Omeka IDOmeka URLTitleSubjectDescriptionCreatorSourcePublisherDateContributorRightsRelationFormatLanguageTypeIdentifierCoveragePublisher(s)Original FormatOxford Dictionary of National Biography EntryPagesParticipantsPen NamePhysical DimensionsPosition End DatePosition Start DatePosition(s)Publication FrequencyOccupationSexSociety Membership End DateSociety Membership Start DateStart DateSub-Committee End DateSub-Committee Start DateTextToURLVolumeDeathBiographyBirthCommittee End DateCommittee of Management End DateCommittee of Management Start DateCommittee Start DateCommittee(s)Council End DateCouncil Start DateDateBibliographyEnd DateEvent TypeFromImage SourceInteractive TimelineIssueLocationMembersNgram DateNgram TextFilesTags
508https://historysoa.com/items/show/508Index 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 &amp; 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.pdfpublications, The Author
509https://historysoa.com/items/show/509The 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-16-11–32<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>119051001Che 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 /> ____ + &gt; —__<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..&lt;...-.--..--.-:--+-- oe 500 0 0<br /> Victorian Government 3 % Consoli-<br /> <br /> dated Inscribed Stock ............++- 291 19 11<br /> <br /> War Loam .:..-.-.-&lt;...--.) sess 201.9 8<br /> London and North Western 3 % Deben-<br /> <br /> ture SlOCK &lt;.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 /> ——___—_—_—&lt;&gt;—_+______—_<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 &amp;<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&#039;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 &lt;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 &amp; 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 &amp; 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&#039;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 &amp; 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 &amp;<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. &#039;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 /> &amp; 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 &amp; 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—&lt;&gt;—____—_<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&#039;wentieth of the<br /> Twentieth Century.”<br /> <br /> Messrs. Brown, Langham &amp; 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 &amp; 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 &amp;<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 /> &amp; 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&#039; 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 &amp; 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—&lt;—+—<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&#039;wentieth of the<br /> Twentieth Century.”<br /> <br /> Messrs. Brown, Langham &amp; 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.&#039;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 &amp; 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 &amp; 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 &amp; 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 /> &amp; Co. will publish a work by Mr. F. Carrel, under<br /> the title of “An Analysis of Human Motive.”<br /> <br /> “ The Woman&#039;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 &amp; 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 &amp; 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 /> &lt;&gt; +-__———-<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 &amp;<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 &amp; 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 &amp; 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 &amp; Co., Limited, the copyright and all her interest in<br /> the novel entitled “ , and pays the said Ward,<br /> Lock &amp; Co., Limited, the sum of Seventy-five Pounds (£75),<br /> and in consideration thereof the said Ward, Lock &amp; Co.,<br /> Limited, agree to produce and publish the novel:in their<br /> ordinary style, and give I&#039;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 &amp; 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 &amp; 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 /> —_ &lt;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&#039;s Ringlets, By Michael MacDonagh,<br /> 18<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> —_—&gt;—+ —<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 /> \$—&lt;—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&#039;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 /> ——&gt;+—<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 /> —_——&gt;—+—__<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 /> —&lt;&gt;—__-—___——<br /> <br /> LEGAL AND GENERAL LIFE ASSURANCE<br /> SOCIETY.<br /> <br /> &gt; +<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.&#039;<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 /> + &lt;_&lt;<br /> <br /> THE CRABBE CELEBRATION AT<br /> ALDEBURGH.<br /> <br /> 16TH—18TH SEPTEMBER, 1905.<br /> <br /> —+~&lt;&gt;—<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 /> ——+ &lt;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 /> —______.+—~&lt;—___&lt;_<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 /> —_———_+—&gt;—_+__——_<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 /> &amp; 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+—&lt; +<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 &amp; 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.pdfpublications, The Author
510https://historysoa.com/items/show/510The 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-16-233–64<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>219051101The 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 /> —_—__—__—_&lt;&gt;__+—__—_<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 /> —_--—&gt;+—_<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 /> ——&gt;—+<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&#039;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. &lt;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 &amp; 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 /> &#039; 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 &amp; Stoughton. 6s.<br /> <br /> Tuer MISTRESS OF THE Ropes. By S. H. BURCHELL.<br /> <br /> 73 x 5. 426 pp. Hurst &amp; 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&#039;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 &amp; 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 &amp; 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 &amp; Stoughton. 6s.<br /> <br /> Bee@gar’s Luck. By NELLIE K. BuissETT. 74 x 5.<br /> 311 pp. Chapman &amp; Hall, 6s.<br /> <br /> Dinys. An Indian Romance. By F. E. PENNY. 7} x 5.<br /> 360 pp. Chatto &amp; 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 &amp; Stoughton. 33. 6d.<br /> <br /> Tue INSEPARABLES. By J. BAKER. 7} X 5. 329 pp.<br /> Chapman &amp; 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&#039;s Story of the Cross. By PETER<br /> RoseGGer. Translated by ELIZABETH LEE. 7} x 53.<br /> <br /> 324 pp. Hodder &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 /> ——————_.—&gt;—_-___—_<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 &amp; 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&#039;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 &amp; 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 /> &#039; 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 &amp; 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 &amp; 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 &amp;<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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 /> +—&lt;&gt;—-2<br /> <br /> PARIS NOTES.