry thereof.<br />
<br />
Suc. 54. That in the case of each entry the person recorded as the<br />
claimant of the copyright shall be entitled to a certificate under seal of<br />
copyright registration, to contain his name and address, the title of the<br />
work upon which copyright is claimed, the date of the deposit of the<br />
required copies of such work, and such marks as to class designation<br />
and entry number as shall fully identify the entry. In the case of a<br />
book the certificate shall also state the receipt of the affidavit required<br />
by section thirteen of this Act, and the date of the completion of the<br />
printing, or the date of the publication of the book, as stated in the<br />
said affidavit. The Register of Copyrights shall prepare a printed form<br />
for the said certificate to be filled out in each case as above provided<br />
for, which certificate sealed with the seal of the Copyright Office shall,<br />
upon payment of the prescribed fee, be given to any person making<br />
application for the same, and the said certificate shall be admitted in<br />
any court as prima facie evidence of the facts stated therein.<br />
<br />
Suc. 55. That the Register of Copyrights shall fully index all copy-<br />
right registrations, and shall print at periodic intervals a catalogue of<br />
the titles of articles deposited and registered for copyright, together<br />
with suitable indexes, and at stated intervals shall print complete and<br />
indexed catalogues for each class of copyright entries, and thereupon<br />
shall have authority to destroy the original manuscript catalogue cards<br />
containing the titles included in such printed volumes and representing<br />
the entries made during such intervals. The current catalogues of<br />
copyright entries and the index volumes herein provided for shall be<br />
admitted in any court as prima facie evidence of the facts stated therein<br />
as regards any copyright registration.<br />
<br />
Comp. Act of Feb. 19, 1897 Q9<br />
Stat. at L., p. 545).<br />
<br />
Comp. Rev. Stat., sec. 4951.<br />
<br />
Comp. Rey. Stat., sec. 4949.<br />
<br />
Comp. Trade-mark Act of Feb. 20,<br />
1905, sec. 26.<br />
<br />
Comp. Rev. Stat., sec. 4957.<br />
<br />
Comp. Trade-mark Act of Feb. 20,<br />
1905, sec. 16.<br />
<br />
Catalogue of<br />
copyright entries.<br />
<br />
Comp. Act of March 3, 1891, sec. 4<br />
(26 Stat. at L., p. 1108).<br />
<br />
<br />
<br />
<br />
Comp. Act. of March 3, 1891, sec. 4<br />
(26 Stat. at L., p. 1108).<br />
<br />
Disposal of ac-<br />
cumulated copy-<br />
right deposits.<br />
<br />
Copyright fees.<br />
<br />
Comp. Rev. Stat., sec. 4958 ; Act of<br />
June 18, 1874, sec. 2 (18 Stat. at<br />
L., part 11, p. 79); Act of<br />
March 3, 1891, sec. 4 (26 Stat.<br />
at L., p. 1108).<br />
<br />
18<br />
<br />
<br />
<br />
Suc. 56. That the said printed current catalogues as they are issued<br />
shall be promptly distributed by the Copyright Office to the collectors<br />
of customs of the United States and to the postmasters of all exchange<br />
offices of receipt of foreign mails, in accordance with revised lists of<br />
such collectors of customs and postmasters prepared by the Secretary<br />
of the Treasury and the Postmaster-General, and they shall also be<br />
furnished to all parties desiring them at a price to be determined by<br />
the Register of Copyrights not exceeding five dollars per annum for the<br />
complete catalogue of copyright entries and not exceeding one dollar<br />
per annum for the catalogues issued during the year for any one class<br />
of subjects. The consolidated catalogues and indexes shall also be<br />
supplied to all persons ordering them at such prices as may be deter-<br />
mined to be reasonable, and all subscriptions for the catalogues shall be<br />
received by the Superintendent of Public Documents, who shall forward<br />
the said publications ; and the moneys thus received shall be paid into<br />
the Treasury of the United States and accounted for under such laws<br />
and Treasury regulations as shall be in force at the time.<br />
<br />
Sec. 57. That the record books of the Copyright Office, together<br />
with the indexes to such record books, and all works deposited and<br />
retained in the Copyright Office, shall be open to public inspection at<br />
convenient times ; and copies may be taken of the copyright entries<br />
actually made in such record books, subject to such safeguards and<br />
regulations as shall be prescribed by the Register of Copyrights and<br />
approved by the Librarian of Congress.<br />
<br />
Suc. 58. That of the articles deposited in the Copyright Office under<br />
the provisions of the copyright laws of the United States or of this Act,<br />
the Librarian of Congress shall determine what books and other articles<br />
shall be transferred to the permanent collections of the Library of<br />
Congress, including the Law Library, and what other books or articles<br />
shall be placed in the reserve collections of the Library of Congress for<br />
sale or exchange, or be transferred to other governmental libraries in<br />
the District of Columbia for use therein.<br />
<br />
Sec. 59. That of any articles undisposed of as above provided,<br />
together with all titles and correspondence relating thereto, the<br />
Librarian of Congress and the Register of Copyrights jointly shall at<br />
suitable intervals determine what of these received during any period<br />
of years it is desirable or useful to preserve in the permanent files of the<br />
Copyright Office, and, after due notice as hereinafter provided, may<br />
within their discretion cause the remaining articles and other things to<br />
be destroyed: Provided, That there shall be printed in the Catalogue<br />
of Copyright Entries from February to November, inclusive, a statement<br />