<br /> <br /> &gt;<br /> <br /> “&quot;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 &amp; 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 ; “&#039;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 /> &#039; 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 /> ——&lt;<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 /> ————__+—&gt;—_+—___—_—__<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&gt;, 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 /> —+—&gt;—+——<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 /> —_*—&gt;—+ —-<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 &amp; 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 &amp; 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 &amp; 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 /> &amp; 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 &amp; 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 &amp; 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 /> “&quot;@ 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 /> &gt;. 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 /> &#039; @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 &amp;<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 /> &gt; 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&#039;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 /> ‘“&lt; 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&#039;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 /> —+—&gt;— + —_<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 /> ~&lt;&quot;@ 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 /> “&quot;@ charge threepence for some, and twopence for<br /> others?”<br /> <br /> “Because some people prefer to pay the larger<br /> &gt; 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 /> &#039; 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 /> —_——_+—&gt;—_+__——_-<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 &amp; 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, &amp;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&#039;s “ Reader’s Handbooks,”<br /> &amp;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 /> —_+-—&lt;+—_<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.pdfpublications, The Author
511https://historysoa.com/items/show/511The 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-16-365–96<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>319051201Che 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 /> —__¢—&lt;—e___<br /> <br /> NOTICES.<br /> <br /> — + &lt;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 /> —_—&lt;——_<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 /> » &gt;», 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&#039;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&#039;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&#039;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 /> &gt;<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 &lt; 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 /> &amp; 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 &lt;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&#039;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 &amp; 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 &amp; 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&#039;DONNELL.<br /> <br /> 7k x 5. 315 pp. Greening. 6s.<br /> <br /> THE PRoFESSOR&#039;’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 &amp; Stoughton. 6s.<br /> <br /> A SECRET OF LesomBo. By BERTRAM MITFORD.<br /> 7% x 54. 300 pp. Hurst &amp; Blackett. 6s.<br /> <br /> THe CHERRY RIBAND. By 8S. R. CROCKETT. 8 x 5.<br /> 410 pp. Hodder &amp; 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 &amp; 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 &amp; 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&#039;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., &amp;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 /> ————_+-—&lt;&gt;—_+—_______<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> <br /> ; NOTES.<br /> \ | RS. JEAN CARLYLE GRAHAM&#039;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 &amp; 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 &amp; 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 &amp; 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 &amp;<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 &amp; Co. are the publishers.<br /> <br /> Messrs. Kegan Paul &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; Sons, and in Cambridge by<br /> Deighton, Bell &amp; 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 &amp; 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 &amp; 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 /> &amp; 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,” &amp;¢.,<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&#039;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 &amp; 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&#039;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 &amp; 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&#039;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 /> [&#039; 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&#039;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. &amp; 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 (‘.&lt;¢., 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 /> —_-—&gt; +<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&#039;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 /> —_—————_.—&gt;—_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&#039;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. &lt;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—&gt;—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&#039;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&#039;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&#039;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&#039;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—&gt;—_+__—_<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 &quot;<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 /> ——____+—~»—_ —__&lt;_<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 /> ——_+—&lt;—_+___—__-<br /> <br /> THE TWENTY-SEVENTH CONGRESS OF<br /> THE INTERNATIONAL LITERARY AND<br /> ARTISTIC ASSOCIATION.<br /> <br /> ——&gt;—<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&#039;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, &amp;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 &quot;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 /> —_-—&lt;—+—<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.pdfpublications, The Author
512https://historysoa.com/items/show/512The 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-16-497–128<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>419060101be 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 /> —_____+—&gt;—_+___<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 &lt;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 /> &gt;<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 /> » &gt;», 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 /> &gt;<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 /> —_——&gt;+—_<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- &lt;&lt;.<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/&#039;<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 &amp; 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 &amp; Maxwell and Stevens &amp; 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&#039;S Comic ANNUAL. Christmas, 1905.<br /> <br /> 84x 53. Drane. 6d.<br /> WHat Wr TALKED ABOUT.<br /> CAMPBELL. Jarrold &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 /> &amp; 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 &amp; Oo. have puolished “&#039;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 &amp; 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 /> &amp;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&quot;<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 &quot;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 &amp; |<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 &amp; 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 /> ~&lt;@ and Mrs. Humphry Ward’s novel “ Eleanor.”<br /> Messrs. Methuen &amp; 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 /> ————&quot;__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 &gt;<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,” &amp;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&#039;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 /> —___—_+—_&lt;&gt;_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 /> —_———_+—&gt;_+—___<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 ... &gt; =<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&#039;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 /> &quot; 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 /> &amp; 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 &amp; 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 &amp; 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 &amp; 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—&gt;—_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 /> +-—&lt;—__+—___—__<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —_1—~&lt;&gt;—+ —<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&#039;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 /> —-+&gt;+<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 /> —_——_____—_&gt;_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 /> —+—~&lt;+ —<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. &gt;<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&#039;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&#039;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 /> —_+-~&lt;— —_<br /> <br /> PRESIDENT ROOSEVELT ON COPYRIGHT<br /> LEGISLATION.<br /> <br /> —— &gt;<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 &amp; 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 /> —+-—&gt;—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 /> &amp; 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 &amp; Co. vy. J. M. Dent<br /> &amp; 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,” &amp;c., &amp;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,” &amp; 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 /> &quot;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 /> —--&gt;+—_<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&#039;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&#039;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&#039;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.pdfpublications, The Author
513https://historysoa.com/items/show/513The 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-16-5129–160<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>519060201Che 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 /> —_——-+-~&gt; +<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 &amp;<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 &amp; 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&#039;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 “&#039;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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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, “&#039;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 /> —_—_—_———_+—&gt;_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,” &amp;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, &amp;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 &amp; 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&#039;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 /> —____+—&gt;—+- —____<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. &amp; 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 &amp; 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&#039;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&#039;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. &#039;<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&#039;article 34 du Régle-<br /> ment d’Organisation Judiciaire.<br /> <br /> La réproduction dans un journal, sans autorisation et<br /> sans compensation, d&#039;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 &amp; 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 &amp; 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.&quot;<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&#039;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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 /> ——$—$— &lt;_&lt;<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 ; &lt; . = 2 = a<br /> ea ee ee<br /> ete &lt; = 5 5 &lt; 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, &amp;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, &amp;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, &amp;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, &amp;c.<br /> <br /> Educational, Classical, and Philological<br /> <br /> Novels, Tales, Juvenile Works, &amp;c.<br /> Law, J ‘urisprudence, &amp;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, &amp;c.<br /> Poetry and the Drama .<br /> Year-Books and Serials in n Volumes<br /> Medicine, Surgery, Xe. .<br /> <br /> Belles- Lettres, Essays, Monographs, &amp;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 —__&lt;_.<br /> <br /> MAGAZINE CONTENTS,<br /> <br /> —+-—~&lt;—1+<br /> <br /> BLACKWOOD’&#039;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&#039;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 /> &lt;&gt;<br /> <br /> THE READING BRANCH.<br /> <br /> —&gt;<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 /> ——&gt;— + —_<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&#039;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 &amp; 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&#039;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 /> ——___+—&gt;_+—___—_<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 &gt; _____<br /> <br /> COMMERCIALISATION OF LITERATURE.<br /> es<br /> R. HENRY HOLT, of the firm of Messrs.<br /> Henry Holt &amp; 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&#039;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&#039;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&#039;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 &amp; 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 &amp; Book Co., Ltd.,<br /> Thomas Baker, Brown, Langham &amp; 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 /> —-—~&lt; &gt;<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&#039;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&#039;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&#039;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 &amp; 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 &amp; 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&#039;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.pdfpublications, The Author