of the years of receipt of such articles and a notice to permit any author,<br />
copyright proprietor, or other lawful claimant to claim and remove<br />
before the expiration of the month of November of that year anything<br />
found which relates to any of his productions deposited or registered<br />
for copyright within the period of years stated, not reserved or disposed<br />
of as provided for in sections fifty-eight and fifty-nine of this Act :<br />
And provided further, That no manuscript of an unpublished work shall<br />
be destroyed during the term of its copyright without specific notice to<br />
the author, copyright proprietor, or other lawful claimant, permitting<br />
him to claim and remove it.<br />
<br />
Suc. 60. That the Register of Copyrights shall receive, and the<br />
persons to whom the services designated are rendered shall pay, the<br />
following fees: For the registration of any work subject to copyright<br />
deposited under the provisions of this Act, one dollar, which sum is to<br />
include a certificate under seal. For every additional certificate under<br />
seal of registration made, fifty cents. For recording and certifying any<br />
<br />
<br />
<br />
<br />
<br />
<br />
19<br />
<br />
<br />
<br />
instrument of writing for the assignment of copyright, or for any copy<br />
of an assignment, duly certified, if not over three hundred words in<br />
length, one dollar; if more than three hundred and less than one<br />
thousand words in length, two dollars; if more than one thousand<br />
words in length, one dollar for each one thousand words and fraction<br />
thereof over three hundred words. For comparing any copy of an<br />
assignment with the record of such document in the Copyright Office<br />
and certifying the same under seal, one dollar. For recording the<br />
transfer of the proprietorship of copyrighted articles, ten cents for each<br />
title of a book or other article in addition to the fee prescribed for<br />
recording the instrument of assignment. For any requested search of<br />
Copyright Office records, indexes, or deposits, fifty cents for each full<br />
hour of time consumed in making such search. For the personal<br />
inspection of copyright record books, indexes, applications, or any article<br />
deposited, including the copying of an entry actually made in any such<br />
record book, ten cents in the case of each book or other article:<br />
Provided, That for such inspection or copying, or both, if made by or on<br />
behalf of any person party to a copyright suit already begun or if the<br />
inspection and use of a book or other deposited article is made in the<br />
reading-room of the Library of Congress, or in any division of the<br />
Library to which the said article would naturally pertain, no charge<br />
shall be made: Provided further, That only one registration at one fee<br />
shall be required in the case of several volumes of the same book<br />
or periodical deposited at the same time or of a numbered series of any<br />
work specified in subsections (h), (j), (k), and (1) of section five<br />
of this Act, where such series represents the same subject with variances<br />
only in pose or composition and the items composing it are deposited<br />
at the same time under one title with a view to a single registration.<br />
<br />
Suc. 61. That in the interpretation and construction of this Act the<br />
words “ United States” shall be construed to mean the United States<br />
and its territorial possessions, and to include and embrace all territory<br />
which is now or may hereafter be under the jurisdiction and control of<br />
the United States.<br />
<br />
Suc. 62. That in the interpretation and construction of this Act<br />
words importing the singular number shall be held to include the<br />
plural, and vice versd, except where such construction would be<br />
unreasonable, and words importing the masculine gender shall be held<br />
to include all genders, except where such construction would be absurd<br />
or unreasonable.<br />
<br />
Sno. 63. That in the interpretation and construction of this Act<br />
«“ the date of publication ” shall in the case of a work of which copies<br />
are reproduced for sale or distribution be held to be the earliest date<br />
when copies of the first authorized edition were sold or placed on sale ;<br />
and the word “author” shall include an employer in the case of works<br />
made for hire.<br />
<br />
So. 64. That all acts and parts of acts inconsistent herewith are<br />
hereby repealed, save and except section 4966 of the Revised Statutes,<br />
the provisions of which are hereby confirmed and continued in force,<br />
anything to the contrary in this Act notwithstanding.<br />
<br />
’<br />
<br />
<br />
<br />
BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE.<br />
<br />
<br />
<br />
Miscellaneous Provisions.<br />
<br />
Repealing clause. | https://historysoa.com/files/original/5/518/1906-07-01-The-Author-16-10.pdf | publications, The Author |
519 | https://historysoa.com/items/show/519 | United States Copyright (1906) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EUnited+States+Copyright%3C%2Fem%3E+%281906%29"><em>United States Copyright</em> (1906)</a> | Summary of the Bill to amend and consolidate the acts respecting copyright. | | | | | | | <a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16&sort_field=added">Supplement to <em>The Author</em>, Vol. 16</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> | 1906-United-States-Copyright | | <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=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906">1906</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> | | 19060701 | | https://historysoa.com/files/original/4/519/1906-United-States-Copyright.pdf | America, copyright, publications, The Author |