514https://historysoa.com/items/show/514The 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-16-6161–188<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>619060301FOUNDED 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—&lt;—+<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 /> ———~&lt; +<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&#039;s VAGABOND AND OTHER STORIES. By Cosmo<br /> HAMILTON. 74 &lt;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&#039;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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; Blackett published, in the<br /> middle of last month, Mrs. Alec T&#039;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 &amp; 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 &amp; 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 /> &amp; 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. &amp; 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 &amp; 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 &amp; 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 /> &gt;<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&#039;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 /> &#039; 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—~&lt;&gt;—-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&#039;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 /> ——_+—&lt;—+—__<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 /> —+—~&lt;—+- —__<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 /> —______—~&lt;—_e—_&lt;_<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. &amp; 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&#039;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&#039;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«—~&lt;&gt;°<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—&lt;&gt;—_-—__<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —-—&gt;+<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, &amp;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 &amp; 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&#039;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 § @&gt;<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 /> “&lt;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 /> «&lt;&lt; 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 /> —+—&lt;—+ —_<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 &amp;<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 &amp; 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 /> tohttps://historysoa.com/files/original/5/514/1906-03-01-The-Author-16-6.pdfpublications, The Author
515https://historysoa.com/items/show/515The 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-16-7189–220<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>719060401FOUNDED 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 /> +&gt;<br /> <br /> NOTICES.<br /> <br /> —+~&gt;—+<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 /> —_+-—&gt;— + ——<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..........&lt;... 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&#039;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&#039;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&#039;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&#039;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 &amp; 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. &amp; 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 &amp; 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 &amp;<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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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&#039;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 /> —+—&lt;—+ —<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,— &#039;<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 &amp; Brotuers v. M. A. Donouur &amp; 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 &amp; Brothers vy.<br /> M. A. Donohue &amp; 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&#039;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&#039;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 &amp; 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&#039;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 &amp; 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 &amp; Brothers and the<br /> Blackwoods in the United States and Great Britain,<br /> about the first of October, 1904.<br /> <br /> Harper &amp; 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&#039;s Bazaar, Vol. xxxviii., No. 1, January,<br /> 1904.” On January 2, 1904, the title “ Harper&#039;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 &amp; Brothers,” and in each suc.<br /> ceeding number the words “ Copyright, 1904, by<br /> Harper &amp; 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 /> “»&gt; 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 /> &gt;» 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 /> &#039; 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 &amp;<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. &amp; 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 &amp; Son shows that<br /> Harper &amp; 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 &amp; Co. v. Charles Scribner<br /> &amp; 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&#039;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&#039;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 &amp;<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 &amp; 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 &amp; Brothers had no control over the acts<br /> of Blackwood &amp; 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. &amp; 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&#039;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 &amp;<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&#039;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&#039;%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&#039;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&#039;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: |&lt;’<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 &amp;<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 &amp; 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 &amp; Brothers had no control over the acts<br /> of Blackwood &amp; 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. &amp; 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&#039;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 &amp;<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 &amp;<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&#039;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 /> —+- =&lt; —<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 /> ——————_+—_ &gt; —___—_<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&#039;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 /> —— &gt; —<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 /> —_——_—_&lt;&gt;—_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&#039;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 /> ——_—__—_ &lt;&gt; -______<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 &amp; 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 /> &amp; 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&#039;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. &#039;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 /> ——— &gt; —<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&amp;<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 &amp; 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 &amp; 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&#039;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 /> ——&lt; + —<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 /> &amp;<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&#039;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&#039;s Progress,” by Adam Lorimer.<br /> Blackwood &amp; 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 /> +&gt;<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 &amp; 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.pdfpublications, The Author
516https://historysoa.com/items/show/516The 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-16-8221–248<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>819060501Che 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 /> &amp;<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 /> ———__+—&gt;_+—_——-<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&#039;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&#039;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 /> —— &gt; —<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, &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; Maxwell. £2 2s.<br /> <br /> MILITARY.<br /> <br /> THE OFFICER&#039;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 &amp; 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 &amp; 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&#039;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 &amp; 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 &amp; 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 &amp; 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 /> &quot;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 &amp; (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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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&lt; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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&#039;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&#039;S GAIN ?<br /> <br /> —+ &gt; 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, &amp;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&#039;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&#039;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 /> —___—_+—&gt;—_+—___—_<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 /> —_——_+—&lt;_-+_____-<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 /> ———_-—&gt;—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 /> ————_+—&gt;—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 /> © &amp; 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 /> &#039; 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 :—*“&#039;l&#039;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., &amp;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&#039;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 /> $&lt; —_—_——_<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, &amp; 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&#039;.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.pdfpublications, The Author
517https://historysoa.com/items/show/517The 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-16-9249–276<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>919060601Che 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&#039;’ze Author ten cases have<br /> passed through the secretary&#039;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 /> —_-—&gt;—+—_<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 &amp; 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 &amp; Blackett. 6s.<br /> Tue BuAcK MoTOR Car. By Harris BURLAND.<br /> &gt; 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 /> &amp; 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 &quot;<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 &amp; 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 &amp; 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 /> &amp; 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 &amp; 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 &amp; 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 &amp; 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, &amp; 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 &amp; 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 &amp; 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&#039;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&#039;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&#039;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 &lt;&lt; —___—_—<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&#039;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 /> —__—_——_-—&gt;__+____——_<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&gt;<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&#039;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 /> &quot;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 &amp; 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&#039;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&#039;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&#039;il ne serait pas équit-<br /> <br /> <br /> <br /> <br /> <br /> 271,<br /> <br /> able que la propriété d&#039;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, &amp;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—&gt; + —<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.pdfpublications, The Author
518https://historysoa.com/items/show/518The 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-16-10277–292<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>1019060701Che 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 /> —-~&gt;—<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 /> —__—__—_&gt;_+—___—_—_-<br /> <br /> COMMITTEE NOTES.<br /> <br /> —+~&lt;&gt; +<br /> <br /> HE meeting of the Pension Fund Committee<br /> was held on Monday, June 11th, at three<br /> o&#039;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 /> _¢-—&lt;&gt;—_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 &amp; 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&#039;S PAWN (Cheap Edition). By K. L. Mon&#039;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&#039;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. &lt;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. &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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 &amp; 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,’&gt; 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 &quot;’ (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 /> ——__+—_&gt;—_+_____—__-<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 /> —_—__—_+—_&gt;__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&quot;<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 /> —+-—&lt;— + —_<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 /> —~&gt;— +<br /> <br /> NOTICES.<br /> <br /> —*—&gt;—+—.<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 /> &gt;<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&gt;— 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., &amp;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&#039;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&#039;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&#039;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 &amp; 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 &amp; 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 &amp; 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 &amp; 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.—&lt;&gt; +<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—&lt;—+—__<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, &amp;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. &#039;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, &#039;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, &amp; 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.pdfpublications, The Author
519https://historysoa.com/items/show/519United 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&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=16&amp;sort_field=added">Supplement to&nbsp;<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 &amp; 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>19060701https://historysoa.com/files/original/4/519/1906-United-States-Copyright.pdfAmerica, copyright, publications, The Author